Retinue of the Minister of Water 下元水官圖
Item
Title
Retinue of the Minister of Water 下元水官圖
Description
(none)
Source
https://asia.si.edu/object/F1917.185
Creator
He Cheng (attributed to) (傳) 何澄
annotates
Wrapper: Xu Xiaomeng 徐小夢 (19th century?; unidentified)
Blue-black side-opening wrapper with inscribed yellow silk label tag;
white jade fastening pin with incised design.
Label tag: 2 columns, standard script
宋何大夫《下元水官圖》。寒翠山房珍藏。
The Minister of Water of the Last Prime, by Grand Master He [Cheng] of the Song dynasty.1
Treasured in the collection of Hancui shanfang [unidentified].
Seal: (1)
Cengcang Daliang Xu Xiaomeng jia 『曾藏大梁徐小夢家』(rectangle
relief)
Outside label slip: blank
Frontispiece: Wang Shu'an 王叔安 (active early 1440s–early 1460s)2
Ink on single sheet of tan paper with light gold flakes.
Inscription with signature and three (3) seals. Four (4) collector seals, all same collector.
Dimensions: 32.5 x 87.5 cm (12-3/4 x 34-1/2 in)
Four horizontal characters, seal script; plus six vertical characters, standard script
《下元水官 》。翰林王叔安書。
The Minister of Water of the Last Prime. Inscribed by Wang Shu‘an of the Hanlin [Academy]
Signature: 王叔安
Wang Shu‘an
Date: none
Seals: (3)
Yishi zhongshu『奕世中書』(rectangle intaglio) – upper right
Yuzhang Wang Shu'an『豫章王叔安』(square intaglio) – below signature
Yutang huihan『玉堂揮翰』(square intaglio) – below signature
Colophons: (7) Colophons 1–5, written while all three paintings were intact.
Colophons 6–7, written for the current painting alone.
Four joined sections of tan paper, different widths. Twelve (12) collector seals, eleven
same collector. First section directly abuts painting at right.
Overall Dimensions: 50.2 x 354.3 cm (19-3/4 x 140 in).
Section 1: W 66.8 cm. Three (3) collectors seals along right edge. Three (3) collector
seals on join with next.
Section 2: W 101.3 cm. One (1) collector on join with next.
Section 3: W 101.5 cm. Two (2) collector seals on join with next.
Section 4:
W 84.7 cm. Three (3) collector seals along left edge.
1. Zhang Zhongshou 張仲壽 (1252–1324)4
Ink on paper: Section 1.
8 columns, running-standard script. Three (3) seals. 三官大帝，道家者流以為唐、葛、
周三真君是也。太中大夫何兯之筆，今年八十七歲矣。行不杖，坐不僂，而食啖
如五六十許人，蓋平日所養有大過於人者。不若是，何以能精力不衰運筆揮畫，
雖少年輩誠有所不逮也。百世之下，展而觀之，當無忝於唐名手也。至大三祀秋
八月下澣日，錢唐疇齋張仲壽題。
In Daoist tradition, the Great Divinities [known as] the Three Ministers are the Three Perfected
Rulers, Tang, Ge, and Zhou. They were painted by Grandmaster of the Palace, Lord He [Cheng],
who is now in his eighty-seventh year. That he walks without a cane, sits without hunching, and
eats like a man in his fifties or sixties is likely because he takes much better care of himself on a
daily basis than other men. If it were not so, how could he wield his brush and create paintings
with such undiminished vigor that even those in their youth truly have no way to keep up! For a
hundred generations to come, [when people] unroll and view [this painting], he shall suffer no
shame before the famous masters of the Tang. Inscribed by Chouzhai Zhang Zhongshou from
Qiantang on a day in the last decade of the eighth lunar month, during autumn of the third year in
the Zhida reign period [September 14–23, 1310].
Signature: 疇齋張仲壽
Chouzhai, Zhang Zhongshou
Date: 至大三祀秋八月下澣日
On a day in the last decade of the eighth month, autumn of the third year
in the Zhida reign period [September 14–23, 1310]
Seals: (3)
Zhongshou『仲壽』(square intaglio)
Chouzhai wenhan『疇齋文翰』(square relief)
Qingruo lüsuo『青箬綠蓑』(square relief)
2. Li Yong 李用 (unidentified, active mid–15th century)
Ink on paper. Sections 1–2.
9 columns, running-standard script. Three (3) seals.
