Bamboo in the Wind, after Su Shi 仿東坡〈風竹圖〉
Item
Title
Bamboo in the Wind, after Su Shi 仿東坡〈風竹圖〉
Description
Artist Inscription: Wu Zhen 吳鎮 (1280–1354)
left side of painting 3
columns, cursive script
東坡先生守湖州日，遊
何道兩山，遇風雨。迴
憩賈耘老溪上澄暉亭，
命官奴執燭，畫風竹一
枝於壁間。後好事者刻
於石，寘郡庠。予遊霅
上，因摩挲斷碑，不忍
捨去。常憶此本，每臨
池，輒為筆遊而成，仿
佛萬一。遂為作此枝以
識歲月也。梅道人時年
七十一，至正十年庚寅
歲夏五月十三日竹醉日
書也。
One day when Master Dongpo was governor of Huzhou, he went on a excursion to the He and
Dao mountains, where he encountered a storm.1 Turning back to rest at Jia Yunlao's Pavilion of
Limpid Radiance by the stream, he ordered one of his underlings to hold a candle while he
painted a branch of windblown bamboo on a section of the wall.2 Later an enthusiast had [the
image] engraved on stone and placed it in the county school. Once when I was traveling along
Zha [Creek], I [had occasion] to run my hands over the broken tablet, and could not bear to part
from it.3 I always keep that original [image] in mind, and whenever I approach the inkwell, I
forthwith paint a version of it, but [only manage] to capture one ten-thousandth [of its likeness].
So I have made this branch and record the date. Written by the Plum Daoist [Wu Zhen] in his
seventy-first year, on Bamboo Drunk Day, summer, thirteenth day in the fifth lunar-month of
gengyin, the tenth year in the Zhizheng reign period [June 17, 1350].4
Signature: 梅道人時年七十一
The Plum Daoist [Wu Zhen] in his seventy-first year
Date: 至正十年庚寅歲夏五月十三日竹醉日
on Bamboo Drunk Day, summer, thirteenth day in the fifth lunar-month of
gengyin, the tenth year in the Zhizheng reign period [June 17, 1350]
Seals: (2)
Meihua’an『梅花盦』(square relief)
Jiaxing Wu Zhen Zhonggui shuhua ji『嘉興吳鎮仲圭書畫記』(square intaglio)
left side of painting 3
columns, cursive script
東坡先生守湖州日，遊
何道兩山，遇風雨。迴
憩賈耘老溪上澄暉亭，
命官奴執燭，畫風竹一
枝於壁間。後好事者刻
於石，寘郡庠。予遊霅
上，因摩挲斷碑，不忍
捨去。常憶此本，每臨
池，輒為筆遊而成，仿
佛萬一。遂為作此枝以
識歲月也。梅道人時年
七十一，至正十年庚寅
歲夏五月十三日竹醉日
書也。
One day when Master Dongpo was governor of Huzhou, he went on a excursion to the He and
Dao mountains, where he encountered a storm.1 Turning back to rest at Jia Yunlao's Pavilion of
Limpid Radiance by the stream, he ordered one of his underlings to hold a candle while he
painted a branch of windblown bamboo on a section of the wall.2 Later an enthusiast had [the
image] engraved on stone and placed it in the county school. Once when I was traveling along
Zha [Creek], I [had occasion] to run my hands over the broken tablet, and could not bear to part
from it.3 I always keep that original [image] in mind, and whenever I approach the inkwell, I
forthwith paint a version of it, but [only manage] to capture one ten-thousandth [of its likeness].
