Ink Plum Blossoms 墨梅圖
Item
Title
Ink Plum Blossoms 墨梅圖
Description
Artist signature: located on tree trunk
Two characters, bafen clerical script
巖叟
Yansou
Seals: none
Two characters, bafen clerical script
巖叟
Yansou
Seals: none
Source
https://asia.si.edu/object/F1931.2
Creator
Yansou 巖叟
annotates
Wooden box: Anonymous; lid engraved with text
Seven characters, standard script
宋王巖叟《墨梅》卷
Ink Plum, handscroll by Wang Yansou of the Song dynasty1
Signature: none
Seals: none
Outside wrapper: Imperial workshop, mid-18th century
Brown and white brocade with inscribed white silk lining. With white jade fastening pin
with exterior carving and no text.
Dimensions: 46.4 x 46.4 cm (18-1/4 x 18-1/4 in)
Text: Zhang Zhao 張照 (1691–1745)
Ink on silk
Twenty-four characters, standard script
宋人《梅花詩意》，上等天一。乾隆九年春月，臣張照等奉敇編次。
Poetic Idea of Plum Blossoms, by an artist of the Song dynasty. Superior class, celestial first
[grade]. Spring, ninth year of the Qianlong reign period [1744], catalogued at imperial command
by your subjects Zhang Zhao et al.2
Signature: 張照
Zhang Zhao
Date: 乾隆九年春月
Spring, ninth year of the Qianlong reign period [1744]
Fastening pin: Imperial workshop, mid-18th century
White jade: exterior carved with archaic design and engraved text on interior Ten
characters, standard script
乾隆御賞：宋王巖叟畫《梅花》
Appreciated by the Qianlong emperor: Plum blossoms, painted by Wang Yansou of the Song
dynasty
Outside label slip: Anonymous
Six characters, standard script
王巖叟畫《梅花》
Plum blossoms, painted by Wang Yansou
Inside label: Liang Qingbiao 梁清標 (1620–1691)
Paper slip, on Mounting silk 3
Eleven characters, standard script
北宋王巖叟《梅花》。棠村珍賞 。
Plum Blossoms, by Wang Yansou of the Northern Song dynasty. Treasured by Tangcun [Liang
Qingbiao].
Other inscriptions: (1) – Xiang Yuanbian 項元汴 (1525–1590)
Located in lower right corner of painting
One character, standard script
軻
ke (axle) – cataloguing code (#674)3
Colophons: (4) – First colophon separately mounted. Each of following on separate
paper, each paper directly abutting next.
1. Anonymous (14th–15th century?)4
Separately mounted. Dimensions: 19.3 x 41.7 cm (7-5/8 x 16-7/16 in.)
Ink on two joined sheets of light-brown paper
19 columns, running-cursive script. Title and poem (28x7)
題友人梅花卷我家家在吳山住，路入梅花最深處， 天空歲晚雪紛飛，遶屋
寒香千萬樹。 花時日日醉花邊，酒醒長吟花下眠， 聽到翠禽啼欲斷，任
教明月照青天。 自從遊宧京華久，夢繞花前與花後， 故山花發想依然，
何遜才華已非舊。 霜臺御史繡衣人，藏得橫斜水面真， 一幅齊紈裁皎雪
，筆端渾是玉精神。 蕭齋凍雨檐花落，紙帳夜寒燈影薄， 恍然相對似還
家，春信依稀生綠萼。 綠萼春生日漸多，山中歸計尚蹉跎， 玉堂日醉宮
壺酒，其奈梅花似雪何。 何當便赴看花約，莫待霜天吹曉角， 詩成却向
畫中題，酒熟空思花下酌。
Inscribed on a friend’s handscroll [painting] of plum blossoms. [Poem translation forthcoming].
Signature: none
Date: none
Seals: none5
Mounting silk 5: Beige silk. After colophon paper 1 and before colophon paper 2. With two
(2) whole seals; plus two (2) seals overlapping from colophon 1 at right; and one (1) seal
overlapping onto colophon paper 2.
2. Wu Sidao 烏斯道 (active mid-to-late 14th century)
Ink on one sheet of brown paper. Dimensions: 25.1 x 60 cm (9-7/8 x 34-1/2 in)
36 columns, standard script.
Preface, plus ten quatrains (4x7), each preceded by a title6
余素不能作詩，於詠梅詩尤不敢作。蓋古人賦詠者甚多，而鱠炙人口者絕寡。余雖欲繼其後
塵，惟恐點汙清格，未嘗道著一字。茲承見示詠梅十絕，索和甚力，勉為摹寫萬一。梅其有
靈，必為見誚。
探梅 (Seeking Plum Blossoms)
山廻風急馬行遲，雪墮松梢打接籬，昨夜陽春添得否，舊枝應不似新枝。
種梅 (Planting Plum Blossoms)
若無詩興如東閣，空有忘憂在北堂，移得孤根候旾色，林逋知我也非常。
觀梅 (Viewing Plum Blossoms)
兩眼看華正未昏，華含微笑欲譚論，世人只[我]愛 7顏如玉，心在天先用默存。
折梅 (Plucking Plum Blossoms) 百歲冰梢斗柄迴，一時斷折為華開，小窓雪後寒如水，何得紛
紛白蝶來。
浴梅 (Bathing Plum Blossoms)
紅帶束腰旾意淺，瓊漿入口玉顏開，飄飄欲訪西王母，無奈瑤池雨勒廻。
嚼梅 (Tasting Plum Blossoms)
蜜蜂空有一生狂，此味從來不得甞，我愛芳馨如齧雪，幸無蘇武九廻腸。
夢梅 (Dreaming Plum Blossoms)
彷彿山林見白雲，等閒冰雪冷詩魂，看華不到長安道，只在江南烟水邨。
畫梅 (Painting Plum Blossoms)
羣僊正欲乘風去，憑仗丹青喚得回，寶鴨焚香供燕坐，春風庭院綠牎 8開。
梅魂 (Soul of Plum Blossoms)
香滿羅幃凝不消，篴聲吹斷夜迢迢，霜蜚月落無尋處，欲倩青衣使者招。
玉頰凝寒強對人，今秊消瘐不勝春，相知只有窓前月，摹寫清風水上身。
右梅影 (At right: Shadows of Plum Blossoms)
四明烏斯衜，再拜元煇大掾先生。
I am usually unable to compose poetry, and especially would not dare to compose a poem on the
theme of plum blossoms, for while there are many verses composed on the theme by men of the
past, exceptionally few are popularly relished. And though I wished to follow in their dust, I was
afraid to defile the purity of the genre, and never uttered or wrote a single word. But now that I
have had the honor of being shown your “Ten Quatrains on the Theme of Plum Blossoms,” and
you have importuned me so mightliy to [compose a set of verses to] harmonize [with their
rhymes], I have exerted myself in emulating but one ten-thousandth [of their beauty]. As the plum
tree possesses an innate spirit, [my poems] surely must be reproved.
