Sheep and Goat 二羊圖
Item
Title
Sheep and Goat 二羊圖
Description
Artist Inscription: left side of painting
4 columns, running script
余嘗畫馬，未嘗畫羊，因仲信求畫，余故戲為寫生，雖不能逼近古人，頗於氣韻有得。子昂。
I have painted horses, but have never painted sheep. So when Zhongxin [unidentified] requested
a painting, I playfully drew these for him from life. Though I cannot approach the ancient
masters, I have somewhat captured the essential spirit [of the animals]. Zi’ang [Zhao Mengfu].
Signature: 子昂
Zi’ang
Date: none
Seals: (2)
Zhao shi Zi’ang『趙氏子昂』(square relief)
Songxuezhai『松雪齋』(rectangle relief)
4 columns, running script
余嘗畫馬，未嘗畫羊，因仲信求畫，余故戲為寫生，雖不能逼近古人，頗於氣韻有得。子昂。
I have painted horses, but have never painted sheep. So when Zhongxin [unidentified] requested
a painting, I playfully drew these for him from life. Though I cannot approach the ancient
masters, I have somewhat captured the essential spirit [of the animals]. Zi’ang [Zhao Mengfu].
Signature: 子昂
Zi’ang
Date: none
Seals: (2)
Zhao shi Zi’ang『趙氏子昂』(square relief)
Songxuezhai『松雪齋』(rectangle relief)
Source
https://asia.si.edu/object/F1931.4
Creator
Zhao Mengfu 趙孟頫
annotates
Outside label: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on paper. One (1) seal.
Eight characters, running script
趙孟頫《二羊圖》。神品。
Two Sheep, by Zhao Mengfu. Divine category.
Seal: (1)
Qianlong chenhan『乾隆宸翰』(square relief) – badly worn
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on paper. Dimensions: 26.9 x 58 cm.
Four characters, running script
寢訛神肖
Divine Likeness of [Sheep in] Motion and Repose1
Seal: (1)
Guxi tianzi『古希天子』(circle relief)
Other inscriptions: (2)
1. Xiang Yuanbian 項元汴 (1525–1590)
Ink on paper. Painting, lower right corner
One character, standard script
門
men (door, gate) – cataloguing code (#626)2
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on paper. Painting, top middle
9 columns, running script. Poem (8x5).
子昂常畫馬，仲信卻求羊。三百群辭富，一雙性具良。通靈無不妙，拔萃有誰方。跪乳畜中獨
，伊人寓意長。
甲辰新正月，御題。
[Paraphrase:] Zi’ang often painted horses / But Zhongxin requested one of sheep / Declining the
riches [he would receive to portray] a flock of three hundred / He captured the nature of this
single pair with consummate skill / Phenomenal and altogether marvelous / Who could compare
with such outstanding talent / Alone among domestic animals, the lamb and kid kneel to suck
[indicating filial piety] / So the meaning he has vested in this painting is eternal.3
Inscribed by the
emperor in the new first month of the jiachen year [January 22–February 20, 1784].
Signature: 御題
Inscribed by the emperor
Date: 甲辰新正月
in the new first month of 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)
Colophons: (1) — Liangqi 良琦 (active mid-to-late 14th century)5
Ink on paper. Dimensions: 27 x 26.8 cm.
9 columns, running script
余嘗讀杜工部《畫馬讚》云：「良工惆悵，落筆雄才」，未嘗不歎世之畫者難其人也。晉唐而
下，姑未暇論，至如近代趙文敏公書畫，俱造神妙。今觀此圖，後復題曰，「雖不能逼近古人
，氣韻有得」，非公誇言，真妙品也。好事者其慎保諸。吳龍門山樵良琦，寓玉峰遠綠軒題，
時為洪武十有七年秋七月十九日也。
I have read the Encomium for a Painted Horse by Du of the Ministry of Works [Du Fu, 712–
770], which says, ―Even the best craftsmen feel disconsolate and downcast / At the consummate
skill with which he brings down his brush,‖ and never fail to sigh at how hard it is [to find] such a
man among the painters of the world.6
I will not waste any time discussing [artists from] the Jin
and Tang dynasties on down, but when it comes to recent times and the painting and calligraphy
of Duke Zhao Wenmin [Zhao Mengfu, 1254–1322], every work he has created is divine and
marvelous. Having now seen this picture and the inscription he added at the end, which says,
―Though I cannot approach the ancient masters, I have somewhat captured the essential spirit
[of the animals],‖ [I agree that] these were not [merely] boastful words by the Duke, for it truly is
a marvelous work. Those with an appreciation for such things should take special care to
preserve [this painting]. Inscribed by The Mountain Woodcutter of Dragon Gate, Liangqi from
Wu [Suzhou], while residing in the Pavilion of Distant Green at Jade Peak7
; the date is the
nineteenth day of the seventh lunar-month during autumn in the seventeenth year of the Hongwu
reign period [August 6, 1384].