So I have made this branch and record the date. Written by the Plum Daoist [Wu Zhen] in his
seventy-first year, on Bamboo Drunk Day, summer, thirteenth day in the fifth lunar-month of
gengyin, the tenth year in the Zhizheng reign period [June 17, 1350].4
Signature: 梅道人時年七十一
The Plum Daoist [Wu Zhen] in his seventy-first year
Date: 至正十年庚寅歲夏五月十三日竹醉日
on Bamboo Drunk Day, summer, thirteenth day in the fifth lunar-month of
gengyin, the tenth year in the Zhizheng reign period [June 17, 1350]
Seals: (2)
Meihua’an『梅花盦』(square relief)
Jiaxing Wu Zhen Zhonggui shuhua ji『嘉興吳鎮仲圭書畫記』(square intaglio)
Source
https://asia.si.edu/object/F1953.85
Creator
Wu Zhen 吳鎮
annotates
Outside label slip: Fu Shen 傅申 (1937– )
Sixteen characters, running script
吳鎮《仿東坡〈風竹圖〉》。癸酉春重裝，傅申署。
After [Su] Dongpo’s “Bamboo in the Wind,” by Wu Zhen. Remounted during spring of the
guiyou year [1993]; written by Fu Shen.
Signature: 傅申
Fu Shen
Date: 癸酉春
Spring of the guiyou year (1993)
Seals: (1)
Fu Shen『傅申』(square intaglio)
Inside label slip: Di Xuegeng 狄學耕 (1820–after 1897)
Affixed to section of old mounting silk Seven
characters, clerical script
梅花道人《墨竹 》
Ink-bamboo, by the Plum-blossom Daoist [Wu Zhen].
Seals: (2)
Mannong『曼農』(square relief)
Zhongshixuan『種石軒』(square intaglio)
Colophons: (1) – Di Baoxian 狄葆賢 (1872–1942)
Ink on paper. Mounted underside of bottom roller.
3 columns, running-standard script
梅華庵主仿東坡《風竹》一枝，用筆勁而雅，深得長公遺意。先君子藏盦主畫佳者，為絹
本山水一軸、紙本山水手卷一，及此而三，今均在余處。病起展視，追想當年與南弟侍立
時，評論三者之高下。事隔三十年，南弟去世而已三年，惟此畫無恙，不禁慨然。平子題
，丁卯正月。
The Master of the Plum Blossom Studio [Wu Zhen] copied a Branch of Bamboo in the Wind by
[Su] Dongpo. His brushwork is powerful yet elegant and profoundly captures that eternal
master‟s bequeathed intent. The best paintings that my late father [Di Xuegeng] collected by the
Master [of the Plum Blossom] Studio were a landscape hanging scroll on silk, a landscape
handscroll on paper, and this [work], which makes three, all of which are now in my collection.
Being sick, I unrolled [the paintings] to have a look, and remembered back to those years when
my younger brother Nan and I stood together in attendance [on our father] and critically
discussed the relative merits of these three [works]. But those events were thirty years ago, and
three years have already passed since my younger brother Nan departed the world. Only this
painting survives unscathed, so I cannot help but sigh in lament. Inscribed by Pingzi [Di
Baoxian] in the first lunar month of the dingmao year [February 2–March 3, 1927].
Signature: 平子
Pingzi
Date: 丁卯正月
First lunar month of the dingmao year [February 2–March 3, 1927]
Seal: (1)
Pingdengge zhuren『平等閣主人』(square relief)
Sixteen characters, running script
吳鎮《仿東坡〈風竹圖〉》。癸酉春重裝，傅申署。
After [Su] Dongpo’s “Bamboo in the Wind,” by Wu Zhen. Remounted during spring of the
guiyou year [1993]; written by Fu Shen.
Signature: 傅申
Fu Shen
Date: 癸酉春
Spring of the guiyou year (1993)
Seals: (1)
Fu Shen『傅申』(square intaglio)
Inside label slip: Di Xuegeng 狄學耕 (1820–after 1897)
Affixed to section of old mounting silk Seven
characters, clerical script
梅花道人《墨竹 》
Ink-bamboo, by the Plum-blossom Daoist [Wu Zhen].
Seals: (2)
Mannong『曼農』(square relief)
Zhongshixuan『種石軒』(square intaglio)
Colophons: (1) – Di Baoxian 狄葆賢 (1872–1942)
Ink on paper. Mounted underside of bottom roller.