[Poem translations forthcoming ] Wu Sidao from Siming [Zhejiang Province], bowing twice to
Master Yuanhui, the great administrator.
Signature: 烏斯衜
Wu Sidao
Date: none
Seals: (3)
Chuncaozhai『春草齋』(rectangle intaglio) – colophon 2, upper right
Wu Sidao yin『烏斯道印』(square intaglio) – colophon 2, left
Jishan『繼善』(square intaglio) – colophon 2, left
3. Jin Shi 金湜 (active mid- to late 15th century)
Ink on first of two joined sheets of light-brown paper.
Dimensions: 25.1 x 87.4 cm (9-7/8 x 34-1/2 in). Second sheet unused: W 96.5 cm.
31 columns, running script.
Ten quatrains (4x7), each followed by a title9
清曉衝寒去路 10遲，經行多傍水邊籬，投詩欲問春消息，已透孤山第幾枝。
右探梅 (At right: Seeking Plum Blossoms)
孤根入手帶冰霜，移向林逋舊草堂，分付兒童勤愛護，來春生意倍尋常。
右種梅 (At right: Planting Plum Blossoms)
雪消風暖月黃昏，滿目[風]春 11光不可論，看遍西湖舊遊路，好華今有幾株存。
右觀梅 (At right: Viewing Plum Blossoms)
只尺溪南幾往迴，疎花還向掌中開，隴頭近日無知已，前路休傳驛使來。
右折梅 (At right: Plucking Plum Blossoms)
露華如水滴瑤臺，冰雪襟懷偶試開，浣盡香塵清透骨，玉顏呈處百花廻。
右浴梅 (At right: Bathing Plum Blossoms)
手摘瑤花喜欲狂，箇中滋味許誰嘗，香鬚嚙破餘冰雪，沁入搜詩舊肺腸。
右嚼梅 (At right: Tasting Plum Blossoms)
醉來欹枕臥黎雲，夢逐寒香幾斷魂，一夜月華清似水，隨風又過嶺南村。
右夢梅 (At right: Dreamiing Plum Blossoms)
一枝和月臨窓几，便覺春從硯沼回，欲寫風神歸舊譜，毫端彷彿見花開。
右畫梅 (At right: Painting Plum Blossoms)
歷盡冰霜恨不消，冷風殘雪路迢迢，縱然夜落錢塘渚，未許山林俗士招。
右梅魂 (At right: Soul of Plum Blossoms)
稜稜瘦骨冷侵人，佔斷西湖水底春，昨夜小窓殘月暝，不知何處著吟身。
右梅影 (At right: Shadows of Plum Blossoms)
南湖金湜拜和
[Poems translations forthcoming] Jin Shi from Nanhu, respectfully harmonizing [with the
preceding rhymes]
Signature: 南湖金湜
Jin Shi from Nanhu
Date:
Seals: (3)
Yongdong『甬東』(rectangle relief) – colophon 3, upper right
Benqing『本清』(rectangle relief) – colophon 3, left
Qingshan baifa『青衫白髮』(square intaglio) – colophon 3, left
4. Xiang Yuanbian 項元汴 (1525–1590) – far left end of scroll
Ink on one sheet of white paper (far left). Dimensions: 25.1 x 86.7 cm (9-7/8 x 34-1/8 in)
2 columns, running-standard script
巖叟《墨梅》。墨林主人項元汴家藏，函賞用價[x]兩，得於無錫安氏。隆慶三年秋八月朔日
記。軻。
Ink Plum, by Yansou. In the collection of Molin zhuren [Master of the Ink Forest], Xiang
Yuanbian. Purchased for [ ] taels of silver from Mister An of Wuxi.12 Recorded on the first day
of the eighth lunar-month, during autumn of the third year in the Longqing reign period
[September 11, 1569]. [catalogue designation:] Ke.
13
Signature: none
Date: 隆慶三年秋八月朔日
First day in the eight lunar-month, during autumn of the third year in
the Longqing reign period [September 11, 1569]
Seals: (2)
Xiang Yuanbian yin『項元汴印』(square relief) – 1/4
Xiang shi Zijing『項氏子京』(rectangle intaglio) – 1/4
Seven characters, standard script
宋王巖叟《墨梅》卷
Ink Plum, handscroll by Wang Yansou of the Song dynasty1
Signature: none
Seals: none
Outside wrapper: Imperial workshop, mid-18th century
Brown and white brocade with inscribed white silk lining. With white jade fastening pin
with exterior carving and no text.
Dimensions: 46.4 x 46.4 cm (18-1/4 x 18-1/4 in)
Text: Zhang Zhao 張照 (1691–1745)
Ink on silk
Twenty-four characters, standard script
宋人《梅花詩意》，上等天一。乾隆九年春月，臣張照等奉敇編次。
Poetic Idea of Plum Blossoms, by an artist of the Song dynasty. Superior class, celestial first
[grade]. Spring, ninth year of the Qianlong reign period [1744], catalogued at imperial command
by your subjects Zhang Zhao et al.2
Signature: 張照
Zhang Zhao
Date: 乾隆九年春月
Spring, ninth year of the Qianlong reign period [1744]
Fastening pin: Imperial workshop, mid-18th century
White jade: exterior carved with archaic design and engraved text on interior Ten
characters, standard script
乾隆御賞：宋王巖叟畫《梅花》
Appreciated by the Qianlong emperor: Plum blossoms, painted by Wang Yansou of the Song
dynasty
Outside label slip: Anonymous
Six characters, standard script
王巖叟畫《梅花》
Plum blossoms, painted by Wang Yansou
Inside label: Liang Qingbiao 梁清標 (1620–1691)
Paper slip, on Mounting silk 3
Eleven characters, standard script
北宋王巖叟《梅花》。棠村珍賞 。
Plum Blossoms, by Wang Yansou of the Northern Song dynasty. Treasured by Tangcun [Liang
Qingbiao].
Other inscriptions: (1) – Xiang Yuanbian 項元汴 (1525–1590)
Located in lower right corner of painting
One character, standard script
軻
ke (axle) – cataloguing code (#674)3
Colophons: (4) – First colophon separately mounted. Each of following on separate
paper, each paper directly abutting next.
1. Anonymous (14th–15th century?)4
Separately mounted. Dimensions: 19.3 x 41.7 cm (7-5/8 x 16-7/16 in.)