Signature: 龍門山樵良琦
Longmen Shanqiao (The Mountain Woodcutter of Dragon Gate), Liangqi
Date: 洪武十有七年秋七月十九日
on the nineteenth day of the seventh lunar-month, during autumn in the
seventeenth year of the Hongwu reign period [August 6, 1384]
Seals: (5)
Xijiaxuan『夕佳軒』(rectangle intaglio) – upper right
Liangqi zhi yin『良琦之印』(square intaglio) – following signature, top
Pu'an『樸菴』(square intaglio) – following signature, middle
Wushan yuqiao『吳山迂樵』(square intaglio) – following signature, bottom
Longmen『龍門』(rectangle relief, left half)8 – mounting silk 2/colophon paper join
Ink on paper. One (1) seal.
Eight characters, running script
趙孟頫《二羊圖》。神品。
Two Sheep, by Zhao Mengfu. Divine category.
Seal: (1)
Qianlong chenhan『乾隆宸翰』(square relief) – badly worn
Frontispiece: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on paper. Dimensions: 26.9 x 58 cm.
Four characters, running script
寢訛神肖
Divine Likeness of [Sheep in] Motion and Repose1
Seal: (1)
Guxi tianzi『古希天子』(circle relief)
Other inscriptions: (2)
1. Xiang Yuanbian 項元汴 (1525–1590)
Ink on paper. Painting, lower right corner
One character, standard script
門
men (door, gate) – cataloguing code (#626)2
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Ink on paper. Painting, top middle
9 columns, running script. Poem (8x5).
子昂常畫馬，仲信卻求羊。三百群辭富，一雙性具良。通靈無不妙，拔萃有誰方。跪乳畜中獨
，伊人寓意長。
甲辰新正月，御題。
[Paraphrase:] Zi’ang often painted horses / But Zhongxin requested one of sheep / Declining the
riches [he would receive to portray] a flock of three hundred / He captured the nature of this
single pair with consummate skill / Phenomenal and altogether marvelous / Who could compare
with such outstanding talent / Alone among domestic animals, the lamb and kid kneel to suck
[indicating filial piety] / So the meaning he has vested in this painting is eternal.3
Inscribed by the
emperor in the new first month of the jiachen year [January 22–February 20, 1784].
Signature: 御題
Inscribed by the emperor
Date: 甲辰新正月
in the new first month of 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)
Colophons: (1) — Liangqi 良琦 (active mid-to-late 14th century)5
Ink on paper. Dimensions: 27 x 26.8 cm.
9 columns, running script
余嘗讀杜工部《畫馬讚》云：「良工惆悵，落筆雄才」，未嘗不歎世之畫者難其人也。晉唐而
下，姑未暇論，至如近代趙文敏公書畫，俱造神妙。今觀此圖，後復題曰，「雖不能逼近古人
，氣韻有得」，非公誇言，真妙品也。好事者其慎保諸。吳龍門山樵良琦，寓玉峰遠綠軒題，
時為洪武十有七年秋七月十九日也。
I have read the Encomium for a Painted Horse by Du of the Ministry of Works [Du Fu, 712–
770], which says, ―Even the best craftsmen feel disconsolate and downcast / At the consummate
skill with which he brings down his brush,‖ and never fail to sigh at how hard it is [to find] such a
man among the painters of the world.6
I will not waste any time discussing [artists from] the Jin
and Tang dynasties on down, but when it comes to recent times and the painting and calligraphy
of Duke Zhao Wenmin [Zhao Mengfu, 1254–1322], every work he has created is divine and
marvelous. Having now seen this picture and the inscription he added at the end, which says,
―Though I cannot approach the ancient masters, I have somewhat captured the essential spirit
[of the animals],‖ [I agree that] these were not [merely] boastful words by the Duke, for it truly is
a marvelous work. Those with an appreciation for such things should take special care to
preserve [this painting]. Inscribed by The Mountain Woodcutter of Dragon Gate, Liangqi from
Wu [Suzhou], while residing in the Pavilion of Distant Green at Jade Peak7
; the date is the
nineteenth day of the seventh lunar-month during autumn in the seventeenth year of the Hongwu
reign period [August 6, 1384].