3 columns, running-standard script
梅華庵主仿東坡《風竹》一枝，用筆勁而雅，深得長公遺意。先君子藏盦主畫佳者，為絹
本山水一軸、紙本山水手卷一，及此而三，今均在余處。病起展視，追想當年與南弟侍立
時，評論三者之高下。事隔三十年，南弟去世而已三年，惟此畫無恙，不禁慨然。平子題
，丁卯正月。
The Master of the Plum Blossom Studio [Wu Zhen] copied a Branch of Bamboo in the Wind by
[Su] Dongpo. His brushwork is powerful yet elegant and profoundly captures that eternal
master‟s bequeathed intent. The best paintings that my late father [Di Xuegeng] collected by the
Master [of the Plum Blossom] Studio were a landscape hanging scroll on silk, a landscape
handscroll on paper, and this [work], which makes three, all of which are now in my collection.
Being sick, I unrolled [the paintings] to have a look, and remembered back to those years when
my younger brother Nan and I stood together in attendance [on our father] and critically
discussed the relative merits of these three [works]. But those events were thirty years ago, and
three years have already passed since my younger brother Nan departed the world. Only this
painting survives unscathed, so I cannot help but sigh in lament. Inscribed by Pingzi [Di
Baoxian] in the first lunar month of the dingmao year [February 2–March 3, 1927].
Signature: 平子
Pingzi
Date: 丁卯正月
First lunar month of the dingmao year [February 2–March 3, 1927]
Seal: (1)
Pingdengge zhuren『平等閣主人』(square relief)
Abstract
9 Total
1. Li Rihua 李日華 (1565–1635) – (2)
Li Junshi jianding『李君實鑑定』(rectangle relief) – painting, lower left Zhulan『竹嬾』
(square relief-intaglio) – painting, lower right
2. Li Zhaoheng 李肇亨(ca. 1592–ca. 1662) – (1)
Jiahe Lishi zhencang『嘉禾李氏珍藏』(square intaglio) – painting, lower right
3. Wang Hui 王翬 (1632–1717) – (2)
Gengyan sanren『耕煙散人』(square relief) – mounting silk, below inside label slip, bottom
Yi zai Danqiu Huanghe Baishi Qingteng zhi jian『意在丹邱黃鶴白石青藤之間』
(rectangle relief) – mounting silk, below inside label slip, bottom
U
4. Gao Dai 高岱 (late 17th–early/mid-18th century) – (1)
Chen Dai siyin『臣岱私印』(rectangle intaglio) – painting, lower left
5. Di Baoxian 狄葆賢 (1872–1942) – (2)
Di Pingzi xinshang『狄平子心賞』(square relief) – mounting silk, below inside label slip
Baoxian’an『寶賢盦』(square intaglio) – mounting silk, below inside label slip
6. nidentified – (1)
花押 (relief design) – painting, lower left
1. Li Rihua 李日華 (1565–1635) – (2)
Li Junshi jianding『李君實鑑定』(rectangle relief) – painting, lower left Zhulan『竹嬾』
(square relief-intaglio) – painting, lower right
2. Li Zhaoheng 李肇亨(ca. 1592–ca. 1662) – (1)
Jiahe Lishi zhencang『嘉禾李氏珍藏』(square intaglio) – painting, lower right
3. Wang Hui 王翬 (1632–1717) – (2)
Gengyan sanren『耕煙散人』(square relief) – mounting silk, below inside label slip, bottom
Yi zai Danqiu Huanghe Baishi Qingteng zhi jian『意在丹邱黃鶴白石青藤之間』
(rectangle relief) – mounting silk, below inside label slip, bottom
U
4. Gao Dai 高岱 (late 17th–early/mid-18th century) – (1)
Chen Dai siyin『臣岱私印』(rectangle intaglio) – painting, lower left
5. Di Baoxian 狄葆賢 (1872–1942) – (2)
Di Pingzi xinshang『狄平子心賞』(square relief) – mounting silk, below inside label slip
Baoxian’an『寶賢盦』(square intaglio) – mounting silk, below inside label slip
6. nidentified – (1)
花押 (relief design) – painting, lower left
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1953.85
References
Bian Yongyu 卞永譽 (1645–1712). Shigutang shuhua huikao 式古堂書畫彙考 (1680–82).
Wuxing 吳興: Jian‟gu shushe 鑑古書社, 1921. Hua19:22b-23a.