予家藏何大夫所畫三官有年矣，但不知其何許人，亦不詳其名字。按張仲壽至大三禩謂其
『今年八十七』矣。至大三禩，元武宗號也，其歲庚戌。上稽趙宋寧宗嘉定十七年甲申，
大夫所生，實宋人也，年三十七而至元。不審仕宋否，及考《圖繪寶鑒》『何大夫工畫人
馬，虞伯生詩云，「國朝畫手何大夫，親臨伯時閱馬圖」』，其仕元也，審矣。若畫工拙
，前說盡之。抑考至大三禩庚戌至我朝正統十四年己巳，百四十年矣。書此以俟後之覽者
有所考焉。三月朔旦，海陵李用時行記于齊郡清所之東窗。
Grandmaster He [Cheng‘s] painting of the Three Ministers has been in my family collection for
years, only I do not know where he was from and am equally uncertain as to his given and
courtesy names. According to [the previous colophon by] Zhang Zhongshou, in the third year of
the Zhida reign period [1310] he was said to be in his eighty-seventh year. The third year in
Zhida was a gengxu year during the reign of Emperor Wu of the Yuan dynasty [reigned 1308–
11]. Reckoning back [from this date], the Grandmaster was born in jiashen during the reign of
Emperor Ning of the Song dynasty [reigned 1195–1224] in the seventeenth year of the Jiading
reign period [1224], so he was actually a man of the Song dynasty and was [already] in his thirtyseventh year at the beginning of the Yuan [1260]. While I have been unable to determine if he
served [in government] under the Song or not, in the Precious Mirror of Paintings we find that,
―Grand Master He was skillful at painting men and horses; as the poem by Yu Bosheng [Yu Ji,
1271–1348] says: ‗Grandmaster He was a master painter at our [Yuan] imperial court / And
personally copied the painting Pasturing Horses by [Li] Boshi‘,‖ so it is indeed certain that he
served [in government] during the Yuan.5
As to whether he painted in a meticulous or rough
manner, the previous statement covers it all. If we count from gengxu, the third year of Zhida
[1310], to jisi, the fourteenth year in the Zhengtong reign period of our [Ming] dynasty [1449],
then this is the one hundred and fortieth year [since the painting was created]. I write this in the
hope that future viewers will uncover more about [the artist]. On the first day of the third lunar
month [March 24], recorded by Li Yong, [courtesy name] Shixing, from Hailing, at the east
window of my Qingsuo [studio] in Qijun [Shandong Province].
Signature: 李用時行
Li Yong, Shixing
Date: 正統十四年己巳…三月朔旦
First day of the third lunar month…in jisi, the fourteenth year of the
Zhengtong reign period [March 24, 1449]
Seals: (3)
Danchu『淡處』(square intaglio)
Li Yong Shixing『李用時行』(square intaglio)
Jumotang ji『聚墨堂記』(square intaglio)
3. Li Yong (second colophon)
Ink on paper. Section 2.
6 columns, running-standard script. One (1) seal.
古人論畫人物 :『如燈取影，逆來順往，旁見側出。橫斜平直，各相乘除，有自然之數』
。何大夫所畫人物，隱顯向背，行立偃仰，縱橫錯落，各有條理。古人論畫之意，大夫得
之，張仲壽謂其畫『無忝於唐』，信夫。
In discussing the painting of human figures, someone long ago [wrote]: ―Like using a lantern to
capture shadows, so that whether [the figure] is coming or going, or seen in profile from the side,
one adjusts the proportions of the horizontal, diagonal, level, and straight, each to the other, until
they achieve a natural whole.‖6 Whether hidden or revealed, facing front or facing back, moving
or stationary, lying down or looking up, whether vertical or horizontal or every which way, the
figures painted by Grandmaster He are each presented in a precise and orderly fashion. [Thus]
the Grandmaster attained the idea expressed by that person long ago in his discussion of painting,
and I truly believe Zhang Zhongshou‘s assertion that his painting would ―suffer no shame
before [the famous masters of] the Tang.‖
Signature: none
Date: none
Seal: (1)
Shixing zhi yin『時行之印』(square intaglio)
4. Li Yong (third colophon)
Ink on paper. Section 2.
7 columns, running-standard script. One (1) seal.
