The Drunken Monk 醉僧圖
Item
Title
The Drunken Monk 醉僧圖
Description
Artist Signature: Li Gonglin 李公麟 (ca. 1049–1106) – forgery, later interpolation6
Lower left
Four characters, standard script
李伯時畫
Painted by Li Boshi
Date: none
Seals: none
Lower left
Four characters, standard script
李伯時畫
Painted by Li Boshi
Date: none
Seals: none
Source
https://asia.si.edu/object/F1968.18
Creator
Li Gonglin (attributed to) (傳) 李公麟
annotates
Outside label slip: He Weipu 何維樸 (1842–1922)
Ink on light brown paper.
Six characters, standard script, plus nine characters, smaller standard script.
李伯時《醉僧圖》。虛齋珍藏，何維樸署檢。
Drunken Monk, by Li Boshi [Li Gonglin]. Treasured in the collection of Xuzhai [Pang Yuanji].
Label slip inscribed by He Weipu.1
Signature: 何維樸
He Weipu
Seals: (1)
Pu yin『樸印』(square intaglio)
Inside label slip: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on sutra paper.
Six characters, standard script; plus ten characters, smaller standard script.
李公麟《醉僧圖》。長春書屋珍秘，無上神品。
The Drunken Monk, by Li Gonglin. Treasured in the collection of the Library of Everlasting
Spring, a divine work without superior.2
Signature: none
Seals: (2)
Yu shang『御賞』(rectangle relief) – 1/6
Qianlong chenhan『乾隆宸翰』(square relief) – 1/2
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Separately mounted single sheet of white paper.
Dimensions: 32.9 x 54.4 cm (13 x 21-3/8 in)
Eight characters in 4 columns, running script, plus thirteen characters in 2 columns,
smaller running script.
「燈影往來，游絲無跡」。古香齋節思翁所題語，丁卯御筆。
―Lantern shadows going and coming, [like] gossamer without a trace.‖ The Studio of Ancient
Fragrance [Qianlong] excerpted [these lines] from a text inscribed by Siweng [Dong Qichang].3
Brushed by the emperor in the dingmao year [1747].
Signature: 御筆
Inscribed by the emperor
Date: 丁卯
in the dingmao year [1747]
Seals: (4)
Shenxin tuo haosu『深心託豪素』(rectangle relief, with two dragons) – top right
Qianlong chenhan『乾隆宸翰』(square relief) – under signature
Shufangrun『漱芳潤』(square intaglio) – left
Weiyan xi xianhao『微言晰纖豪』(square relief) – left
Colophon 1 Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on sutra paper, with ruled columns.
Dimensions: 28.7 x 11.4 cm (11-5/16 x 4-1/2 in) 5
columns, running script.
米元章謂李公麟畫『人物秀發，各肖其形，無一點塵埃氣』。此《醉僧圖》，尤其得意作，天
趣盎然，想見『酒氣拂拂，從十指間出』。非通神者，安足語此？乾隆丁卯春正月，御識。
Mi Yuanzhang [Mi Fu, 1051–1107] said that when Li Gonglin ―was in the full bloom of his
figure painting, [he depicted] each likeness according to its form, without a single speck of dusty
banality.‖4 This picture of the Drunken Monk is a work in which he particularly realized his
[artistic] intent. It has enormous natural appeal and one can visualize ―the wine vapors wafting
gently and emerging from among his ten fingers.‖5 If he were not in touch with the gods, how
could one say this? Spring, first month in the dingmao year of the Qianlong reign period
[February 9–March 10, 1747], inscribed by the emperor.
Signature: 御識
Inscribed by the emperor
Date: 乾隆丁卯春正月
Spring, first month in dingmao year of the Qianlong reign period
[February 9–March 10, 1747]
Seals: (2)
Qian Long『乾』『隆』(linked circle-square relief) – 1/2
Jixia linchi『機暇臨池』(square intaglio)
Other inscriptions: (3)
1. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, top right.
11 columns, running script. Poem (8x5).7
書抗顛張顛，禪契元奘元，兩童抱罈來，三百青銅錢。醉筆一揮灑，楚紙生雲煙，便云狂亦得
，堪謂佛而仙。
丁卯仲春月，御題
[Poem not translated.] Second lunar-month of spring in the dingmao year [March 11–April 9, 1747],
inscribed by the emperor.
.
Signature: 御題
Inscribed by the emperor
Date: 丁卯仲春月
Second lunar-month of spring in the dingmao year [March 11–April 9, 1747]
Seals: (3)
Chengguan『澂觀』(rectangle relief) – upper right
Jixia yiqing『機暇怡情』(square intaglio)
Qianlong chenhan『乾隆宸翰』(square relief) – 2/2
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, middle.
5 columns, running script. Poem (4x7).8
白衣送酒似淵明，不著送為公與卿，己足高傳醉僧趣，書時那繫老泉名。
[Poem not translated.]
Signature: none
Date: none – [April-May, 1786]
Seals: (1)
Qian Long『乾』『隆』(linked circle-square relief) – 2/2
3. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, upper left.
5 columns, running script. Poem (4x7).9
身似枯籐心似灰，醉中把筆笑顏咍，公麟津逮僧繇法，貌出公孫看舞迴。
丁丑春，御筆再題
[Poem not translated.] Spring of the dingchou year [1757], inscribed again by the imperial brush.
Signature: 御筆
the imperial brush
Date: 丁丑春
Spring of the dingchou year [1757]
Seals: (2)
Huixin buyuan『會心不遠』(square intaglio)
De chong fu『德充符』(square relief)
Colophon 2: Calligraphy attributed to Su Shi 蘇軾 (1037–1101)10
4 columns, wild-cursive script
Poem (4x5), attributed to Huaisu 懷素 (ca. 725–ca. 799)11
人人送酒不曾沽，終日松間掛一壺；草聖欲成狂便發，真堪畫作醉僧圖。
Everyone keeps sending wine, he never has to buy,
All day long among the pines, there always hangs a jug.