Ink on two joined sheets of light-brown paper
19 columns, running-cursive script. Title and poem (28x7)
題友人梅花卷我家家在吳山住，路入梅花最深處， 天空歲晚雪紛飛，遶屋
寒香千萬樹。 花時日日醉花邊，酒醒長吟花下眠， 聽到翠禽啼欲斷，任
教明月照青天。 自從遊宧京華久，夢繞花前與花後， 故山花發想依然，
何遜才華已非舊。 霜臺御史繡衣人，藏得橫斜水面真， 一幅齊紈裁皎雪
，筆端渾是玉精神。 蕭齋凍雨檐花落，紙帳夜寒燈影薄， 恍然相對似還
家，春信依稀生綠萼。 綠萼春生日漸多，山中歸計尚蹉跎， 玉堂日醉宮
壺酒，其奈梅花似雪何。 何當便赴看花約，莫待霜天吹曉角， 詩成却向
畫中題，酒熟空思花下酌。
Inscribed on a friend’s handscroll [painting] of plum blossoms. [Poem translation forthcoming].
Signature: none
Date: none
Seals: none5
Mounting silk 5: Beige silk. After colophon paper 1 and before colophon paper 2. With two
(2) whole seals; plus two (2) seals overlapping from colophon 1 at right; and one (1) seal
overlapping onto colophon paper 2.
2. Wu Sidao 烏斯道 (active mid-to-late 14th century)
Ink on one sheet of brown paper. Dimensions: 25.1 x 60 cm (9-7/8 x 34-1/2 in)
36 columns, standard script.
Preface, plus ten quatrains (4x7), each preceded by a title6
余素不能作詩，於詠梅詩尤不敢作。蓋古人賦詠者甚多，而鱠炙人口者絕寡。余雖欲繼其後
塵，惟恐點汙清格，未嘗道著一字。茲承見示詠梅十絕，索和甚力，勉為摹寫萬一。梅其有
靈，必為見誚。
探梅 (Seeking Plum Blossoms)
山廻風急馬行遲，雪墮松梢打接籬，昨夜陽春添得否，舊枝應不似新枝。
種梅 (Planting Plum Blossoms)
若無詩興如東閣，空有忘憂在北堂，移得孤根候旾色，林逋知我也非常。
觀梅 (Viewing Plum Blossoms)
兩眼看華正未昏，華含微笑欲譚論，世人只[我]愛 7顏如玉，心在天先用默存。
折梅 (Plucking Plum Blossoms) 百歲冰梢斗柄迴，一時斷折為華開，小窓雪後寒如水，何得紛
紛白蝶來。
浴梅 (Bathing Plum Blossoms)
紅帶束腰旾意淺，瓊漿入口玉顏開，飄飄欲訪西王母，無奈瑤池雨勒廻。
嚼梅 (Tasting Plum Blossoms)
蜜蜂空有一生狂，此味從來不得甞，我愛芳馨如齧雪，幸無蘇武九廻腸。
夢梅 (Dreaming Plum Blossoms)
彷彿山林見白雲，等閒冰雪冷詩魂，看華不到長安道，只在江南烟水邨。
畫梅 (Painting Plum Blossoms)
羣僊正欲乘風去，憑仗丹青喚得回，寶鴨焚香供燕坐，春風庭院綠牎 8開。
梅魂 (Soul of Plum Blossoms)
香滿羅幃凝不消，篴聲吹斷夜迢迢，霜蜚月落無尋處，欲倩青衣使者招。
玉頰凝寒強對人，今秊消瘐不勝春，相知只有窓前月，摹寫清風水上身。
右梅影 (At right: Shadows of Plum Blossoms)
四明烏斯衜，再拜元煇大掾先生。
I am usually unable to compose poetry, and especially would not dare to compose a poem on the
theme of plum blossoms, for while there are many verses composed on the theme by men of the
past, exceptionally few are popularly relished. And though I wished to follow in their dust, I was
afraid to defile the purity of the genre, and never uttered or wrote a single word. But now that I
have had the honor of being shown your “Ten Quatrains on the Theme of Plum Blossoms,” and
you have importuned me so mightliy to [compose a set of verses to] harmonize [with their
rhymes], I have exerted myself in emulating but one ten-thousandth [of their beauty]. As the plum
tree possesses an innate spirit, [my poems] surely must be reproved.
[Poem translations forthcoming ] Wu Sidao from Siming [Zhejiang Province], bowing twice to
Master Yuanhui, the great administrator.
Signature: 烏斯衜
Wu Sidao
Date: none
Seals: (3)
Chuncaozhai『春草齋』(rectangle intaglio) – colophon 2, upper right
Wu Sidao yin『烏斯道印』(square intaglio) – colophon 2, left
Jishan『繼善』(square intaglio) – colophon 2, left
3. Jin Shi 金湜 (active mid- to late 15th century)
Ink on first of two joined sheets of light-brown paper.
Dimensions: 25.1 x 87.4 cm (9-7/8 x 34-1/2 in). Second sheet unused: W 96.5 cm.
31 columns, running script.
Ten quatrains (4x7), each followed by a title9
清曉衝寒去路 10遲，經行多傍水邊籬，投詩欲問春消息，已透孤山第幾枝。
右探梅 (At right: Seeking Plum Blossoms)
孤根入手帶冰霜，移向林逋舊草堂，分付兒童勤愛護，來春生意倍尋常。
右種梅 (At right: Planting Plum Blossoms)
雪消風暖月黃昏，滿目[風]春 11光不可論，看遍西湖舊遊路，好華今有幾株存。
右觀梅 (At right: Viewing Plum Blossoms)
只尺溪南幾往迴，疎花還向掌中開，隴頭近日無知已，前路休傳驛使來。
右折梅 (At right: Plucking Plum Blossoms)
露華如水滴瑤臺，冰雪襟懷偶試開，浣盡香塵清透骨，玉顏呈處百花廻。
右浴梅 (At right: Bathing Plum Blossoms)
手摘瑤花喜欲狂，箇中滋味許誰嘗，香鬚嚙破餘冰雪，沁入搜詩舊肺腸。
右嚼梅 (At right: Tasting Plum Blossoms)
醉來欹枕臥黎雲，夢逐寒香幾斷魂，一夜月華清似水，隨風又過嶺南村。
右夢梅 (At right: Dreamiing Plum Blossoms)
一枝和月臨窓几，便覺春從硯沼回，欲寫風神歸舊譜，毫端彷彿見花開。
右畫梅 (At right: Painting Plum Blossoms)
歷盡冰霜恨不消，冷風殘雪路迢迢，縱然夜落錢塘渚，未許山林俗士招。
右梅魂 (At right: Soul of Plum Blossoms)
稜稜瘦骨冷侵人，佔斷西湖水底春，昨夜小窓殘月暝，不知何處著吟身。
右梅影 (At right: Shadows of Plum Blossoms)
南湖金湜拜和
[Poems translations forthcoming] Jin Shi from Nanhu, respectfully harmonizing [with the
preceding rhymes]
Signature: 南湖金湜
Jin Shi from Nanhu
Date:
Seals: (3)
Yongdong『甬東』(rectangle relief) – colophon 3, upper right
Benqing『本清』(rectangle relief) – colophon 3, left
Qingshan baifa『青衫白髮』(square intaglio) – colophon 3, left
4. Xiang Yuanbian 項元汴 (1525–1590) – far left end of scroll
Ink on one sheet of white paper (far left). Dimensions: 25.1 x 86.7 cm (9-7/8 x 34-1/8 in)
2 columns, running-standard script
巖叟《墨梅》。墨林主人項元汴家藏，函賞用價[x]兩，得於無錫安氏。隆慶三年秋八月朔日
記。軻。
Ink Plum, by Yansou. In the collection of Molin zhuren [Master of the Ink Forest], Xiang
Yuanbian. Purchased for [ ] taels of silver from Mister An of Wuxi.12 Recorded on the first day
of the eighth lunar-month, during autumn of the third year in the Longqing reign period
[September 11, 1569]. [catalogue designation:] Ke.