書盛晉，畫盛唐，至宋而書畫俱焉。故士大夫工畫者，必工乎書，其畫法即書法也。今觀
何大夫所畫三官，凡若干人，巨細精粗，各臻其妙，然其筆意皆書法也，謂非工書，吾不
信焉。景泰改元中秋後一日，書于金臺寓舍，以記歲月云，時行。
Calligraphy flourished in the Jin dynasty [260–420] and painting flourished in the Tang [618–
907], but it was during the Song dynasty [960–1279] that calligraphy and painting [flourished]
together as one. Thus, a gentleman [of the time] who was proficient in painting must have been
proficient in calligraphy, for his approach to painting was exactly [the same as] his approach to
calligraphy. Looking now at the Three Ministers painted by Grandmaster He, each of the sundry
figures—whether large or small, refined or coarse—is absolutely marvelous in its own way,
while the brushwork throughout [the painting] is entirely calligraphic. So if anyone says that
[Grandmaster He] was not proficient in calligraphy, I do not believe it. On the day after
midautumn in first year of the Jingtai reign period [September 16, 1450], written at the Jintai
Hostel so as to record the month and year. Shixing.
Signature: 時行
Shixing
Date: 景泰改元中秋後一日
On the day after mid-autumn in first year of the Jingtai reign period
[September 16, 1450]
Seal: (1)
Qingsuo『清所』(square intaglio)
5. Li X 李口 (unidentified)
Ink on paper. Section 2.
6 columns, cursive script. No seals.
事貴乎精而已矣。觀此三卷，邁晉胯唐，非元之老筆，莫思得此。覽者以為道玩，不可如
羲之《黃庭經》、《聖教序》，但貴乎精書也耶。珍重珍重。淮南李口。
In everything, one should simply value skill and that is all. Regarding these three scrolls, they
surpass the Jin and outdo the Tang, and no one but a mature artist of the Yuan could even think
of achieving this [level of excellence]. Should some viewer take them as Daoist diversions that
cannot compare with [Wang] Xizhi‘s [calligraphy of religious texts such as the] Scripture of the
Yellow Court or his Preface to the Sacred Teachings, then is it because he places more value on
fine calligraphy [than on excellent painting]?7 Treasure them greatly, treasure them greatly. Li X
from Huainan.
Signature: 李口
Li X
Date: none
Seals: none
6. Wu Jin 吳覲 (active early 19th century)
Ink on paper. Sections 2–3.
19 columns, standard and running-standard script. Three (3) seals.
Poem (31x7 + 2x5)
不在天兮不在地，濕雲濛濛含水氣， 閃屍魍像競前驅，旌蓋輝煌矛戟利。 水府之寶那可
名，鯉魚掉尾遊晶缾， 靈犀獨角服銜勒，鞭之不異雞豬行。 龍王駝背手持笏，或後或先
當道謁， 蜿蜒龍子駕飛輦，輦上尊官解災厄。 解厄無如拯旱災，可憐中澤鴻鳴哀， 試看
最後駭雷電，震迅宜攜風雨來。 去年女魃煽炎虐，江北江南苦焦灼， 深宮闃寂抱珠眠，
四海如何慳一勺。 顧陸世遠誰追摹，人間那得有此圖， 細繙卷末舊題識，有宋遺老何大
夫。
大夫畫有三，夫子得其一，
曹帶吳衣好筆力， 不必天官與地官，鼎分亦自成完蹟。
尋常短軸總隨身，古色古香信可珍， 須知到處作霖雨，先福此間汝潁人。
嘉慶二十年歲在乙亥，題於順昌郡齋。即呈誨政，受業吳覲。
[Poem translation forthcoming] Twentieth year of the Jiaqing reign period, with the year-star in
yihai [1815], written at the Shunchang Junzhai [unidentified]. Submitted for correction and
instruction, your pupil Wu Jin.
Signature: 吳覲
Wu Jin
Date: 嘉慶二十年歲在乙亥
Twentieth year of the Jiaqing reign period, with the year-star in yihai
[1815]
Seals: (3)
Donggao caotang『東皋草堂』(rectangle intaglio)
Chen Jin tuzhang『臣覲圖章』(square intaglio)
Wuguo nanzi『吳國男子』(square relief)
7. Peng Wensun 彭汶孫 (late 19th–early 20th century)
Ink on paper. Sections 3–4
10 columns, standard script. Two (2) seals.