Signature: 龍門山樵良琦
Longmen Shanqiao (The Mountain Woodcutter of Dragon Gate), Liangqi
Date: 洪武十有七年秋七月十九日
on the nineteenth day of the seventh lunar-month, during autumn in the
seventeenth year of the Hongwu reign period [August 6, 1384]
Seals: (5)
Xijiaxuan『夕佳軒』(rectangle intaglio) – upper right
Liangqi zhi yin『良琦之印』(square intaglio) – following signature, top
Pu'an『樸菴』(square intaglio) – following signature, middle
Wushan yuqiao『吳山迂樵』(square intaglio) – following signature, bottom
Longmen『龍門』(rectangle relief, left half)8 – mounting silk 2/colophon paper join
Abstract
42 Total
1. Xiang Yuanbian 項元汴 (1525–1590) – (21)
Zijing『子京』(gourd-shape relief, left half) – painting, upper right edge
Molinzi『墨林子』(rect. intaglio w. clipped corners, left half) – painting, lower right edge – (1/2)
Shenpin『神品』(rectangle relief) – painting, upper right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, mid right
Xiang Zijing jiazhen cang『項子京家珍藏』(rectangle relief) – painting, lower right – (1/2)
Ji'ao『寄敖』 (oval relief) – painting, artist inscription, upper right
Xiang shi Zijing『項氏子京』(square intaglio) – painting, artist inscription, lower right
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – painting, artist
inscription, lower right
Tuimi『退密』(gourd-shape relief) – painting, mid left
Ju Ni zhi chou『沮溺之儔』(square intaglio) – painting, lower left
Xiang Yuanbian yin『項元汴印』(square intaglio) – painting, lower left
Molin Xiang jizi zhang『墨林項季子章』(rectangle intaglio) – painting, lower left
Qulu『籧盧』(rectangle intaglio, right half) – painting, upper left edge
Zijing [fu yin]『子京[父印]』(square relief, right half) – painting, upper left edge
Tianchou [gengnou]『田疇[耕耨]』(square intaglio, right half) – painting, mid left edge
[Molin] shanren『[墨林]山人』(square intaglio, left half) – colophon, lower right edge
You fang zhi wai『遊方之外』(square intaglio) – colophon, lower right
Zijing suocang『子京所藏』(square intaglio) – colophon, lower right
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – colophon, under signature – (2/2)
Molinzi『墨林子』(rect. intagl. w. clipped corners, right half) – colophon, upper left edge – (2/2)
Xiang molin fu [miji zhi yin]『項墨林父[祕笈之印]』(rectangle relief, right half) – colophon, lower
left edge
2. Fang Hengxian 方亨咸 (1620–1679) – (2)
Fang Shaocun shoucang tushu ji『方邵村收藏圖書記』(rectangle relief) – frontispiece,
lower left
Longming Fang Hengxian Shaocun tushu『龍瞑方亨咸邵村圖書』(square relief) –
painting, lower right
3. Song Lao 宋犖 (1634–1713) – (1)
Song Lao shending『宋犖審定』(rectangle relief) – painting, mid left
4. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (14)
Guxi tianzi『古希天子』(circle relief) – mounting silk 1, top
Shou『壽』(rectangle intaglio) – mounting silk 1, middle
Taishang huangdi zhi bao『太上皇帝之寶』(square relief) – mounting silk 1, bottom
Bian Yongyu shuhua huikao tong『卞永譽書畫彙考同』(rectangle relief) –
mounting silk 1/painting join, top
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, mid right
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, right
Shiqu dingjian『石渠定鑑』(circle relief) – painting, between animals, top
Baoji chongbian『寶笈重編』(square intaglio) – painting, between animals, middle
Chonghuagong jiancang bao『重華宮鑑藏寶』(rectangle relief) – painting, between animals,
bottom
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, center, top
Sanxitang jingjian ji『三稀堂精鑑璽』(rect. relief) – painting, artist inscription, mid right
Yi zisun『宜子孫』(square intaglio) – painting, artist inscription, mid right
Wufuwudaitang guxi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk 2, top
Bazheng maonian zhi bao『八徵耄念之寶 』(square relief) – mounting silk 2, bottom
5. Yongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(oval relief) – painting, center top