13
Signature: none
Date: 隆慶三年秋八月朔日
First day in the eight lunar-month, during autumn of the third year in
the Longqing reign period [September 11, 1569]
Seals: (2)
Xiang Yuanbian yin『項元汴印』(square relief) – 1/4
Xiang shi Zijing『項氏子京』(rectangle intaglio) – 1/4
Abstract
103 Total
1. Yuan Zhongche 袁忠徹 (1376–1458)14
– (3)
Zhanguntang『瞻袞堂』(square intaglio) – painting, upper right
Nanchang Yuan shi jiacang zhenwan zisun yongbao『南昌袁氏家藏珍玩子孫永保』
(square relief) – painting, upper left
Zhongche『忠徹』(square relief) – painting, lower left
2. An Guo 安國 (1481–1534) – (5)15
Ming An Guo wan『明安國玩』(rectangle relief) – painting, lower right – 1/3
Daming Xishan Guipo An Guo Mintai shi shuhua yin『大明錫山桂坡安國民泰氏書畫
印』(square intaglio) – painting, lower right – 1/2
Daming Xishan Guipo An Guo Mintai shi shuhua yin『大明錫山桂坡安國民泰氏書畫
印』(square intaglio) – painting, mid-left – 2/2
Ming An Guo wan『明安國玩』(rectangle relief) – colophon 1, lower right – 2/3
Ming An Guo wan『明安國玩』(rectangle relief) – colophon 3, lower right – 3/3
3. Xiang Yuanbian 項元汴 (1525–1590) – (56), including 9 half-seals
[Ju]lu『[蘧]廬』(rectangle intaglio, left half) – front mounting silk 1/front mounting silk 2
join, top – 1/2
[Xiang shi] Zijing『[項氏]子京』(rectangle intaglio, left half) – front mounting silk 1/front
mounting silk 2 join, middle – 1/4
[Taohuayuan] li renjia『 [桃花源]裏人家』(rectangle relief, left half) – front mounting silk
1/front mounting silk 2 join, bottom – 1/2
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – front mounting silk 2, lower left – 1/3
Zisun shichang『子孫世昌』(square intaglio) – front mounting silk 2, lower left – 1/2
Wei xin jingtu『惟心淨土』(square intaglio) – front mounting silk 2, lower left
Zijing『子京』(gourd relief, left half) – front mounting silk/painting join, top
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – front mounting silk/painting join,
middle – 1/2
Shenyou xinshang『神遊心賞』(square relief) – front mounting silk/painting join, bottom – 1/2
Molinzi『墨林子』(rectangle intaglio, with clipped corners) – painting, mid-right
Chisong xianshi『赤松仙史』(square intaglio) – painting, mid-right – 1/2
Huixinchu『會心處』(square intaglio) – painting, mid-right
Bird seal (circle relief) – painting, mid-right
Changbingxian『長病仙』(square intaglio) – painting, mid-right
Xiang shi Zijing『項氏子京』(rectangle intaglio) – painting, lower right – 2/4
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – painting, lower right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, tree trunk, bottom – 2/4
Xiang Yuanbian yin『項元汴印』(square relief) – painting, among branches – 3/4
[Ju]lu『[蘧]廬』(rectangle intaglio, left half) – front mounting silk 1/front mounting silk 2
join, top – 1/2
[Xiang shi] Zijing『[項氏]子京』(rectangle intaglio, left half) – front mounting silk 1/front
mounting silk 2 join, middle – 1/4
[Taohuayuan] li renjia『 [桃花源]裏人家』(rectangle relief, left half) – front mounting silk
1/front mounting silk 2 join, bottom – 1/2
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – front mounting silk 2, lower left – 1/3
Zisun shichang『子孫世昌』(square intaglio) – front mounting silk 2, lower left – 1/2
Wei xin jingtu『惟心淨土』(square intaglio) – front mounting silk 2, lower left
Zijing『子京』(gourd relief, left half) – front mounting silk/painting join, top
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – front mounting silk/painting join,
middle – 1/2
Shenyou xinshang『神遊心賞』(square relief) – front mounting silk/painting join, bottom – 1/2
Molinzi『墨林子』(rectangle intaglio, with clipped corners) – painting, mid-right
Chisong xianshi『赤松仙史』(square intaglio) – painting, mid-right – 1/2
Huixinchu『會心處』(square intaglio) – painting, mid-right
Bird seal (circle relief) – painting, mid-right
Changbingxian『長病仙』(square intaglio) – painting, mid-right
Xiang shi Zijing『項氏子京』(rectangle intaglio) – painting, lower right – 2/4
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – painting, lower right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, tree trunk, bottom – 2/4
Xiang Yuanbian yin『項元汴印』(square relief) – painting, among branches – 3/4
Zijing fu yin『子京父印』(square relief) – painting, among branches
Molin miwan『墨林秘玩』(square relief) – painting, among branches
Shen Qi『神』『奇』(linked square relief-intaglio) – painting, upper left
Molin lansou『墨林嬾叟』(square intaglio) – painting, mid-left
Shiwai fabao『世外法寶』(rectangle intaglio) – painting, lower left
Xulang[zhai]『虛朗[齋]』(square relief, right half) – painting/back mounting silk 1, bottom
Molin yanpi『墨林硯癖』(rectangle intaglio) – back mounting silk 1, bottom
Taohuayuan li renjia『桃花源裏人家』(rectangle relief) – back mounting silk 1, bottom – 2/2
Julu『 蘧廬』(rectangle intaglio) – back mounting silk 1/colophon 1 join, top – 2/2
Xiang Yuanbian shi shending zhenji『項元汴氏審定真迹』(rectangle intaglio) – back
mounting silk 1/colophon 1 join, middle
Ji’ao『寄傲』(oval relief) – colophon 1, over text, upper right
Molin shanren『墨林山人』(square intaglio) – colophon 1, lower right – 1/4
Tuimi『退密』(gourd relief) – colophon 1, mid-left
Zijing suocang『子京所藏』(square intaglio) – colophon 1, mid-left – 1/2
Molin shanren『墨林山人』square intaglio) – colophon 1, lower left – 2/4
Xiang shuzi『項叔子』(square intaglio) – colophon 1, lower left
Yimin『逸民』(rectangle intaglio) – colophon 1/back mounting silk 2 join, top
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – colophon 1/back mounting silk 2 join – 2/3
You fang zhi wai『遊方之外』(square intaglio) – back mounting silk 2, bottom