昨自舜江歸，暑氣逼人，清晨起得展觀此圖。古雅雄渾，其一種清涼，為「天下蒼生作霖
雨」之氣概，宛然在心目間。爰筆志數字，聊記一時眼福。光緒龍集乙巳桼月五日，長洲
彭汶孫書于吳山。
Yesterday I returned home from Shun River [in Zhejiang Province] and the summer heat was
oppressive, so I got up this morning at daybreak to unroll and view this picture. Antique and
elegant, bold and vigorous, [the painting exudes] such a clear, cool air that, to my mind‘s eye, it
seemed to ―make copious rains for the all the people under heaven.‖8 Therefore I have jotted
down a few words to record my good fortune [in having a chance] to look at it awhile. With the
dragon [year-star] perched in the yisi year of the Guangxu reign period, on the fifth day of the
seventh lunar month [August 5, 1905], written at Wushan by Peng Wensun from Changzhou.
Signature: 彭汶孫
Peng Wensun
Date: 光緒龍集乙巳桼月五日
with the dragon [year-star] perched in the yisi year of the Guangxu reign
period, on the fifth day of the seventh lunar month [August 5, 1905]
Seals: (2)
Tianya guoke wei wudazhou you xinxingzhe zhi yi『天涯過客為五大州
有心性者之一』(square relief)
Changzhou Peng Wensun zi Juzhai shi guwen ci shuhua zhi yin『長州彭
汶孫字遽齋詩古文詞書畫之印』(square intaglio)
Blue-black side-opening wrapper with inscribed yellow silk label tag;
white jade fastening pin with incised design.
Label tag: 2 columns, standard script
宋何大夫《下元水官圖》。寒翠山房珍藏。
The Minister of Water of the Last Prime, by Grand Master He [Cheng] of the Song dynasty.1
Treasured in the collection of Hancui shanfang [unidentified].
Seal: (1)
Cengcang Daliang Xu Xiaomeng jia 『曾藏大梁徐小夢家』(rectangle
relief)
Outside label slip: blank
Frontispiece: Wang Shu'an 王叔安 (active early 1440s–early 1460s)2
Ink on single sheet of tan paper with light gold flakes.
Inscription with signature and three (3) seals. Four (4) collector seals, all same collector.
Dimensions: 32.5 x 87.5 cm (12-3/4 x 34-1/2 in)
Four horizontal characters, seal script; plus six vertical characters, standard script
《下元水官 》。翰林王叔安書。
The Minister of Water of the Last Prime. Inscribed by Wang Shu‘an of the Hanlin [Academy]
Signature: 王叔安
Wang Shu‘an
Date: none
Seals: (3)
Yishi zhongshu『奕世中書』(rectangle intaglio) – upper right
Yuzhang Wang Shu'an『豫章王叔安』(square intaglio) – below signature
Yutang huihan『玉堂揮翰』(square intaglio) – below signature
Colophons: (7) Colophons 1–5, written while all three paintings were intact.
Colophons 6–7, written for the current painting alone.
Four joined sections of tan paper, different widths. Twelve (12) collector seals, eleven
same collector. First section directly abuts painting at right.
Overall Dimensions: 50.2 x 354.3 cm (19-3/4 x 140 in).
Section 1: W 66.8 cm. Three (3) collectors seals along right edge. Three (3) collector
seals on join with next.
Section 2: W 101.3 cm. One (1) collector on join with next.
Section 3: W 101.5 cm. Two (2) collector seals on join with next.
Section 4:
W 84.7 cm. Three (3) collector seals along left edge.
1. Zhang Zhongshou 張仲壽 (1252–1324)4
Ink on paper: Section 1.
8 columns, running-standard script. Three (3) seals. 三官大帝，道家者流以為唐、葛、
周三真君是也。太中大夫何兯之筆，今年八十七歲矣。行不杖，坐不僂，而食啖
如五六十許人，蓋平日所養有大過於人者。不若是，何以能精力不衰運筆揮畫，
雖少年輩誠有所不逮也。百世之下，展而觀之，當無忝於唐名手也。至大三祀秋
八月下澣日，錢唐疇齋張仲壽題。
In Daoist tradition, the Great Divinities [known as] the Three Ministers are the Three Perfected
Rulers, Tang, Ge, and Zhou. They were painted by Grandmaster of the Palace, Lord He [Cheng],
who is now in his eighty-seventh year. That he walks without a cane, sits without hunching, and
eats like a man in his fifties or sixties is likely because he takes much better care of himself on a
daily basis than other men. If it were not so, how could he wield his brush and create paintings
with such undiminished vigor that even those in their youth truly have no way to keep up! For a
hundred generations to come, [when people] unroll and view [this painting], he shall suffer no
shame before the famous masters of the Tang. Inscribed by Chouzhai Zhang Zhongshou from
Qiantang on a day in the last decade of the eighth lunar month, during autumn of the third year in
the Zhida reign period [September 14–23, 1310].