Frenzy strikes the Cursive Sage as he’s about to write,
Truly then can he be painted as The Drunken Monk.
Signature: none
Date: none
Seals: none
Colophon 3: Dongcun 東村 (unidentified; Yuan/early Ming?)
4 columns, running script.
唐僧懷素，以草書名天下。唐賢善書者，亦推重之。素有《自敘》一篇，備載諸人之詞。素深
喜絹書，吾家前後所得數軸，了無紙上一字。最先所得，乃《人人送酒》之詩也。老泉山人學
書垂四十年，每愛此詩，時時寫之，不下數十張矣。龍眠李伯時，因是時遂作此畫，頗能狀醉
僧之態，而老泉所書，自成一種風格，所為二妙圖耳。東村閑居方外堂字□12 書。
The Tang-dynasty monk Huaisu [ca. 725–ca. 799] is famous throughout the world for his cursive
calligraphy. Those who appreciated good calligraphy in the Tang also esteemed him greatly, and
he composed a piece called the Autobiographical Preface which fully records the verses of
various writers [in praise of his work].13 Huaisu especially enjoyed writing on silk and, from first
to last, of the several scrolls acquired for my collection not a single character was written on
paper. The first work [on paper] that I acquired is the [present] poem, ―Everyone keeps sending
wine.‖ Laoquan shanren [Su Shi] practiced [Huaisu’s] calligraphy for forty years and particularly
loved this poem, which he wrote out time after time using no fewer than several dozen sheets [of
paper] each time. It was on such an occasion, then, that Longmian Li Boshi [Li Gonglin] created
this painting. As he was able to capture the demeanor of the drunken monk quite well and
Laoquan’s calligraphy constitutes a style and form all its own, [together] they indeed make a
picture of two marvels. Written by Dongcun in retirement at a Buddhist temple…
Signature: 東村
Dongcun
Date: none
Seals: none
Colophon 4: Unidentified Ming dynasty collector
1 column, running script.
鑑古齋雅玩
Elegant plaything of the Studio for Examining Antiquities14
Colophon 5: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
15 columns, running script. 按是图：卞永譽《書畫彙考》《送酒詩》下，綴有『老泉書
懷素詩並倣其草法』十一字。又詩後有跋，署款云『東村閑居方外堂字□書』，亦不識
其為何人。今按《圖畫見聞志》載張僧繇作《醉僧圖》，懷素有詩，即此絕句，載《全
唐詩》。戲鴻堂刻是帖，則云『或東坡曾書此詩，為人誤入集中』，而卞永譽《書畫彙
考》載此圖之董跋，又以為老泉書。則其昌說已歧出矣，而是卷中董跋亦失去，又《蘇
軾集》載是詩，題作《題懷素草帖》。是一詩也，或云懷素，或云東坡；一書也，或云
老泉，或云東坡。鑒賞者但當論書畫之佳否，不必泥記載之糾紛，與其輕信，無若闕疑
。乾隆甲辰新正再識。
In regard to this picture: In Bian Yongyu’s Shuhua huikao, below the poem ―Sending Wine,‖ the
following eleven words are attached: ―Laoquan inscribed this poem by Huaisu and imitated his
cursive style [of calligraphy].‖15 And following the poem is a colophon, which bears the signature,
―Written by Dongcun while living in retirement at a Buddhist hall…,‖ whose identity [along
with Laoquan’s] is also unknown. Now the Tuhua jianwen zhi records a Picture of a Drunken
Monk by Zhang Sengyou [active ca. 500–550] that bears a poem by Huaisu, which is exactly the
quatrain [written] here and is recorded [as his] in the Quan Tang shi [Complete Tang Poetry].16
When Xihongtang [Dong Qichang] cut the calligraphy [into a woodblock and reproduced it], he
said: ―It may be that, since Dongpo [Su Shi] had written out this poem [on some occasion],
someone simply inserted it into his collected works by mistake.‖17 But Bian
Yongyu’s Shuhua huikao records Dong [Qichang’s] colophon for this painting, where he states
that Laoquan wrote it. Thus, [Dong] Qichang already held divergent theories about the work.18
On the other hand, Dong’s colophon for the scroll is lost, and the Collected Works of Su Shi
record this poem under the title ―Inscribed on [an example of] cursive script by Huaisu.‖ It is one
and the same poem, but some [sources] say it is by Huaisu, and others say it is by Dongpo [Su
Shi]; it is one and the same calligraphy, but some sources say it is by Laoquan, while others say
that it is by Dongpo. Connoisseurs and appraisers should just discuss whether a painting or
calligraphy is beautiful or not, and ought not muck around with discrepancies among written
records, for rather than give credence [to one source over another], it would be better to simply
leave the issue open. Inscribed again [by the emperor] during the first lunar month in the jiachen
year [January 22–February 20, 1784].19
Signature: 乾隆
Qianlong
Date: 甲辰新正
New first lunar month in the jiachen year [January 22–February 20, 1784]
Seals: (2)
Gu xi tianzi『古稀天子』(square relief)
You ri zizi『猶日孜孜』(square intaglio)
Lost colophon: Dong Qichang 董其昌 (1555–1636)
According to four Ming-Qing catalogues, the following colophon was originally attached
to this scroll; dimensions, date, and seals unrecorded 28 余嘗見李龍眠《山莊圖》，用墨
妍秀，設色精工，真入摩詰之室。若其畫人物、佛像，如以燈取影，逆來順往，若
游絲迴環無跡。雖吳道子、顧虎頭不能過於此卷。可見此卷因老泉先有《醉僧詩》
，伯時乃為補圖。正所謂合之雙美也。董其昌觀於惠山舟次
I once saw the painting Mountain Villa by Li Gonglin [ca. 1049–1106].29 His use of ink was
beautiful and elegant, and his application of color skillful and refined. He had truly entered the
inner sanctum of Mojie [Wang Wei, 701–762].30 As for his figure painting and Buddhist images,
it was as if he used a lantern to take their shadows, coming forward or moving away, the way that
gossamer goes whirling around without a trace. Even a Wu Daozi [active ca. 710–760] or Gu
Hutou [Gu Kaizhi, ca. 344–ca. 406] could not surpass this scroll.31 For this scroll, it is clear that
Laoquan [Su Shi] had previously written out the ―Poem on the Drunken Monk‖ and that Boshi
[Li Gonglin] made the painting to complement it. They are exactly what is called a joined pair of
beauties.Viewed by Dong Qichang at the Huishan marina.32
Ink on light brown paper.