Zisun shichang『子孫世昌』(square intaglio) – back mounting silk 2, bottom – 2/2
Ruoshuixuan『若水軒』(square relief) – back mounting silk 2/colophon 2 join, bottom
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – colophon 2, upper right – 2/2
[Zhucha] tingzhang『[煮茶]亭長』(square intaglio, left half) – colophon 2, mid-right – 3/3
Taoli『桃里』(circle relief) – colophon 2, mid-right
Picha jushi『癖茶居士』(square intaglio) – colophon 2, lower right
Molin shanren『墨林山人』(square intaglio) – colophon 2, lower right – 3/4
Zijing zhenmi『子京珍祕』(rectangle relief) – colophon 2, lower right
Zijing suocang『子京所藏』(square intaglio) – colophon 2, lower left – 2/2
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – colophon 2, lower left
Xichou [geng’ou]『西儔[耕耦] 』(square intaglio, right half) – colophon 2, mid-left
Molin shanren『墨林山人』(square intaglio) – colophon 2/colophon 3 join, top – 4/4
Gongbao shijia『宮保世家』(square intaglio) – colophon 2/colophon 3 join, bottom16
– 1/2
Shenyou xinshang『神遊心賞』(square relief) – colophon 3, lower right – 2/2
Molin xiang jizi zhang『墨林項季子章』(horizontal intaglio) – colophon 3, lower right
Chisong xianshi『赤松仙史』(square intaglio) – colophon 3, lower left – 2/2
Xiang Yuanbian yin『項元汴印』(square relief) – colophon 3, lower left – 4/4
Xiang shi Zijing『項氏子京』(rectangle intaglio) – colophon 3, lower left – 3/4
Gongbao shijia『宮保世家』(square intaglio) – colophon 3, lower left – 2/2
4. Li Rihua 李日華 (1565–1635)17
– (1)
Li Junshi jianding 李君實鑑定 (rectangle relief) - painting, right
5. Li Zhaoheng 李肇亨 (ca.1592–ca. 1662) – (7) - 4 different seals
Jiahe Li shi zhencang 『嘉禾李氏珍藏』(square intaglio) – front mounting silk 2, center
bottom
Zuili Li shi Hemengxuan zhencang ji『檇李李氏鶴夢軒珍藏記』(square relief) –
painting, lower right – 1/2
Shuangqi Li Heng『爽溪李亨』 (square intaglio) – colophon 1, lower left18
– 1/2
Li Kexue zhencang『李珂雪珍藏』(square relief, stamped sideways over preceding seal, top at left) –
colophon 1, lower left – 1/2
Shuangqi Li Heng『爽溪李亨』(square intaglio) – colophon 2, lower left – 2/2
Li Kexue zhencang『李珂雪珍藏』(square relief) – colophon 2, lower left – 2/2
Zuili Li shi Hemengxuan zhencang ji『檇李李氏鶴夢軒珍藏記』(square relief) –
colophon 3, lower left – 2/2
6. Liang Qingbiao 梁清標 (1620–1695) – (5)
Qiubi『秋碧』(gourd relief) – front mounting silk 2, mid-right
Jiaolin Liang shi shuhua zhi yin『蕉林梁氏書畫之印』(square relief) – front mounting silk
2, lower right
Jiaolin jushi『蕉林居士』(square intaglio) – colophon 3, lower left
Cangyan『蒼巖』(square relief) – colophon 3, lower left
Yeqi yuyin『冶溪漁隱』(rectangle relief) – colophon 3/paper join, bottom
7. Hongli 弘曆 , the Qianlong 乾隆 emperor (1711–1799; reg.1735–95) – (8)
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, upper right
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Shiqu dingjian『石渠定鑑』(circle relief) – painting, center top
Baoji chongbian『寶笈重編』(square intaglio) – painting, center top
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – painting, center top
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, upper left
Yi zisun『宜子孫』(square intaglio) – painting, mid-left
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, mid-left
8. Yongyan 顒琰 , the Jiaqing 嘉慶 emperor (1760–1820; reg. 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, upper right
9. Yixin, Prince Gong 恭親王奕訢 (1833–1898) – (1)
Gong qinwang zhang 『恭親王章』(square intaglio) – colophon 3, lower left
10. Guo Baochang 郭葆昌 (1879–1942)19
– (12) – 6 different seals
Zhi『觶』(square relief) – frontispiece, lower right – 1/5
Guo shi Zhizhai miji zhi yin『郭氏觶齋祕笈之印』 (rectangle relief) – front mounting
silk 2, lower right – 1/2
Shiwu baowan『世五寶玩』 (rectangle relief) – painting, lower right – 1/2
Zhi『 觶』(square relief) – painting, upper left – 2/5
Zhi 『觶』(square relief) – rear mounting silk/colophon 1 join – 3/5
Shiwu baowan『世五寶玩』(rectangle relief) – colophon 1, upper left – 2/2
Zhi『觶』(square relief) – colophon 2, mid-right – 4/5
Zhi『觶』(square relief) – colophon 3, lower right – 5/5
Guo Baochang yin『郭葆昌印』(square intaglio) – colophon 3, lower left
Shiwu yannian『世五延年』(square relief) – colophon 3, lower left
Zhizhai『觶齋』(oval relief) – colophon 3 /paper join, top
Guo shi Zhizhai miji zhi yin『郭氏觶齋祕笈之印』(rectangle relief) – colophon 4, lower
left – 2/2
11. Unidentified – (4) – including thee (3) half-seals (one overlaid)
a. undeciphered (circle intaglio, left half) – painting, right, silk/mounting join
b. undeciphered (square relief, right half) – painting, left, silk/mounting join
c. Liu Xianchen『劉先臣』(square intaglio) – colophon 1, lower left, following text20
d. undeciphered (square relief?, right half) – colophon 2/colophon 3 join, bottom21
1. Yuan Zhongche 袁忠徹 (1376–1458)14
– (3)
Zhanguntang『瞻袞堂』(square intaglio) – painting, upper right
Nanchang Yuan shi jiacang zhenwan zisun yongbao『南昌袁氏家藏珍玩子孫永保』
(square relief) – painting, upper left
Zhongche『忠徹』(square relief) – painting, lower left
2. An Guo 安國 (1481–1534) – (5)15
Ming An Guo wan『明安國玩』(rectangle relief) – painting, lower right – 1/3
Daming Xishan Guipo An Guo Mintai shi shuhua yin『大明錫山桂坡安國民泰氏書畫
印』(square intaglio) – painting, lower right – 1/2
Daming Xishan Guipo An Guo Mintai shi shuhua yin『大明錫山桂坡安國民泰氏書畫
印』(square intaglio) – painting, mid-left – 2/2
Ming An Guo wan『明安國玩』(rectangle relief) – colophon 1, lower right – 2/3
Ming An Guo wan『明安國玩』(rectangle relief) – colophon 3, lower right – 3/3
3. Xiang Yuanbian 項元汴 (1525–1590) – (56), including 9 half-seals