Signature: 疇齋張仲壽
Chouzhai, Zhang Zhongshou
Date: 至大三祀秋八月下澣日
On a day in the last decade of the eighth month, autumn of the third year
in the Zhida reign period [September 14–23, 1310]
Seals: (3)
Zhongshou『仲壽』(square intaglio)
Chouzhai wenhan『疇齋文翰』(square relief)
Qingruo lüsuo『青箬綠蓑』(square relief)
2. Li Yong 李用 (unidentified, active mid–15th century)
Ink on paper. Sections 1–2.
9 columns, running-standard script. Three (3) seals.
予家藏何大夫所畫三官有年矣，但不知其何許人，亦不詳其名字。按張仲壽至大三禩謂其
『今年八十七』矣。至大三禩，元武宗號也，其歲庚戌。上稽趙宋寧宗嘉定十七年甲申，
大夫所生，實宋人也，年三十七而至元。不審仕宋否，及考《圖繪寶鑒》『何大夫工畫人
馬，虞伯生詩云，「國朝畫手何大夫，親臨伯時閱馬圖」』，其仕元也，審矣。若畫工拙
，前說盡之。抑考至大三禩庚戌至我朝正統十四年己巳，百四十年矣。書此以俟後之覽者
有所考焉。三月朔旦，海陵李用時行記于齊郡清所之東窗。
Grandmaster He [Cheng‘s] painting of the Three Ministers has been in my family collection for
years, only I do not know where he was from and am equally uncertain as to his given and
courtesy names. According to [the previous colophon by] Zhang Zhongshou, in the third year of
the Zhida reign period [1310] he was said to be in his eighty-seventh year. The third year in
Zhida was a gengxu year during the reign of Emperor Wu of the Yuan dynasty [reigned 1308–
11]. Reckoning back [from this date], the Grandmaster was born in jiashen during the reign of
Emperor Ning of the Song dynasty [reigned 1195–1224] in the seventeenth year of the Jiading
reign period [1224], so he was actually a man of the Song dynasty and was [already] in his thirtyseventh year at the beginning of the Yuan [1260]. While I have been unable to determine if he
served [in government] under the Song or not, in the Precious Mirror of Paintings we find that,
―Grand Master He was skillful at painting men and horses; as the poem by Yu Bosheng [Yu Ji,
1271–1348] says: ‗Grandmaster He was a master painter at our [Yuan] imperial court / And
personally copied the painting Pasturing Horses by [Li] Boshi‘,‖ so it is indeed certain that he
served [in government] during the Yuan.5
As to whether he painted in a meticulous or rough
manner, the previous statement covers it all. If we count from gengxu, the third year of Zhida
[1310], to jisi, the fourteenth year in the Zhengtong reign period of our [Ming] dynasty [1449],
then this is the one hundred and fortieth year [since the painting was created]. I write this in the
hope that future viewers will uncover more about [the artist]. On the first day of the third lunar
month [March 24], recorded by Li Yong, [courtesy name] Shixing, from Hailing, at the east
window of my Qingsuo [studio] in Qijun [Shandong Province].
Signature: 李用時行
Li Yong, Shixing
Date: 正統十四年己巳…三月朔旦
First day of the third lunar month…in jisi, the fourteenth year of the
Zhengtong reign period [March 24, 1449]
Seals: (3)
Danchu『淡處』(square intaglio)
Li Yong Shixing『李用時行』(square intaglio)
Jumotang ji『聚墨堂記』(square intaglio)
3. Li Yong (second colophon)
Ink on paper. Section 2.
6 columns, running-standard script. One (1) seal.
古人論畫人物 :『如燈取影，逆來順往，旁見側出。橫斜平直，各相乘除，有自然之數』
。何大夫所畫人物，隱顯向背，行立偃仰，縱橫錯落，各有條理。古人論畫之意，大夫得
之，張仲壽謂其畫『無忝於唐』，信夫。
In discussing the painting of human figures, someone long ago [wrote]: ―Like using a lantern to
capture shadows, so that whether [the figure] is coming or going, or seen in profile from the side,
one adjusts the proportions of the horizontal, diagonal, level, and straight, each to the other, until
they achieve a natural whole.‖6 Whether hidden or revealed, facing front or facing back, moving
or stationary, lying down or looking up, whether vertical or horizontal or every which way, the
figures painted by Grandmaster He are each presented in a precise and orderly fashion. [Thus]
the Grandmaster attained the idea expressed by that person long ago in his discussion of painting,
and I truly believe Zhang Zhongshou‘s assertion that his painting would ―suffer no shame
before [the famous masters of] the Tang.‖
Signature: none
Date: none
Seal: (1)
Shixing zhi yin『時行之印』(square intaglio)
4. Li Yong (third colophon)
Ink on paper. Section 2.