Six characters, standard script, plus nine characters, smaller standard script.
李伯時《醉僧圖》。虛齋珍藏，何維樸署檢。
Drunken Monk, by Li Boshi [Li Gonglin]. Treasured in the collection of Xuzhai [Pang Yuanji].
Label slip inscribed by He Weipu.1
Signature: 何維樸
He Weipu
Seals: (1)
Pu yin『樸印』(square intaglio)
Inside label slip: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on sutra paper.
Six characters, standard script; plus ten characters, smaller standard script.
李公麟《醉僧圖》。長春書屋珍秘，無上神品。
The Drunken Monk, by Li Gonglin. Treasured in the collection of the Library of Everlasting
Spring, a divine work without superior.2
Signature: none
Seals: (2)
Yu shang『御賞』(rectangle relief) – 1/6
Qianlong chenhan『乾隆宸翰』(square relief) – 1/2
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Separately mounted single sheet of white paper.
Dimensions: 32.9 x 54.4 cm (13 x 21-3/8 in)
Eight characters in 4 columns, running script, plus thirteen characters in 2 columns,
smaller running script.
「燈影往來，游絲無跡」。古香齋節思翁所題語，丁卯御筆。
―Lantern shadows going and coming, [like] gossamer without a trace.‖ The Studio of Ancient
Fragrance [Qianlong] excerpted [these lines] from a text inscribed by Siweng [Dong Qichang].3
Brushed by the emperor in the dingmao year [1747].
Signature: 御筆
Inscribed by the emperor
Date: 丁卯
in the dingmao year [1747]
Seals: (4)
Shenxin tuo haosu『深心託豪素』(rectangle relief, with two dragons) – top right
Qianlong chenhan『乾隆宸翰』(square relief) – under signature
Shufangrun『漱芳潤』(square intaglio) – left
Weiyan xi xianhao『微言晰纖豪』(square relief) – left
Colophon 1 Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on sutra paper, with ruled columns.
Dimensions: 28.7 x 11.4 cm (11-5/16 x 4-1/2 in) 5
columns, running script.
米元章謂李公麟畫『人物秀發，各肖其形，無一點塵埃氣』。此《醉僧圖》，尤其得意作，天
趣盎然，想見『酒氣拂拂，從十指間出』。非通神者，安足語此？乾隆丁卯春正月，御識。
Mi Yuanzhang [Mi Fu, 1051–1107] said that when Li Gonglin ―was in the full bloom of his
figure painting, [he depicted] each likeness according to its form, without a single speck of dusty
banality.‖4 This picture of the Drunken Monk is a work in which he particularly realized his
[artistic] intent. It has enormous natural appeal and one can visualize ―the wine vapors wafting
gently and emerging from among his ten fingers.‖5 If he were not in touch with the gods, how
could one say this? Spring, first month in the dingmao year of the Qianlong reign period
[February 9–March 10, 1747], inscribed by the emperor.
Signature: 御識
Inscribed by the emperor
Date: 乾隆丁卯春正月
Spring, first month in dingmao year of the Qianlong reign period
[February 9–March 10, 1747]
Seals: (2)
Qian Long『乾』『隆』(linked circle-square relief) – 1/2
Jixia linchi『機暇臨池』(square intaglio)
Other inscriptions: (3)
1. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, top right.
11 columns, running script. Poem (8x5).7
書抗顛張顛，禪契元奘元，兩童抱罈來，三百青銅錢。醉筆一揮灑，楚紙生雲煙，便云狂亦得
，堪謂佛而仙。
丁卯仲春月，御題
[Poem not translated.] Second lunar-month of spring in the dingmao year [March 11–April 9, 1747],
inscribed by the emperor.
.
Signature: 御題
Inscribed by the emperor
Date: 丁卯仲春月
Second lunar-month of spring in the dingmao year [March 11–April 9, 1747]
Seals: (3)
Chengguan『澂觀』(rectangle relief) – upper right
Jixia yiqing『機暇怡情』(square intaglio)
Qianlong chenhan『乾隆宸翰』(square relief) – 2/2
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, middle.
5 columns, running script. Poem (4x7).8
白衣送酒似淵明，不著送為公與卿，己足高傳醉僧趣，書時那繫老泉名。
[Poem not translated.]
Signature: none
Date: none – [April-May, 1786]
Seals: (1)
Qian Long『乾』『隆』(linked circle-square relief) – 2/2
3. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Painting, upper left.
5 columns, running script. Poem (4x7).9
身似枯籐心似灰，醉中把筆笑顏咍，公麟津逮僧繇法，貌出公孫看舞迴。
丁丑春，御筆再題
[Poem not translated.] Spring of the dingchou year [1757], inscribed again by the imperial brush.
Signature: 御筆
the imperial brush
Date: 丁丑春
Spring of the dingchou year [1757]
Seals: (2)
Huixin buyuan『會心不遠』(square intaglio)
De chong fu『德充符』(square relief)
Colophon 2: Calligraphy attributed to Su Shi 蘇軾 (1037–1101)10
4 columns, wild-cursive script
Poem (4x5), attributed to Huaisu 懷素 (ca. 725–ca. 799)11
人人送酒不曾沽，終日松間掛一壺；草聖欲成狂便發，真堪畫作醉僧圖。
Everyone keeps sending wine, he never has to buy,
All day long among the pines, there always hangs a jug.