[Ju]lu『[蘧]廬』(rectangle intaglio, left half) – front mounting silk 1/front mounting silk 2
join, top – 1/2
[Xiang shi] Zijing『[項氏]子京』(rectangle intaglio, left half) – front mounting silk 1/front
mounting silk 2 join, middle – 1/4
[Taohuayuan] li renjia『 [桃花源]裏人家』(rectangle relief, left half) – front mounting silk
1/front mounting silk 2 join, bottom – 1/2
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – front mounting silk 2, lower left – 1/3
Zisun shichang『子孫世昌』(square intaglio) – front mounting silk 2, lower left – 1/2
Wei xin jingtu『惟心淨土』(square intaglio) – front mounting silk 2, lower left
Zijing『子京』(gourd relief, left half) – front mounting silk/painting join, top
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – front mounting silk/painting join,
middle – 1/2
Shenyou xinshang『神遊心賞』(square relief) – front mounting silk/painting join, bottom – 1/2
Molinzi『墨林子』(rectangle intaglio, with clipped corners) – painting, mid-right
Chisong xianshi『赤松仙史』(square intaglio) – painting, mid-right – 1/2
Huixinchu『會心處』(square intaglio) – painting, mid-right
Bird seal (circle relief) – painting, mid-right
Changbingxian『長病仙』(square intaglio) – painting, mid-right
Xiang shi Zijing『項氏子京』(rectangle intaglio) – painting, lower right – 2/4
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – painting, lower right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, tree trunk, bottom – 2/4
Xiang Yuanbian yin『項元汴印』(square relief) – painting, among branches – 3/4
[Ju]lu『[蘧]廬』(rectangle intaglio, left half) – front mounting silk 1/front mounting silk 2
join, top – 1/2
[Xiang shi] Zijing『[項氏]子京』(rectangle intaglio, left half) – front mounting silk 1/front
mounting silk 2 join, middle – 1/4
[Taohuayuan] li renjia『 [桃花源]裏人家』(rectangle relief, left half) – front mounting silk
1/front mounting silk 2 join, bottom – 1/2
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – front mounting silk 2, lower left – 1/3
Zisun shichang『子孫世昌』(square intaglio) – front mounting silk 2, lower left – 1/2
Wei xin jingtu『惟心淨土』(square intaglio) – front mounting silk 2, lower left
Zijing『子京』(gourd relief, left half) – front mounting silk/painting join, top
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – front mounting silk/painting join,
middle – 1/2
Shenyou xinshang『神遊心賞』(square relief) – front mounting silk/painting join, bottom – 1/2
Molinzi『墨林子』(rectangle intaglio, with clipped corners) – painting, mid-right
Chisong xianshi『赤松仙史』(square intaglio) – painting, mid-right – 1/2
Huixinchu『會心處』(square intaglio) – painting, mid-right
Bird seal (circle relief) – painting, mid-right
Changbingxian『長病仙』(square intaglio) – painting, mid-right
Xiang shi Zijing『項氏子京』(rectangle intaglio) – painting, lower right – 2/4
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – painting, lower right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, tree trunk, bottom – 2/4
Xiang Yuanbian yin『項元汴印』(square relief) – painting, among branches – 3/4
Zijing fu yin『子京父印』(square relief) – painting, among branches
Molin miwan『墨林秘玩』(square relief) – painting, among branches
Shen Qi『神』『奇』(linked square relief-intaglio) – painting, upper left
Molin lansou『墨林嬾叟』(square intaglio) – painting, mid-left
Shiwai fabao『世外法寶』(rectangle intaglio) – painting, lower left
Xulang[zhai]『虛朗[齋]』(square relief, right half) – painting/back mounting silk 1, bottom
Molin yanpi『墨林硯癖』(rectangle intaglio) – back mounting silk 1, bottom
Taohuayuan li renjia『桃花源裏人家』(rectangle relief) – back mounting silk 1, bottom – 2/2
Julu『 蘧廬』(rectangle intaglio) – back mounting silk 1/colophon 1 join, top – 2/2
Xiang Yuanbian shi shending zhenji『項元汴氏審定真迹』(rectangle intaglio) – back
mounting silk 1/colophon 1 join, middle
Ji’ao『寄傲』(oval relief) – colophon 1, over text, upper right
Molin shanren『墨林山人』(square intaglio) – colophon 1, lower right – 1/4
Tuimi『退密』(gourd relief) – colophon 1, mid-left
Zijing suocang『子京所藏』(square intaglio) – colophon 1, mid-left – 1/2
Molin shanren『墨林山人』square intaglio) – colophon 1, lower left – 2/4
Xiang shuzi『項叔子』(square intaglio) – colophon 1, lower left
Yimin『逸民』(rectangle intaglio) – colophon 1/back mounting silk 2 join, top
Zhucha tingzhang『煮茶亭長』(rectangle intaglio) – colophon 1/back mounting silk 2 join – 2/3
You fang zhi wai『遊方之外』(square intaglio) – back mounting silk 2, bottom
Zisun shichang『子孫世昌』(square intaglio) – back mounting silk 2, bottom – 2/2
Ruoshuixuan『若水軒』(square relief) – back mounting silk 2/colophon 2 join, bottom
[Xiangyan] jushi『[香嚴]居士』(square intaglio, left half) – colophon 2, upper right – 2/2
[Zhucha] tingzhang『[煮茶]亭長』(square intaglio, left half) – colophon 2, mid-right – 3/3
Taoli『桃里』(circle relief) – colophon 2, mid-right
Picha jushi『癖茶居士』(square intaglio) – colophon 2, lower right
Molin shanren『墨林山人』(square intaglio) – colophon 2, lower right – 3/4
Zijing zhenmi『子京珍祕』(rectangle relief) – colophon 2, lower right
Zijing suocang『子京所藏』(square intaglio) – colophon 2, lower left – 2/2
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – colophon 2, lower left
Xichou [geng’ou]『西儔[耕耦] 』(square intaglio, right half) – colophon 2, mid-left
Molin shanren『墨林山人』(square intaglio) – colophon 2/colophon 3 join, top – 4/4
Gongbao shijia『宮保世家』(square intaglio) – colophon 2/colophon 3 join, bottom16
– 1/2
Shenyou xinshang『神遊心賞』(square relief) – colophon 3, lower right – 2/2
Molin xiang jizi zhang『墨林項季子章』(horizontal intaglio) – colophon 3, lower right