7 columns, running-standard script. One (1) seal.
書盛晉，畫盛唐，至宋而書畫俱焉。故士大夫工畫者，必工乎書，其畫法即書法也。今觀
何大夫所畫三官，凡若干人，巨細精粗，各臻其妙，然其筆意皆書法也，謂非工書，吾不
信焉。景泰改元中秋後一日，書于金臺寓舍，以記歲月云，時行。
Calligraphy flourished in the Jin dynasty [260–420] and painting flourished in the Tang [618–
907], but it was during the Song dynasty [960–1279] that calligraphy and painting [flourished]
together as one. Thus, a gentleman [of the time] who was proficient in painting must have been
proficient in calligraphy, for his approach to painting was exactly [the same as] his approach to
calligraphy. Looking now at the Three Ministers painted by Grandmaster He, each of the sundry
figures—whether large or small, refined or coarse—is absolutely marvelous in its own way,
while the brushwork throughout [the painting] is entirely calligraphic. So if anyone says that
[Grandmaster He] was not proficient in calligraphy, I do not believe it. On the day after
midautumn in first year of the Jingtai reign period [September 16, 1450], written at the Jintai
Hostel so as to record the month and year. Shixing.
Signature: 時行
Shixing
Date: 景泰改元中秋後一日
On the day after mid-autumn in first year of the Jingtai reign period
[September 16, 1450]
Seal: (1)
Qingsuo『清所』(square intaglio)
5. Li X 李口 (unidentified)
Ink on paper. Section 2.
6 columns, cursive script. No seals.
事貴乎精而已矣。觀此三卷，邁晉胯唐，非元之老筆，莫思得此。覽者以為道玩，不可如
羲之《黃庭經》、《聖教序》，但貴乎精書也耶。珍重珍重。淮南李口。
In everything, one should simply value skill and that is all. Regarding these three scrolls, they
surpass the Jin and outdo the Tang, and no one but a mature artist of the Yuan could even think
of achieving this [level of excellence]. Should some viewer take them as Daoist diversions that
cannot compare with [Wang] Xizhi‘s [calligraphy of religious texts such as the] Scripture of the
Yellow Court or his Preface to the Sacred Teachings, then is it because he places more value on
fine calligraphy [than on excellent painting]?7 Treasure them greatly, treasure them greatly. Li X
from Huainan.
Signature: 李口
Li X
Date: none
Seals: none
6. Wu Jin 吳覲 (active early 19th century)
Ink on paper. Sections 2–3.
19 columns, standard and running-standard script. Three (3) seals.
Poem (31x7 + 2x5)
不在天兮不在地，濕雲濛濛含水氣， 閃屍魍像競前驅，旌蓋輝煌矛戟利。 水府之寶那可
名，鯉魚掉尾遊晶缾， 靈犀獨角服銜勒，鞭之不異雞豬行。 龍王駝背手持笏，或後或先
當道謁， 蜿蜒龍子駕飛輦，輦上尊官解災厄。 解厄無如拯旱災，可憐中澤鴻鳴哀， 試看
最後駭雷電，震迅宜攜風雨來。 去年女魃煽炎虐，江北江南苦焦灼， 深宮闃寂抱珠眠，
四海如何慳一勺。 顧陸世遠誰追摹，人間那得有此圖， 細繙卷末舊題識，有宋遺老何大
夫。
大夫畫有三，夫子得其一，
曹帶吳衣好筆力， 不必天官與地官，鼎分亦自成完蹟。
尋常短軸總隨身，古色古香信可珍， 須知到處作霖雨，先福此間汝潁人。
嘉慶二十年歲在乙亥，題於順昌郡齋。即呈誨政，受業吳覲。
[Poem translation forthcoming] Twentieth year of the Jiaqing reign period, with the year-star in
yihai [1815], written at the Shunchang Junzhai [unidentified]. Submitted for correction and
instruction, your pupil Wu Jin.