Frenzy strikes the Cursive Sage as he’s about to write,
Truly then can he be painted as The Drunken Monk.
Signature: none
Date: none
Seals: none
Colophon 3: Dongcun 東村 (unidentified; Yuan/early Ming?)
4 columns, running script.
唐僧懷素，以草書名天下。唐賢善書者，亦推重之。素有《自敘》一篇，備載諸人之詞。素深
喜絹書，吾家前後所得數軸，了無紙上一字。最先所得，乃《人人送酒》之詩也。老泉山人學
書垂四十年，每愛此詩，時時寫之，不下數十張矣。龍眠李伯時，因是時遂作此畫，頗能狀醉
僧之態，而老泉所書，自成一種風格，所為二妙圖耳。東村閑居方外堂字□12 書。
The Tang-dynasty monk Huaisu [ca. 725–ca. 799] is famous throughout the world for his cursive
calligraphy. Those who appreciated good calligraphy in the Tang also esteemed him greatly, and
he composed a piece called the Autobiographical Preface which fully records the verses of
various writers [in praise of his work].13 Huaisu especially enjoyed writing on silk and, from first
to last, of the several scrolls acquired for my collection not a single character was written on
paper. The first work [on paper] that I acquired is the [present] poem, ―Everyone keeps sending
wine.‖ Laoquan shanren [Su Shi] practiced [Huaisu’s] calligraphy for forty years and particularly
loved this poem, which he wrote out time after time using no fewer than several dozen sheets [of
paper] each time. It was on such an occasion, then, that Longmian Li Boshi [Li Gonglin] created
this painting. As he was able to capture the demeanor of the drunken monk quite well and
Laoquan’s calligraphy constitutes a style and form all its own, [together] they indeed make a
picture of two marvels. Written by Dongcun in retirement at a Buddhist temple…
Signature: 東村
Dongcun
Date: none
Seals: none
Colophon 4: Unidentified Ming dynasty collector
1 column, running script.
鑑古齋雅玩
Elegant plaything of the Studio for Examining Antiquities14
Colophon 5: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
15 columns, running script. 按是图：卞永譽《書畫彙考》《送酒詩》下，綴有『老泉書
懷素詩並倣其草法』十一字。又詩後有跋，署款云『東村閑居方外堂字□書』，亦不識
其為何人。今按《圖畫見聞志》載張僧繇作《醉僧圖》，懷素有詩，即此絕句，載《全
唐詩》。戲鴻堂刻是帖，則云『或東坡曾書此詩，為人誤入集中』，而卞永譽《書畫彙
考》載此圖之董跋，又以為老泉書。則其昌說已歧出矣，而是卷中董跋亦失去，又《蘇
軾集》載是詩，題作《題懷素草帖》。是一詩也，或云懷素，或云東坡；一書也，或云
老泉，或云東坡。鑒賞者但當論書畫之佳否，不必泥記載之糾紛，與其輕信，無若闕疑
。乾隆甲辰新正再識。
In regard to this picture: In Bian Yongyu’s Shuhua huikao, below the poem ―Sending Wine,‖ the
following eleven words are attached: ―Laoquan inscribed this poem by Huaisu and imitated his
cursive style [of calligraphy].‖15 And following the poem is a colophon, which bears the signature,
―Written by Dongcun while living in retirement at a Buddhist hall…,‖ whose identity [along
with Laoquan’s] is also unknown. Now the Tuhua jianwen zhi records a Picture of a Drunken
Monk by Zhang Sengyou [active ca. 500–550] that bears a poem by Huaisu, which is exactly the
quatrain [written] here and is recorded [as his] in the Quan Tang shi [Complete Tang Poetry].16
When Xihongtang [Dong Qichang] cut the calligraphy [into a woodblock and reproduced it], he
said: ―It may be that, since Dongpo [Su Shi] had written out this poem [on some occasion],
someone simply inserted it into his collected works by mistake.‖17 But Bian
Yongyu’s Shuhua huikao records Dong [Qichang’s] colophon for this painting, where he states
that Laoquan wrote it. Thus, [Dong] Qichang already held divergent theories about the work.18
On the other hand, Dong’s colophon for the scroll is lost, and the Collected Works of Su Shi
record this poem under the title ―Inscribed on [an example of] cursive script by Huaisu.‖ It is one
and the same poem, but some [sources] say it is by Huaisu, and others say it is by Dongpo [Su
Shi]; it is one and the same calligraphy, but some sources say it is by Laoquan, while others say
that it is by Dongpo. Connoisseurs and appraisers should just discuss whether a painting or
calligraphy is beautiful or not, and ought not muck around with discrepancies among written
records, for rather than give credence [to one source over another], it would be better to simply
leave the issue open. Inscribed again [by the emperor] during the first lunar month in the jiachen
year [January 22–February 20, 1784].19
Signature: 乾隆
Qianlong
Date: 甲辰新正
New first lunar month in the jiachen year [January 22–February 20, 1784]
Seals: (2)
Gu xi tianzi『古稀天子』(square relief)
You ri zizi『猶日孜孜』(square intaglio)
Lost colophon: Dong Qichang 董其昌 (1555–1636)
According to four Ming-Qing catalogues, the following colophon was originally attached
to this scroll; dimensions, date, and seals unrecorded 28 余嘗見李龍眠《山莊圖》，用墨
妍秀，設色精工，真入摩詰之室。若其畫人物、佛像，如以燈取影，逆來順往，若
游絲迴環無跡。雖吳道子、顧虎頭不能過於此卷。可見此卷因老泉先有《醉僧詩》
，伯時乃為補圖。正所謂合之雙美也。董其昌觀於惠山舟次
I once saw the painting Mountain Villa by Li Gonglin [ca. 1049–1106].29 His use of ink was
beautiful and elegant, and his application of color skillful and refined. He had truly entered the
inner sanctum of Mojie [Wang Wei, 701–762].30 As for his figure painting and Buddhist images,
it was as if he used a lantern to take their shadows, coming forward or moving away, the way that
gossamer goes whirling around without a trace. Even a Wu Daozi [active ca. 710–760] or Gu