6. Unidentified – (3)
Yinghou zhenshang『應侯珍賞』(square intaglio) – painting, mid right
Gengshen Fang Zhong『庚申方仲』(square intaglio) – painting, upper left
Zisun shichang『子孫世昌』(square intaglio) – painting, mid left
1. Xiang Yuanbian 項元汴 (1525–1590) – (21)
Zijing『子京』(gourd-shape relief, left half) – painting, upper right edge
Molinzi『墨林子』(rect. intaglio w. clipped corners, left half) – painting, lower right edge – (1/2)
Shenpin『神品』(rectangle relief) – painting, upper right
Xiang Yuanbian yin『項元汴印』(square relief) – painting, mid right
Xiang Zijing jiazhen cang『項子京家珍藏』(rectangle relief) – painting, lower right – (1/2)
Ji'ao『寄敖』 (oval relief) – painting, artist inscription, upper right
Xiang shi Zijing『項氏子京』(square intaglio) – painting, artist inscription, lower right
Xiang Molin jianshang zhang『項墨林鑑賞章』(rectangle intaglio) – painting, artist
inscription, lower right
Tuimi『退密』(gourd-shape relief) – painting, mid left
Ju Ni zhi chou『沮溺之儔』(square intaglio) – painting, lower left
Xiang Yuanbian yin『項元汴印』(square intaglio) – painting, lower left
Molin Xiang jizi zhang『墨林項季子章』(rectangle intaglio) – painting, lower left
Qulu『籧盧』(rectangle intaglio, right half) – painting, upper left edge
Zijing [fu yin]『子京[父印]』(square relief, right half) – painting, upper left edge
Tianchou [gengnou]『田疇[耕耨]』(square intaglio, right half) – painting, mid left edge
[Molin] shanren『[墨林]山人』(square intaglio, left half) – colophon, lower right edge
You fang zhi wai『遊方之外』(square intaglio) – colophon, lower right
Zijing suocang『子京所藏』(square intaglio) – colophon, lower right
Xiang Zijing jiazhencang『項子京家珍藏』(rectangle relief) – colophon, under signature – (2/2)
Molinzi『墨林子』(rect. intagl. w. clipped corners, right half) – colophon, upper left edge – (2/2)
Xiang molin fu [miji zhi yin]『項墨林父[祕笈之印]』(rectangle relief, right half) – colophon, lower
left edge
2. Fang Hengxian 方亨咸 (1620–1679) – (2)
Fang Shaocun shoucang tushu ji『方邵村收藏圖書記』(rectangle relief) – frontispiece,
lower left
Longming Fang Hengxian Shaocun tushu『龍瞑方亨咸邵村圖書』(square relief) –
painting, lower right
3. Song Lao 宋犖 (1634–1713) – (1)
Song Lao shending『宋犖審定』(rectangle relief) – painting, mid left
4. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (14)
Guxi tianzi『古希天子』(circle relief) – mounting silk 1, top
Shou『壽』(rectangle intaglio) – mounting silk 1, middle
Taishang huangdi zhi bao『太上皇帝之寶』(square relief) – mounting silk 1, bottom
Bian Yongyu shuhua huikao tong『卞永譽書畫彙考同』(rectangle relief) –
mounting silk 1/painting join, top
Shiqu baoji『石渠寶笈』(rectangle relief) – painting, mid right
Qianlong yulan zhi bao『乾隆御覽之寶』(oval relief) – painting, right
Shiqu dingjian『石渠定鑑』(circle relief) – painting, between animals, top
Baoji chongbian『寶笈重編』(square intaglio) – painting, between animals, middle
Chonghuagong jiancang bao『重華宮鑑藏寶』(rectangle relief) – painting, between animals,
bottom
Qianlong jianshang『乾隆鑑賞』(circle intaglio) – painting, center, top
Sanxitang jingjian ji『三稀堂精鑑璽』(rect. relief) – painting, artist inscription, mid right
Yi zisun『宜子孫』(square intaglio) – painting, artist inscription, mid right
Wufuwudaitang guxi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk 2, top
Bazheng maonian zhi bao『八徵耄念之寶 』(square relief) – mounting silk 2, bottom
5. Yongyan 顒琰, the Jiaqing 嘉慶 emperor (1760–1820; reigned 1796–1820) – (1)
Jiaqing yulan zhi bao『嘉慶御覽之寶』(oval relief) – painting, center top
6. Unidentified – (3)
Yinghou zhenshang『應侯珍賞』(square intaglio) – painting, mid right
Gengshen Fang Zhong『庚申方仲』(square intaglio) – painting, upper left
Zisun shichang『子孫世昌』(square intaglio) – painting, mid left
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1931.4
References
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