Gao Shiqi 高士奇 (1645–1703). Jiangcun xiaoxia lu 江村銷夏錄 (1693). Osaka: Kawachiya
Tasuke 河內屋太助, 1800. 3:39b.
Taguchi Beihō 田口米舫 (1861–1930), ed. Shina nanga shūsei 支那南畫集成. 3 vols. Tokyo:
Bunsuiken, 1917–19. Vol. 2, section 1, plate 1.
Zhongguo minghua ji 中國名畫集 (Famous Chinese Paintings). Vol. 1. Shanghai: Youzheng
shuju, 1923. Plate 4.
Wenley, Archibald G. “„A Spray of Bamboo‟ by Wu Chen.” In Archives of the Chinese Art
Society of America 8 (1954): 6–9.
Sirén, Osvald (1879–1966). Chinese Painting: Leading Masters and Principles. 7 vols. New
York: Ronald Press, 1956-58. Vol. 6, plate 51.
Cahill, James F. Wu Chen, A Chinese Landscapist and Bamboo Painter of the Fourteenth
Century. University of Michigan: PhD. Dissertation, 1958. 185–87 and plate 37.
__________. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York:
Weatherhill, 1976. P. 148 (plate 182).
Edwards, Richard. The Field of Stones: A Study of the Art of Shen Chou (1427–1509).
Washington DC: Freer Gallery of Art, Smithsonian Institution, 1962. Plate 2A.
Freer Gallery of Art. Freer Gallery of Art: China I. Tokyo: Kodansha, 1972. Plate 62.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 51.
Iriya Yoshitaka 入矢義高 (1910–1998), Ho Wai-kam 何惠鑑 (He Huijian, 1924–2004), and
Nakata Yūjirō 中田勇次郎 (1905–1998). Kō Kōbō, Gei San, Ō Mō, Go Chin 黃公望，倪瓚，王
蒙，吳鎮 (Huang Gongwang, Ni Zan, Wang Meng, Wu Zhen). In Bunjinga suihen 文人畫粹
編. Vol. 3. Tokyo: Chūōkoronsha, 1979. P. 18 (plate 12) and 162 .
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, 253 (A21–246).
Han, Sungmii Lee. Wu Chen’s “Mo-chu-p’u”: Literati Painter’s Manual on Ink Bamboo.
Princeton: Phd. Dissertation, 1983. Pp. 102–05 and 177–79 (album leaf with related inscription).
Li Lincan 李霖燦 (1913–1999). “Zhongguo mozhu huafa de duandai yanjiu” 中國墨竹畫法的斷
代研究. In Gugong jikan 故宮季刊 (National Palace Museum Quarterly) 1.4 (April 1967): plate 7.
__________. “Fengzhu tuopian he Wu Zhen Mozhupu” 風竹拓片和吳鎮《墨竹譜》. In
Gugong wenwu yuekan 故宮文物月刊 4 (July 1983): 92–97.
Chen Qingguang 陳擎光. Yuandai huajia Wu Zhen 元代畫家吳鎮 (Wu Zhen, a painter of the
Yuan dynasty). Taibei: National Palace Museum, 1983. P. 242 (plate 21).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 92.
Stanley-Baker, Joan. Old Masters Repainted: Wu Zhen (1280-1354), Prime Objects and
Accretions. Hong Kong: Hong Kong University Press, 1995. Painting reproduced: p. 143, fig
10.5; p. 217, fig. 13.5; and p. 219, fig. 13.7 (right). Discussion and translation, 216–24.
Description, transcription, and translation, 424–25.
Jiang Zhaoshen (Chiang Chao-shen) 江兆申 and Wang Yaoting 王耀庭. Koten ni manabu
suibokuga 2: Bokuchiku hen 古典に学ぶ水墨画 2: 墨竹篇 (Visual Method of Chinese Classical
Ink Painting: Bamboo). Tokyo: Nigensha, 1996. Pp. 100–05.
Wuxing 吳興: Jian‟gu shushe 鑑古書社, 1921. Hua19:22b-23a.
Gao Shiqi 高士奇 (1645–1703). Jiangcun xiaoxia lu 江村銷夏錄 (1693). Osaka: Kawachiya
Tasuke 河內屋太助, 1800. 3:39b.