Hutou [Gu Kaizhi, ca. 344–ca. 406] could not surpass this scroll.31 For this scroll, it is clear that
Laoquan [Su Shi] had previously written out the ―Poem on the Drunken Monk‖ and that Boshi
[Li Gonglin] made the painting to complement it. They are exactly what is called a joined pair of
beauties.Viewed by Dong Qichang at the Huishan marina.32
Abstract
91 Total – including 15 half-seals
1. Ming imperial inventory half-seal (ca. 1373–85)20 – (1)
[_ _ ] siyin『..司印』(square relief; left half) – painting, bottom right, horizontally affixed
2. Xiang Yuanbian 項元汴 (1525–1590) – (37) – including 8 half-seals21
Tianlaige『天藾閣』(rectangle relief) – frontispiece, upper right22
Gongbao shijia『宮保世家』(square intaglio) – frontispiece, lower right
Xiang shi Zijing『項氏子京』(square intaglio) – frontispiece, lower left – (1/2)
Zisun shichang『子孫世昌』(square intaglio) – frontispiece, lower left
Tuimi『退密』(gourd relief; left half) – painting, right edge, top
[Shen you] xinshang『[神游]心賞』(square relief; left half) – painting, right edge, middle
[Zisun] yongbao『[子孫]永寶』(square intaglio; left half) – painting, right edge, bottom
Shenpin『神品』(rectangle relief) – painting, top right – (1/2)
Xiang Yuanbian yin『項元汴印』(square relief) – painting, bottom right
Molin miwan『墨林祕玩』(square relief) – painting, bottom right
Shenpin『神品』(rectangle relief) – painting, top left – (2/2)
Molin shanren『墨林山人』(square intaglio) – painting, top left
Xiang Zijing jia zhencang『項子京家珍藏』(rectangle relief) – painting, top left
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – painting, mid left
Xulangzhai『虛朗齋』(square relief) – painting, bottom left
You he bu ke『有何不可』(square intaglio) – painting, bottom left
Zijing [fu yin] 『子京[父印]』(square relief; right half) – painting, left edge, bottom
Jingyin [an] 『净因[菴]』(square intaglio; right half) – painting, left edge, bottom
[Pingsheng] zhenshang『[平生]珍賞』(square relief; left half) – colophon, right edge, bottom
Xiang shi Zijing『項氏子京』(square intaglio) – colophon, right bottom – (2/2)
Qulu『蘧廬』(square intaglio) – colophon, right middle
Yinju fangyan『隱居放言』(rectangle intaglio) – colophon, column 4, bottom
Taohuayuan li renjia『桃花源裏人家』(rectangle relief) – colophon, column 4–5, bottom
Molintang『墨林堂』(square intaglio) – colophon, column 15, bottom
Xiangyan jushi『香巖居士』(rectangle intaglio) – colophon, column 17, bottom
Zijing zhenmi『子京珍祕』(rectangle relief) – colophon, column 17, bottom
Shiwai fabao『世外法寶』(rectangle intaglio) – colophon, left of main text
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – colophon, left of main text
Molin Xiang jizi zhang『墨林項季子章』(horizontal intaglio) – colophon, left of main text
Zuili Xiang shi shijia baowan『檇李項氏士家寶玩』(rectangle relief) – colophon, lower left
Xiang Yuanbian yin『項元汴印』(square intaglio) – colophon, lower left
Yuanyang huzhang『鴛鴦湖長』(rectangle intaglio) – colophon, lower left
Lingyan jingshe『棱巖精舍』(rectangle intaglio) – colophon, lower left
Xiang Molin jianshang fashu minghua『項墨林鑑賞法書名畫』(rectangle intaglio)
– colophon, lower left
Xiang Yuanbian shi shending zhenji『項元汴氏審定真跡』(rectangle intaglio)
– colophon, left edge, bottom
Ji’ao『寄敖』(gourd relief; right half) – colophon, 2nd paper join, top
Tianchou [gengnou]『田疇[耕耨] 』(square intaglio; right half) – colophon, 2nd
paper join, bottom
3. Zhang Liu 張鏐 (active mid-17th century)23 – (2)
Zhang Liu『張鏐』(square intaglio) – painting, lower left
Hanshang Zhang Liu Huangmei baiguan『邗上張鏐黃美拜觀』(rectangle relief)
– colophon, lower left
4. Liang Qingbiao 梁清標 (1620–1691) – (4)
[Tang]cun『[棠]邨』 (double-square relief; left half) – painting, right edge, middle24
Jiaolin Liangshi shuhua zhi yin『蕉林梁氏書畫之印』(square relief) – painting, lower left
[Cang]yanzi『[蒼]巖子』(circle relief; left half) – colophon, right edge, middle
Jiaolin miwan『蕉林秘玩』(square relief) – colophon, left of inscription, bottom
5. Liang Yong 梁雝 (unidentified) – (1)
Liang Yong『梁雝』(square relief) – colophon, lower left
6. An Qi 安岐 (1683–after 1742) – (6)25
Yizhou zhencang『儀周珍藏』(rectangle relief) – painting, top right
An Qi zhi yin『安岐之印』(square intaglio) – mounting silk 3, middle
Chaoxian ren『朝鮮人』(rectangle intaglio) –mounting silk 3, middle
An shi Yizhou shuhua zhi zhang『安氏儀周書畫之章』(rectangle intaglio) – colophon,
lower left
Xinshang『心賞』(gourd relief) – colophon, paper join 3, top
An Yizhou jiazhencang『安儀周家珍藏』(rectangle relief) – colophon, paper join 3, bottom
7. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (26)
Yu shang『御賞』(rectangle relief) – mounting silk 1/frontispiece join, top – (2/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 1/frontispiece join,
bottom – (1/5)
Yu shang『御賞』(rectangle relief) – frontispiece/mounting silk 2 join, top – (3/6)
Neifu shuhua zhi bao『內府書畫之寶』(square intaglio) – frontispiece/mounting silk 2 join,
bottom – (1/2)
Shiqu baoji『石渠寶笈』(square relief) – mounting silk 2/painting join, top
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 2/painting join, middle –
(2/5)
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – mounting silk 2/painting join, middle