Signature: 吳覲
Wu Jin
Date: 嘉慶二十年歲在乙亥
Twentieth year of the Jiaqing reign period, with the year-star in yihai
[1815]
Seals: (3)
Donggao caotang『東皋草堂』(rectangle intaglio)
Chen Jin tuzhang『臣覲圖章』(square intaglio)
Wuguo nanzi『吳國男子』(square relief)
7. Peng Wensun 彭汶孫 (late 19th–early 20th century)
Ink on paper. Sections 3–4
10 columns, standard script. Two (2) seals.
昨自舜江歸，暑氣逼人，清晨起得展觀此圖。古雅雄渾，其一種清涼，為「天下蒼生作霖
雨」之氣概，宛然在心目間。爰筆志數字，聊記一時眼福。光緒龍集乙巳桼月五日，長洲
彭汶孫書于吳山。
Yesterday I returned home from Shun River [in Zhejiang Province] and the summer heat was
oppressive, so I got up this morning at daybreak to unroll and view this picture. Antique and
elegant, bold and vigorous, [the painting exudes] such a clear, cool air that, to my mind‘s eye, it
seemed to ―make copious rains for the all the people under heaven.‖8 Therefore I have jotted
down a few words to record my good fortune [in having a chance] to look at it awhile. With the
dragon [year-star] perched in the yisi year of the Guangxu reign period, on the fifth day of the
seventh lunar month [August 5, 1905], written at Wushan by Peng Wensun from Changzhou.
Signature: 彭汶孫
Peng Wensun
Date: 光緒龍集乙巳桼月五日
with the dragon [year-star] perched in the yisi year of the Guangxu reign
period, on the fifth day of the seventh lunar month [August 5, 1905]
Seals: (2)
Tianya guoke wei wudazhou you xinxingzhe zhi yi『天涯過客為五大州
有心性者之一』(square relief)
Changzhou Peng Wensun zi Juzhai shi guwen ci shuhua zhi yin『長州彭
汶孫字遽齋詩古文詞書畫之印』(square intaglio)
Abstract
23 Total
1. Li Yong 李用 (unidentified, active mid-15th century) – (22) – 8 different seals
Qingsuo『清所』(square intaglio) – frontispiece, bottom right – (1/5)
Danchu『淡處』(square intaglio) – frontispiece, lower left, top – (1/2)
Li Yong Shixing『李用時行』(square intaglio) – frontispiece, lower left, middle – (1/2)
Jumotang ji『聚墨堂記』(square intaglio) – frontispiece, lower left, bottom – (1/3)
Li shi jiacang『李氏家藏』(square intaglio) – painting, right paper strip/sheet 1, join, top –
(1/5)
Qingsuo『清所』(square intaglio) – painting, right paper strip/sheet 1, join, bottom – (2/5)
Li shi jiacang『李氏家藏』(square intaglio) – painting, sheet 3/left paper strip, join, bottom
– (2/5)
Danchu『淡處』(square intaglio) – painting, left paper strip, mid left – (2/2)
Li Yong Shixing『李用時行』(square intaglio) – painting, left paper strip, lower left – (2/2)
Qingsuo『清所』(square intaglio) – painting, left paper strip, bottom left – (3/5)
Wuling『吳陵』(square intaglio) – colophons, sheet 1, top right – (1/2)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 1, mid right – (3/5)
Shixing zhi yin『時行之印』(square intaglio) – colophons, sheet 1, bottom right – (1/2)
Wuling『吳陵』(square intaglio) – colophons, sheet 1/sheet 2, join, top – (2/2)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 1/sheet 2, join, middle –
(4/5)
Jumotang ji『聚墨堂記』(square intaglio) – colophons, sheet 1/sheet 2, join, bottom –
(2/3)
Qingsuo『清所』(square intaglio) – colophons, sheet 2/sheet 3, join, bottom – (4/5)
Hailing shijia『海陵世家』(square intaglio) – colophons, sheet 3/sheet 4, join, top
Jumotang ji『聚墨堂記』(square intaglio) – colophons, sheet 3/sheet 4, join, bottom –
(3/3)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 4, mid left – (5/5)
Shixing zhi yin『時行之印』(square intaglio) – colophons, sheet 4, lower left – (2/2)
Qingsuo『清所』(square intaglio) – colophons, sheet 4, bottom left – (5/5)
2. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Wanyan Jingxian qingjian『完顏景賢清鑒』(square relief) – painting, left paper strip,
lower left
1. Li Yong 李用 (unidentified, active mid-15th century) – (22) – 8 different seals
Qingsuo『清所』(square intaglio) – frontispiece, bottom right – (1/5)