Chisong xianshi『赤松仙史』(square intaglio) – colophon 3, lower left – 2/2
Xiang Yuanbian yin『項元汴印』(square relief) – colophon 3, lower left – 4/4
Xiang shi Zijing『項氏子京』(rectangle intaglio) – colophon 3, lower left – 3/4
Gongbao shijia『宮保世家』(square intaglio) – colophon 3, lower left – 2/2
4. Li Rihua 李日華 (1565–1635)17
– (1)
Li Junshi jianding 李君實鑑定 (rectangle relief) - painting, right
5. Li Zhaoheng 李肇亨 (ca.1592–ca. 1662) – (7) - 4 different seals
Jiahe Li shi zhencang 『嘉禾李氏珍藏』(square intaglio) – front mounting silk 2, center
bottom
Zuili Li shi Hemengxuan zhencang ji『檇李李氏鶴夢軒珍藏記』(square relief) –
painting, lower right – 1/2
Shuangqi Li Heng『爽溪李亨』 (square intaglio) – colophon 1, lower left18
– 1/2
Li Kexue zhencang『李珂雪珍藏』(square relief, stamped sideways over preceding seal, top at left) –
colophon 1, lower left – 1/2
Shuangqi Li Heng『爽溪李亨』(square intaglio) – colophon 2, lower left – 2/2
Li Kexue zhencang『李珂雪珍藏』(square relief) – colophon 2, lower left – 2/2
Zuili Li shi Hemengxuan zhencang ji『檇李李氏鶴夢軒珍藏記』(square relief) –
colophon 3, lower left – 2/2
6. Liang Qingbiao 梁清標 (1620–1695) – (5)
Qiubi『秋碧』(gourd relief) – front mounting silk 2, mid-right
Jiaolin Liang shi shuhua zhi yin『蕉林梁氏書畫之印』(square relief) – front mounting silk
2, lower right
Jiaolin jushi『蕉林居士』(square intaglio) – colophon 3, lower left
Cangyan『蒼巖』(square relief) – colophon 3, lower left
Yeqi yuyin『冶溪漁隱』(rectangle relief) – colophon 3/paper join, bottom
7. Hongli 弘曆 , the Qianlong 乾隆 emperor (1711–1799; reg.1735–95) – (8)
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, upper right
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, upper right
Shiqu dingjian『石渠定鑑』(circle relief) – painting, center top
Baoji chongbian『寶笈重編』(square intaglio) – painting, center top
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – painting, center top
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, upper left
Yi zisun『宜子孫』(square intaglio) – painting, mid-left
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – painting, mid-left
8. Yongyan 顒琰 , the Jiaqing 嘉慶 emperor (1760–1820; reg. 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(square relief) – painting, upper right
9. Yixin, Prince Gong 恭親王奕訢 (1833–1898) – (1)
Gong qinwang zhang 『恭親王章』(square intaglio) – colophon 3, lower left
10. Guo Baochang 郭葆昌 (1879–1942)19
– (12) – 6 different seals
Zhi『觶』(square relief) – frontispiece, lower right – 1/5
Guo shi Zhizhai miji zhi yin『郭氏觶齋祕笈之印』 (rectangle relief) – front mounting
silk 2, lower right – 1/2
Shiwu baowan『世五寶玩』 (rectangle relief) – painting, lower right – 1/2
Zhi『 觶』(square relief) – painting, upper left – 2/5
Zhi 『觶』(square relief) – rear mounting silk/colophon 1 join – 3/5
Shiwu baowan『世五寶玩』(rectangle relief) – colophon 1, upper left – 2/2
Zhi『觶』(square relief) – colophon 2, mid-right – 4/5
Zhi『觶』(square relief) – colophon 3, lower right – 5/5
Guo Baochang yin『郭葆昌印』(square intaglio) – colophon 3, lower left
Shiwu yannian『世五延年』(square relief) – colophon 3, lower left
Zhizhai『觶齋』(oval relief) – colophon 3 /paper join, top
Guo shi Zhizhai miji zhi yin『郭氏觶齋祕笈之印』(rectangle relief) – colophon 4, lower
left – 2/2
11. Unidentified – (4) – including thee (3) half-seals (one overlaid)
a. undeciphered (circle intaglio, left half) – painting, right, silk/mounting join
b. undeciphered (square relief, right half) – painting, left, silk/mounting join
c. Liu Xianchen『劉先臣』(square intaglio) – colophon 1, lower left, following text20
d. undeciphered (square relief?, right half) – colophon 2/colophon 3 join, bottom21
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1931.2
References
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. 6:14a–b.
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 15:42b.
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. 4, 1925–26.
Guo Baochang 郭葆昌 (1879–1942). Zhizhai shuhua lu 觶齋書畫錄. China: Privately printed,
1926. Pp. 1a–2a
Zhang Heng 張珩 (1914–1963). Muyanzhai shuhua jianshang biji: huihua er, shang 木雁齋書
畫鑒賞筆記︰繪畫二，上. Beijing: Wenwu chubanshe, 2000. Pp. 344–48.
Tō Sō Gen Min meiga taikan 唐宋元明名畫大觀 (Catalogue of the Works of Chinese Master
Painters held at Tokyo in the Art Gallery, November-December, 1928, under the auspices of the
Japanese Government). Eds. Tō Sō Gen Min meiga tenrankai 唐宋元明名畫展覽會. Small
edition. 2 vols. Tokyo: Otsuka Kōgeisha 大塜巧藝社, 1929. Plate 117. (Guo Baochang
collection)
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. P. 406.
Sirén, Osvald (1879–1966). A History of Early Chinese Painting. 2 vols. London: The Medici
Society, 1933. Vol. 2, plate 95.
___________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 2, plate 92
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald Press
Co., 1956–58. Vol. 2, 89, and Vol. 3, plates 366–67.
Chen Rentao 陳仁濤 (1906–1968). Gugong yiyi shuhua mu jiaozhu 故宮已佚書畫目校註.
Hong Kong: Dongnan shuju 東南書局, 1956. P. 44.
van Gulik, Robert H. (1910–1967). Chinese Pictorial Art, as viewed by the connoisseur. Roma,
Istituto italiano per il Medio ed Estremo Oriente, 1958. Figure 63 (opposite p. 128).
Zhuang Shen 莊申. “Bei Song Wang Yansou Momeitu ji qi huafeng zhi chuanbo” 北宋王巖叟
《墨梅圖》及其畫風之傳播. In Bulletin of the Chinese Society, University of Hong Kong
(Xianggang daxue zhongwen xuehui 香港大學中文學會) (1967–68): 34–39. Reprint: Zhuang
Shen. Zhongguo huashi yanjiu xuji 中國畫史研究續集. Taibei: Zhengzhong shuju, 1972. Pp.
308–23.