Leshoutang jiancang bao『樂壽堂鑑藏寶』(rectangle intaglio) – mounting silk 2/painting join,
bottom
Shiqu dingjian『石渠定鑑』(circle relief) – painting, middle, below inscription
Baoji chongbian『寶笈重編』(square intaglio) – painting, middle, below inscription
Gu xi tianzi『古希天子』(circle relief) – painting, top center
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, right of tree
Shou『壽』(rectangle intaglio) – painting, right of tree
Ningshougong xu ru shiqu baoji『寧壽宫續入石渠寶笈』(square relief) – painting, right of tree
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, left of tree
Yi zisun『宜子孫』(square intaglio) – painting, left of tree
Yu shang『御賞』(rectangle relief) – painting/mounting silk 3 join, top – (4/6)
Wufuwudaitang gu xi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk 3,
middle, top
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – mounting silk 3, middle
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 3/colophon join, middle –
(3/5)
Yu shang『御賞』(rectangle relief) – colophon, paper join 1, top – (5/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – colophon, paper join 1, bottom – (4/5)
Taishang huangdi zhi bao『太上皇帝之寶』(square relief) – colophon paper 2, middle, top
Yu shang『御賞』(rectangle relief) – colophon, paper join 2, top – (6/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – colophon, paper join 2, bottom – (5/5)
Neifu shuhua zhi bao『內府書畫之寶』(square intaglio) – colophon, paper join 3, middle –
(2/2)
8. Yongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, lower middle
9. Pang Yuanji 龐元濟 (1865–1949) – (1)
Xuzhai shending mingji『虛齋審定名蹟』(square relief) – mounting silk 3, bottom
10. Unidentified – (12) including 6 half-seals
[_ _ ] (square relief; right half) – painting, left edge, middle
Shoulong siyin『壽隆私印』 26 (square intaglio) – painting, left edge, middle
Dongxing tushu『董姓圖書』(rectangle relief) – painting, left edge, middle
[_ _ _ _] (rectangle intaglio; left half) – colophon paper 1, right edge, upper middle
[_ _ _ _] (rectangle relief; left half) – colophon paper 1, right edge, top
[_ _ _ _] (rectangle relief?; left half) – colophon paper 1, right edge, bottom
[_ _ _ _] (rectangle intaglio) – colophon, paper join 1, top
Qianshi jiacang『騫氏家藏』(square relief) – colophon paper 2, left middle
Zhongmin zhi yi『忠敏之裔』 27 (square intaglio) – colophon paper 2, left edge, middle
Shucheng tushu『叔成圖書』(square relief) – colophon paper 2, left edge, middle
Zizi sunsun『子子孫孫』(square intaglio) – colophon paper 2, left edge, middle
Fu ji zi sun『父己子孫』(square relief) – colophon paper 2, left edge, middle
1. Ming imperial inventory half-seal (ca. 1373–85)20 – (1)
[_ _ ] siyin『..司印』(square relief; left half) – painting, bottom right, horizontally affixed
2. Xiang Yuanbian 項元汴 (1525–1590) – (37) – including 8 half-seals21
Tianlaige『天藾閣』(rectangle relief) – frontispiece, upper right22
Gongbao shijia『宮保世家』(square intaglio) – frontispiece, lower right
Xiang shi Zijing『項氏子京』(square intaglio) – frontispiece, lower left – (1/2)
Zisun shichang『子孫世昌』(square intaglio) – frontispiece, lower left
Tuimi『退密』(gourd relief; left half) – painting, right edge, top
[Shen you] xinshang『[神游]心賞』(square relief; left half) – painting, right edge, middle
[Zisun] yongbao『[子孫]永寶』(square intaglio; left half) – painting, right edge, bottom
Shenpin『神品』(rectangle relief) – painting, top right – (1/2)
Xiang Yuanbian yin『項元汴印』(square relief) – painting, bottom right
Molin miwan『墨林祕玩』(square relief) – painting, bottom right
Shenpin『神品』(rectangle relief) – painting, top left – (2/2)
Molin shanren『墨林山人』(square intaglio) – painting, top left
Xiang Zijing jia zhencang『項子京家珍藏』(rectangle relief) – painting, top left
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – painting, mid left
Xulangzhai『虛朗齋』(square relief) – painting, bottom left
You he bu ke『有何不可』(square intaglio) – painting, bottom left
Zijing [fu yin] 『子京[父印]』(square relief; right half) – painting, left edge, bottom
Jingyin [an] 『净因[菴]』(square intaglio; right half) – painting, left edge, bottom
[Pingsheng] zhenshang『[平生]珍賞』(square relief; left half) – colophon, right edge, bottom
Xiang shi Zijing『項氏子京』(square intaglio) – colophon, right bottom – (2/2)
Qulu『蘧廬』(square intaglio) – colophon, right middle
Yinju fangyan『隱居放言』(rectangle intaglio) – colophon, column 4, bottom
Taohuayuan li renjia『桃花源裏人家』(rectangle relief) – colophon, column 4–5, bottom
Molintang『墨林堂』(square intaglio) – colophon, column 15, bottom
Xiangyan jushi『香巖居士』(rectangle intaglio) – colophon, column 17, bottom
Zijing zhenmi『子京珍祕』(rectangle relief) – colophon, column 17, bottom
Shiwai fabao『世外法寶』(rectangle intaglio) – colophon, left of main text
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – colophon, left of main text
Molin Xiang jizi zhang『墨林項季子章』(horizontal intaglio) – colophon, left of main text
Zuili Xiang shi shijia baowan『檇李項氏士家寶玩』(rectangle relief) – colophon, lower left
Xiang Yuanbian yin『項元汴印』(square intaglio) – colophon, lower left