Danchu『淡處』(square intaglio) – frontispiece, lower left, top – (1/2)
Li Yong Shixing『李用時行』(square intaglio) – frontispiece, lower left, middle – (1/2)
Jumotang ji『聚墨堂記』(square intaglio) – frontispiece, lower left, bottom – (1/3)
Li shi jiacang『李氏家藏』(square intaglio) – painting, right paper strip/sheet 1, join, top –
(1/5)
Qingsuo『清所』(square intaglio) – painting, right paper strip/sheet 1, join, bottom – (2/5)
Li shi jiacang『李氏家藏』(square intaglio) – painting, sheet 3/left paper strip, join, bottom
– (2/5)
Danchu『淡處』(square intaglio) – painting, left paper strip, mid left – (2/2)
Li Yong Shixing『李用時行』(square intaglio) – painting, left paper strip, lower left – (2/2)
Qingsuo『清所』(square intaglio) – painting, left paper strip, bottom left – (3/5)
Wuling『吳陵』(square intaglio) – colophons, sheet 1, top right – (1/2)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 1, mid right – (3/5)
Shixing zhi yin『時行之印』(square intaglio) – colophons, sheet 1, bottom right – (1/2)
Wuling『吳陵』(square intaglio) – colophons, sheet 1/sheet 2, join, top – (2/2)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 1/sheet 2, join, middle –
(4/5)
Jumotang ji『聚墨堂記』(square intaglio) – colophons, sheet 1/sheet 2, join, bottom –
(2/3)
Qingsuo『清所』(square intaglio) – colophons, sheet 2/sheet 3, join, bottom – (4/5)
Hailing shijia『海陵世家』(square intaglio) – colophons, sheet 3/sheet 4, join, top
Jumotang ji『聚墨堂記』(square intaglio) – colophons, sheet 3/sheet 4, join, bottom –
(3/3)
Li shi jiacang『李氏家藏』(square intaglio) – colophons, sheet 4, mid left – (5/5)
Shixing zhi yin『時行之印』(square intaglio) – colophons, sheet 4, lower left – (2/2)
Qingsuo『清所』(square intaglio) – colophons, sheet 4, bottom left – (5/5)
2. Wanyan Jingxian 完顏景賢 (died 1927) – (1)
Wanyan Jingxian qingjian『完顏景賢清鑒』(square relief) – painting, left paper strip,
lower left
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1917.185
References
Lawton, Thomas. Chinese Figure Painting. Washington, D.C.: David R. Godine in association
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 156–59.
Xu Bangda 徐邦達. ―Youguan He Cheng he Zhang Wo ji qi zuopin de jidian buchong‖ 有關何
澄和張渥及其作品的幾點補充. In Wenwu 文物 270 (1978.11): 53–55.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo,
1982–83. Vol. 1, 194–95 (A21–029).
Weidner, Marsha. Painting and Patronage at the Mongol Court of China, 1260–1368. Ph.D.
dissertation. University of California, Berkeley, 1982. Pp. 127–31 and 314–15 (plates 79–81).
__________. ―Ho Ch‘eng and Early Yuan Dynasty Painting in Northern China.‖ In Archives of
Asian Art 39 (1986): 6–22, esp. 8–9, 14–18.
Fraser, Sarah E. Performing the Visual: The Practice of Buddhist Wall Painting in China and
Central Asia 618–960. Stanford CA: Stanford University Press, 2004. Pp. 125 and 126 (fig.
3.11).
with Freer Gallery of Art, Smithsonian Institution, 1973. Pp. 156–59.
Xu Bangda 徐邦達. ―Youguan He Cheng he Zhang Wo ji qi zuopin de jidian buchong‖ 有關何
澄和張渥及其作品的幾點補充. In Wenwu 文物 270 (1978.11): 53–55.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo,
1982–83. Vol. 1, 194–95 (A21–029).
Weidner, Marsha. Painting and Patronage at the Mongol Court of China, 1260–1368. Ph.D.
dissertation. University of California, Berkeley, 1982. Pp. 127–31 and 314–15 (plates 79–81).
__________. ―Ho Ch‘eng and Early Yuan Dynasty Painting in Northern China.‖ In Archives of
Asian Art 39 (1986): 6–22, esp. 8–9, 14–18.
Fraser, Sarah E. Performing the Visual: The Practice of Buddhist Wall Painting in China and
Central Asia 618–960. Stanford CA: Stanford University Press, 2004. Pp. 125 and 126 (fig.
3.11).
abstract
Attributed to He Cheng 何澄