Taguchi Beihō 田口米舫 (1861–1930), ed. Shina nanga shūsei 支那南畫集成. 3 vols. Tokyo:
Bunsuiken, 1917–19. Vol. 2, section 1, plate 1.
Zhongguo minghua ji 中國名畫集 (Famous Chinese Paintings). Vol. 1. Shanghai: Youzheng
shuju, 1923. Plate 4.
Wenley, Archibald G. “„A Spray of Bamboo‟ by Wu Chen.” In Archives of the Chinese Art
Society of America 8 (1954): 6–9.
Sirén, Osvald (1879–1966). Chinese Painting: Leading Masters and Principles. 7 vols. New
York: Ronald Press, 1956-58. Vol. 6, plate 51.
Cahill, James F. Wu Chen, A Chinese Landscapist and Bamboo Painter of the Fourteenth
Century. University of Michigan: PhD. Dissertation, 1958. 185–87 and plate 37.
__________. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York:
Weatherhill, 1976. P. 148 (plate 182).
Edwards, Richard. The Field of Stones: A Study of the Art of Shen Chou (1427–1509).
Washington DC: Freer Gallery of Art, Smithsonian Institution, 1962. Plate 2A.
Freer Gallery of Art. Freer Gallery of Art: China I. Tokyo: Kodansha, 1972. Plate 62.
__________. Masterpieces of Chinese and Japanese Art: Freer Gallery of Art Handbook.
Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1976. P. 51.
Iriya Yoshitaka 入矢義高 (1910–1998), Ho Wai-kam 何惠鑑 (He Huijian, 1924–2004), and
Nakata Yūjirō 中田勇次郎 (1905–1998). Kō Kōbō, Gei San, Ō Mō, Go Chin 黃公望，倪瓚，王
蒙，吳鎮 (Huang Gongwang, Ni Zan, Wang Meng, Wu Zhen). In Bunjinga suihen 文人畫粹
編. Vol. 3. Tokyo: Chūōkoronsha, 1979. P. 18 (plate 12) and 162 .
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, 253 (A21–246).
Han, Sungmii Lee. Wu Chen’s “Mo-chu-p’u”: Literati Painter’s Manual on Ink Bamboo.
Princeton: Phd. Dissertation, 1983. Pp. 102–05 and 177–79 (album leaf with related inscription).
Li Lincan 李霖燦 (1913–1999). “Zhongguo mozhu huafa de duandai yanjiu” 中國墨竹畫法的斷
代研究. In Gugong jikan 故宮季刊 (National Palace Museum Quarterly) 1.4 (April 1967): plate 7.
__________. “Fengzhu tuopian he Wu Zhen Mozhupu” 風竹拓片和吳鎮《墨竹譜》. In
Gugong wenwu yuekan 故宮文物月刊 4 (July 1983): 92–97.
Chen Qingguang 陳擎光. Yuandai huajia Wu Zhen 元代畫家吳鎮 (Wu Zhen, a painter of the
Yuan dynasty). Taibei: National Palace Museum, 1983. P. 242 (plate 21).
Guoli gugong bowuyuan 國立故宮博物院, eds. Haiwai yizhen: huihua 海外遺珍：繪畫
(Chinese Art in Overseas Collections: Paintings). Taibei: Gugong bowuyuan, 1985. P. 92.
Stanley-Baker, Joan. Old Masters Repainted: Wu Zhen (1280-1354), Prime Objects and
Accretions. Hong Kong: Hong Kong University Press, 1995. Painting reproduced: p. 143, fig
10.5; p. 217, fig. 13.5; and p. 219, fig. 13.7 (right). Discussion and translation, 216–24.
Description, transcription, and translation, 424–25.
Jiang Zhaoshen (Chiang Chao-shen) 江兆申 and Wang Yaoting 王耀庭. Koten ni manabu
suibokuga 2: Bokuchiku hen 古典に学ぶ水墨画 2: 墨竹篇 (Visual Method of Chinese Classical
Ink Painting: Bamboo). Tokyo: Nigensha, 1996. Pp. 100–05.
abstract
After Su Shi 仿東坡