Yuanyang huzhang『鴛鴦湖長』(rectangle intaglio) – colophon, lower left
Lingyan jingshe『棱巖精舍』(rectangle intaglio) – colophon, lower left
Xiang Molin jianshang fashu minghua『項墨林鑑賞法書名畫』(rectangle intaglio)
– colophon, lower left
Xiang Yuanbian shi shending zhenji『項元汴氏審定真跡』(rectangle intaglio)
– colophon, left edge, bottom
Ji’ao『寄敖』(gourd relief; right half) – colophon, 2nd paper join, top
Tianchou [gengnou]『田疇[耕耨] 』(square intaglio; right half) – colophon, 2nd
paper join, bottom
3. Zhang Liu 張鏐 (active mid-17th century)23 – (2)
Zhang Liu『張鏐』(square intaglio) – painting, lower left
Hanshang Zhang Liu Huangmei baiguan『邗上張鏐黃美拜觀』(rectangle relief)
– colophon, lower left
4. Liang Qingbiao 梁清標 (1620–1691) – (4)
[Tang]cun『[棠]邨』 (double-square relief; left half) – painting, right edge, middle24
Jiaolin Liangshi shuhua zhi yin『蕉林梁氏書畫之印』(square relief) – painting, lower left
[Cang]yanzi『[蒼]巖子』(circle relief; left half) – colophon, right edge, middle
Jiaolin miwan『蕉林秘玩』(square relief) – colophon, left of inscription, bottom
5. Liang Yong 梁雝 (unidentified) – (1)
Liang Yong『梁雝』(square relief) – colophon, lower left
6. An Qi 安岐 (1683–after 1742) – (6)25
Yizhou zhencang『儀周珍藏』(rectangle relief) – painting, top right
An Qi zhi yin『安岐之印』(square intaglio) – mounting silk 3, middle
Chaoxian ren『朝鮮人』(rectangle intaglio) –mounting silk 3, middle
An shi Yizhou shuhua zhi zhang『安氏儀周書畫之章』(rectangle intaglio) – colophon,
lower left
Xinshang『心賞』(gourd relief) – colophon, paper join 3, top
An Yizhou jiazhencang『安儀周家珍藏』(rectangle relief) – colophon, paper join 3, bottom
7. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (26)
Yu shang『御賞』(rectangle relief) – mounting silk 1/frontispiece join, top – (2/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 1/frontispiece join,
bottom – (1/5)
Yu shang『御賞』(rectangle relief) – frontispiece/mounting silk 2 join, top – (3/6)
Neifu shuhua zhi bao『內府書畫之寶』(square intaglio) – frontispiece/mounting silk 2 join,
bottom – (1/2)
Shiqu baoji『石渠寶笈』(square relief) – mounting silk 2/painting join, top
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 2/painting join, middle –
(2/5)
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – mounting silk 2/painting join, middle
Leshoutang jiancang bao『樂壽堂鑑藏寶』(rectangle intaglio) – mounting silk 2/painting join,
bottom
Shiqu dingjian『石渠定鑑』(circle relief) – painting, middle, below inscription
Baoji chongbian『寶笈重編』(square intaglio) – painting, middle, below inscription
Gu xi tianzi『古希天子』(circle relief) – painting, top center
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, right of tree
Shou『壽』(rectangle intaglio) – painting, right of tree
Ningshougong xu ru shiqu baoji『寧壽宫續入石渠寶笈』(square relief) – painting, right of tree
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, left of tree
Yi zisun『宜子孫』(square intaglio) – painting, left of tree
Yu shang『御賞』(rectangle relief) – painting/mounting silk 3 join, top – (4/6)
Wufuwudaitang gu xi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk 3,
middle, top
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – mounting silk 3, middle
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – mounting silk 3/colophon join, middle –
(3/5)
Yu shang『御賞』(rectangle relief) – colophon, paper join 1, top – (5/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – colophon, paper join 1, bottom – (4/5)
Taishang huangdi zhi bao『太上皇帝之寶』(square relief) – colophon paper 2, middle, top
Yu shang『御賞』(rectangle relief) – colophon, paper join 2, top – (6/6)
Jigu youwen zhi xi『稽古右文之璽』(square intaglio) – colophon, paper join 2, bottom – (5/5)
Neifu shuhua zhi bao『內府書畫之寶』(square intaglio) – colophon, paper join 3, middle –
(2/2)
8. Yongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, lower middle
9. Pang Yuanji 龐元濟 (1865–1949) – (1)
Xuzhai shending mingji『虛齋審定名蹟』(square relief) – mounting silk 3, bottom
10. Unidentified – (12) including 6 half-seals
[_ _ ] (square relief; right half) – painting, left edge, middle
Shoulong siyin『壽隆私印』 26 (square intaglio) – painting, left edge, middle
Dongxing tushu『董姓圖書』(rectangle relief) – painting, left edge, middle
[_ _ _ _] (rectangle intaglio; left half) – colophon paper 1, right edge, upper middle
[_ _ _ _] (rectangle relief; left half) – colophon paper 1, right edge, top
[_ _ _ _] (rectangle relief?; left half) – colophon paper 1, right edge, bottom
[_ _ _ _] (rectangle intaglio) – colophon, paper join 1, top
Qianshi jiacang『騫氏家藏』(square relief) – colophon paper 2, left middle
Zhongmin zhi yi『忠敏之裔』 27 (square intaglio) – colophon paper 2, left edge, middle
Shucheng tushu『叔成圖書』(square relief) – colophon paper 2, left edge, middle
Zizi sunsun『子子孫孫』(square intaglio) – colophon paper 2, left edge, middle
Fu ji zi sun『父己子孫』(square relief) – colophon paper 2, left edge, middle
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1968.18
References
Yu Fengqing 郁逢慶 (active early 17th century). Yushi shuhua tiba ji 郁氏書畫題跋記.