Weng Tongwen 翁同文 (1915–1999). “Yansou Momeijuan di shidai” 巖叟《墨梅卷》的時代.
In Journal of the Nanyang University, Singapore (Nanyang daxue xuebao 南洋大學學報) 3
(1969): 205–210.
Lovell, Hin-cheung. “Yen-sou’s Plum Blossoms: Speculations on Style, Date, and Artist’s
Identity.” In Archives of Asian Art 29 (1975–76): 59–79.
Zhang Guangbin 張光賓, ed. Zhongguo shuhua 3: huazhu hua 中國書畫 3﹕花竹畫. Taibei:
Guangfu shuju, 1981. Pp. 15–16 (plate 4).
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, 204–05 (A21–046).
Hoar, William John. Wang Mien and the Confucian Factor in Chinese Plum Painting.
Ph.D.Thesis: The University of Iowa, 1983. Figs. 18–20.
Bickford, Maggie et al. Bones of Jade, Soul of Ice: The Flowering Plum in Chinese Art. New
Haven: Yale University Art Gallery, 1985. Pp. 68–69, fig. 23.
__________. Ink Plum: the Making of a Chinese Scholar-Painter Genre. New York: Cambridge
University Press, 1996. Pp. 148, 159, and plate 5.
Ledderose, Lothar. Orchideen und Felsen: Chinesische Bilder im Museum für Ostasiatische
Kunst, Berlin. Berlin: G-und-H Verlag, 1998. Pp. 124–25 (fig. 2).
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu
chubanshe, 1998. Vol. 3, 176–79 (no. 128–29).
Zhejiang daxue Zhongguo gudai shuhua yanjiu zhongxin 浙江大學中國古代書畫研究中心, eds.
Song hua quanji: di liu juan, di liu ce 宋畫全集: 第六卷，第六冊. Hangzhou: Zhejiang daxue
chubanshe, 2008. Pp. 52–59 and 259 (no. 14).
Junheng 張鈞衡 (1872–1927), comp. Shiyuan congshu 適園叢書. Collection eight. Wucheng 烏
程: Privately printed, 1916. 6:14a–b.
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 15:42b.
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. 4, 1925–26.
Guo Baochang 郭葆昌 (1879–1942). Zhizhai shuhua lu 觶齋書畫錄. China: Privately printed,
1926. Pp. 1a–2a
Zhang Heng 張珩 (1914–1963). Muyanzhai shuhua jianshang biji: huihua er, shang 木雁齋書
畫鑒賞筆記︰繪畫二，上. Beijing: Wenwu chubanshe, 2000. Pp. 344–48.
Tō Sō Gen Min meiga taikan 唐宋元明名畫大觀 (Catalogue of the Works of Chinese Master
Painters held at Tokyo in the Art Gallery, November-December, 1928, under the auspices of the
Japanese Government). Eds. Tō Sō Gen Min meiga tenrankai 唐宋元明名畫展覽會. Small
edition. 2 vols. Tokyo: Otsuka Kōgeisha 大塜巧藝社, 1929. Plate 117. (Guo Baochang
collection)
Harada Kinjirō 原田謹次郎 (1882– ). Shina meiga hōkan 支那名畫寶鑒 (The Pageant of
Chinese Painting). Tokyo: Ōtsuka kōgeisha, 1936. P. 406.
Sirén, Osvald (1879–1966). A History of Early Chinese Painting. 2 vols. London: The Medici
Society, 1933. Vol. 2, plate 95.
___________. Kinas konst under tre årtusenden. 2 vols. Stockholm: Natur och kultur, 1942–43.
Vol. 2, plate 92
__________. Chinese Painting; Leading Masters and Principles. 7 vols. New York: Ronald Press
Co., 1956–58. Vol. 2, 89, and Vol. 3, plates 366–67.
Chen Rentao 陳仁濤 (1906–1968). Gugong yiyi shuhua mu jiaozhu 故宮已佚書畫目校註.
Hong Kong: Dongnan shuju 東南書局, 1956. P. 44.
van Gulik, Robert H. (1910–1967). Chinese Pictorial Art, as viewed by the connoisseur. Roma,
Istituto italiano per il Medio ed Estremo Oriente, 1958. Figure 63 (opposite p. 128).
Zhuang Shen 莊申. “Bei Song Wang Yansou Momeitu ji qi huafeng zhi chuanbo” 北宋王巖叟
《墨梅圖》及其畫風之傳播. In Bulletin of the Chinese Society, University of Hong Kong
(Xianggang daxue zhongwen xuehui 香港大學中文學會) (1967–68): 34–39. Reprint: Zhuang
Shen. Zhongguo huashi yanjiu xuji 中國畫史研究續集. Taibei: Zhengzhong shuju, 1972. Pp.
308–23.
Weng Tongwen 翁同文 (1915–1999). “Yansou Momeijuan di shidai” 巖叟《墨梅卷》的時代.
In Journal of the Nanyang University, Singapore (Nanyang daxue xuebao 南洋大學學報) 3
(1969): 205–210.
Lovell, Hin-cheung. “Yen-sou’s Plum Blossoms: Speculations on Style, Date, and Artist’s
Identity.” In Archives of Asian Art 29 (1975–76): 59–79.
Zhang Guangbin 張光賓, ed. Zhongguo shuhua 3: huazhu hua 中國書畫 3﹕花竹畫. Taibei:
Guangfu shuju, 1981. Pp. 15–16 (plate 4).
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, 204–05 (A21–046).
Hoar, William John. Wang Mien and the Confucian Factor in Chinese Plum Painting.
Ph.D.Thesis: The University of Iowa, 1983. Figs. 18–20.
Bickford, Maggie et al. Bones of Jade, Soul of Ice: The Flowering Plum in Chinese Art. New
Haven: Yale University Art Gallery, 1985. Pp. 68–69, fig. 23.
__________. Ink Plum: the Making of a Chinese Scholar-Painter Genre. New York: Cambridge
University Press, 1996. Pp. 148, 159, and plate 5.
Ledderose, Lothar. Orchideen und Felsen: Chinesische Bilder im Museum für Ostasiatische
Kunst, Berlin. Berlin: G-und-H Verlag, 1998. Pp. 124–25 (fig. 2).
Haiwai cang Zhongguo lidai minghua bianji weiyuanhui 海外藏中國歷代名畫編輯委員會, eds.
Haiwai cang Zhongguo lidai minghua 海外藏中國歷代名畫. 8 vols. Changsha: Hunan meishu
chubanshe, 1998. Vol. 3, 176–79 (no. 128–29).
Zhejiang daxue Zhongguo gudai shuhua yanjiu zhongxin 浙江大學中國古代書畫研究中心, eds.
Song hua quanji: di liu juan, di liu ce 宋畫全集: 第六卷，第六冊. Hangzhou: Zhejiang daxue
chubanshe, 2008. Pp. 52–59 and 259 (no. 14).