清 倣沈銓 月季桃鶴圖 軸 Cranes, Peach Tree, and Chinese Roses
After Shen Quan (Chinese, 1682–after 1762)
Qing dynasty (1644–1911)
early 18th century
Hanging scroll; ink and color on silk
Image: 78 1/4 x 39 3/4 in. (198.8 x 101 cm)
Overall with mounting: 97 3/4 x 48 1/8 in. (248.3 x 122.2 cm)
Overall with knobs: 97 3/4 x 51 1/8 in. (248.3 x 129.9 cm)
The Harry G. C. Packard Collection of Asian Art, Gift of Harry G. C. Packard, and Purchase, Fletcher, Rogers, Harris Brisbane Dick, and Louis V. Bell Funds, Joseph Pulitzer Bequest, and The Annenberg Fund Inc. Gift, 1975
Not on view
Because of their association with immortals, both cranes and peaches are symbolic of longevity. The crane is often shown carrying an immortal on its back, and mythical peaches of immortality grow in the orchard of Xiwangmu, the queen mother of the West. The cranes and peaches thus evoke an isle of the immortals—perhaps Penglai (Japanese: Hōrai), an auspicious paradise frequently depicted throughout East Asia.
In 1731 the Chinese artist Shen Nanpin went to Nagasaki to teach Japanese students the traditional Chinese style of realistic painting, resulting in the establishment of the Nagasaki school. Even after Nanpin returned to China, many works in his style continued to be imported into Japan, influencing painting styles there into the late Edo period.
Inscription: Artist’s inscriptions and signature (1 column in semi-cursive script):
Shen Quan zhi yin 沈銓之印 Nanpin 南蘋
New York. The Metropolitan Museum of Art. "Paintings of the Nanga School," January 27, 1990–May 13, 1990.
New York. The Metropolitan Museum of Art. "Animals, Birds, Insects, and Marine Life in Japanese Art," June 26, 2008–November 30, 2008.
New York. The Metropolitan Museum of Art. "Celebration: The Birthday in Chinese Art," February 27, 2010–November 28, 2010.
New York. The Metropolitan Museum of Art. "Birds in the Art of Japan," February 2, 2013–July 28, 2013.