Postscript 1634. Shanghai: Shenzhou guoguangshe, 1911. 4:21a–b.
Wang Keyu 汪砢玉 (1587–after 1643). Shanhuwang hualu 珊瑚網畫錄. Preface 1643. In Zhang
Junheng 張鈞衡 (1872–1927), comp. Shiyuan congshu 適園叢書. Collection eight. Wucheng 烏程
: Privately printed, 1916. 2:16b–17a.
Bian Yongyu 卞永譽 (1645–1712), comp. Shigutang shuhua huikao 式古堂書畫彙考 (1680–
82). Wuxing 吳興: Jian’gu shushe 鑑古書社, 1921. Hua 畫,12:29b–30a.
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Hanwenzhai 翰文齋, 1914. Vol. 4. Juan, Bei Song 卷, 北宋, 1:7a–8a.
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New York: Duffield & Co, 1923. P. 365 (no. 61).
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Zhongguo minghua 中國名畫. Shanghai: Youzheng shuju, 1927. Vol. 20, plate 1 (painting).
Freer Gallery of Art. Eugene and Agnes E. Meyer Memorial Exhibition. Washington, DC: Freer
Gallery of Art, Smithsonian Institution, 1971. Pp. 72–73.
Nakata Yūjirō 中田勇次郎 (1905–1998), and Fu Shen 傅申. Ōbei shūzō: Chūgoku hōsho
meiseki shū 歐米收藏：中國法書名蹟集 (Masterpieces of Chinese Calligraphy in American
and European Collections). 4 vols. Tokyo: Chūōkoron-sha, 1981. Vol. 1, 108 and 145–46 (no.
88).
Schlombs, Adele. Huai-su and the Beginnings of Wild-cursive Script in Chinese Calligraphy.
Munchener Ostasiatische Studien, Band 75. Stuttgart: Franz Steiner Verlag, 1998. Pp. 102–03,
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中國繪畫總合圖錄：續編 (Comprehensive Illustrated Catalogue of Chinese Paintings:
Second Series). 4 vols. Tokyo: University of Tokyo, 1998–2001. Vol. 1, 126–27 (A21–358).
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Wang Keyu 汪砢玉 (1587–after 1643). Shanhuwang hualu 珊瑚網畫錄. Preface 1643. In Zhang
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An Qi 安岐 (1683–after 1744). Moyuan huiguan 墨緣彙觀. Preface 1742. 6 vols. Beijing:
Hanwenzhai 翰文齋, 1914. Vol. 4. Juan, Bei Song 卷, 北宋, 1:7a–8a.
Wang Jie 王杰 (1725–1805) et al., comps. Shiqu baoji xubian 石渠寶笈續編 (1793). Published
jointly with Midian zhulin xubian 秘殿珠林續編 (1793). Facsimile reprint of 1948 ms. copy. 8
vols. Taibei: National Palace Museum, 1971. Vol. 5, 2695–97.
Pang Yuanji 龐元濟 (1864–1949), comp. Xuzhai minghua lu 虛齋名畫錄. Shanghai: Privately
published, 1909. Separate pagination, 1:1a–4b.
Waley, Arthur (1889–1966). An Introduction to the Study of Chinese Painting. New York:
Charles Scribner’s Sons, 1923. Pp. 199–200.
Meyer, Agnes E. (1887–1970). Chinese Painting as Reflected in the Thought and Art of Li Lungmien.
New York: Duffield & Co, 1923. P. 365 (no. 61).
Ferguson, John C. (1866–1945). Chinese Painting. Chicago: University of Chicago Press, 1927.
Pp. 112–13.
Zhongguo minghua 中國名畫. Shanghai: Youzheng shuju, 1927. Vol. 20, plate 1 (painting).
Freer Gallery of Art. Eugene and Agnes E. Meyer Memorial Exhibition. Washington, DC: Freer
Gallery of Art, Smithsonian Institution, 1971. Pp. 72–73.
Nakata Yūjirō 中田勇次郎 (1905–1998), and Fu Shen 傅申. Ōbei shūzō: Chūgoku hōsho
meiseki shū 歐米收藏：中國法書名蹟集 (Masterpieces of Chinese Calligraphy in American
and European Collections). 4 vols. Tokyo: Chūōkoron-sha, 1981. Vol. 1, 108 and 145–46 (no.
88).
Schlombs, Adele. Huai-su and the Beginnings of Wild-cursive Script in Chinese Calligraphy.
Munchener Ostasiatische Studien, Band 75. Stuttgart: Franz Steiner Verlag, 1998. Pp. 102–03,
note 36, and 232 (plate 33).
Toda Teisuke 戶田禎佑 and Ogawa Hiromitsu 小川裕充, eds. Chūgoku kaiga sōgō zuroku: zokuhen
中國繪畫總合圖錄：續編 (Comprehensive Illustrated Catalogue of Chinese Paintings:
Second Series). 4 vols. Tokyo: University of Tokyo, 1998–2001. Vol. 1, 126–27 (A21–358).
abstract
Traditionally attributed to Li Gonglin (傳)李公麟