Art/ Collection/ Art Object
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元 倪瓚 秋林野興圖 軸
Enjoying the Wilderness in an Autumn Grove

Artist:
Ni Zan (Chinese, 1306–1374)
Period:
Yuan dynasty (1271–1368)
Date:
dated 1339
Culture:
China
Medium:
Hanging scroll; ink on paper
Dimensions:
Image: 38 5/8 x 27 1/8 in. (98.1 x 68.9 cm) Overall with mounting: 106 7/8 x 35 7/8 in. (271.5 x 91.1 cm) Overall with knobs: 106 7/8 x 40 in. (271.5 x 101.6 cm)
Classification:
Paintings
Credit Line:
Bequest of John M. Crawford Jr., 1988
Accession Number:
1989.363.38
Not on view
Until the early 1340s, Ni Zan lived the life of a wealthy dilettante, spending his time among the precious books, antiques, and flowers of his Pure and Secluded Pavilion. His painting style at the time, as seen here, exhibits a studied archaism in which his interest in descriptive detail is at odds with his self-conscious use of calligraphic "hemp fiber" brushstrokes in the manner of tenth-century masters. Ni's gentleman seated in a rustic pavilion is shorthand for the scholar in his studio. His florid poem exhibits a similarly precious quality of one entirely absorbed in his immediate surroundings. It reads, in part:

In the bright days, bamboo wave in the breeze;
In the dark nights, parasols of fir hold up the moon.
Burning incense I use [a censer in the form of] a gilded duck;
Gathering scattered petals, I place them inside my pillow.
(trans. Wen Fong)
Inscription: Artist’s inscriptions and signatures[1]

(8 columns in standard script, dated 1339)

After I painted Enjoying the Wilderness in an Autumn Grove for Xiaoshan, he brought it back to me in the mid ninth month for an inscription. It happened that on the fifteenth of last month, upon seeing the blossoming cassia tree in front of my Jingchu Zhai Studio, I composed the following poem. From spring to autumn this year there hadn’t been a single day when I felt truly inspired. That was the only thing I composed, which I recorded at the left:
How I delight in autumn, both the inkstone and mat cool;
With the bamboo shade rolled up, a fine dew on my robe.
Forest gate and cave month bring forth fresh pleasures;
Green rain and yellow mist enclose my remote bed.
In the bright days, bamboo wave in the breeze;
In the dark nights, parasols of fir hold up the moon.
Burning incense I use [a censor in the form of] a gilded duck;
Gathering scattered petals I place them inside my pillow.
On the fourteenth day of the ninth lunar month of the jimao year [October 16, 1339], Yunlinsheng, Ni Zan.

余既與小山作 《秋林野興圖》,九月中小山携以索題。適八月望日,經鉏齋前木犀盛開,因賦下章。今年自春徂秋,無一日有好興味,僅賦此一長句于左方:
政喜秋山研席涼,卷簾微露淨衣裳。
林扉洞戶發新興,翠雨黃雲籠遠牀。
竹粉因風晴靡靡,杉幢承月夜蒼蒼。
焚香底用添金鴨,落蘂仍宜副枕囊。
已卯秋九月十四日雲林生倪瓚

(5 columns in standard script, dated 1354):
In the winter [of the fourteenth year of the Zhizheng era], the eleventh month of the jiawu year [1354], I stopped on my travel at the South Bank of Fuli [a town near Suzhou]. Lu Mengde, who just returned from Wusung [near Shanghai], brought this to show me. It has been kept in the family of his friend, Mr. Huang Yunzhong. I painted this on a whim. It has been sixteen years since then. I sighed at the sight of it, which felt like from another world. Zan, having inscribed it a second time at the left [of the picture], gave it back. On the nineteenth day [December 3, 1354].

[至正十四]年歲在甲午冬十一月,余旅泊甫里南渚。陸孟德自吳松歸,携以相示,蓋藏於其友人黃君允中家。余一時戲寫此圖,距今十有六年矣,對之悵然,如隔世也,瓚重題其左而還。十九日。

Artist's seal

Yunlinzi (twice) 雲林子

Other inscription on the painting

Lu Jishan 陸繼善 (ca. 1298–1354), 4 columns in standard script, undated; 1 seal (upper right of painting):

晻藹生清輝,空冥照秋影。
遐眺脩亭虛,一覽心已領。
陸繼善 [印]: 陸氏繼之

Label strip

Zhang Daqian 張大千 (1899–1983), 1 column in semi-cursive script, undated:

倪雲林《秋林野興》真跡,第一無上稀有,大風堂供養

Colophons

1. Wu Kuan 吳寬 (1435–1504), 7 columns in semi-cursive script, ca. 1492; 3 seals:

經鉏堂前木犀黃,何人晏坐聞天香。
迂翁胸中有清癖,欲掃繁花歸枕囊。

秋野林興圖親寫,百年流落燕都下。
市門不遇杜長垣,殘墨誰將手重把。

弘治壬子臘月子開至京,偶見此圖,識其為雲林真筆也,因購得之,重加裱飾,請予題其上。蓋此圖破闇之甚,知好者少,其亦可謂遭矣。吳寬 [印]:原博、長州、延州來季子後

2. Wang Ao 王鏊 (1450–1525), 5 columns in semi-cursive script, undated; 1 seal:

百年遺墨尚精神,鑑賞還歸杜老真。
今日長垣傳法眼,固知少嫩亦如人。
頃予讀東原遺藁。其論雲林畫品云:“世率以其書辨真贋,不知早歲作尤少嫩如其人,故予詩云然。”先生知畫之深者也。王鏊 [印]: 濟之

3. Zhang Daqian 張大千 (1899–1983), 2 column in semi-cursive script, undated; 2 seals:

雲林畫作人物者,世傳祇此 《秋林野興》、與 《荊蠻民》、《龍門僧》 三幅,用印者尤少。畫筆全師北苑尤少,真第一傑作也。甲午嘉平月,門人李喬峰為予從香港得之,樂極因題。蜀人張大千爰 [印]: 大風堂印、張爰

Collectors’ seals

Zhang Xiaosi 張孝思 (17th c.)
張孝思賞鑑印
張則之

Zhang Daqian 張大千 (1899–1983)
己亥以後所得
大風堂藏
別時容易
不負古人告後人
敵國之富
南北東西只有相隨無別離
昵燕樓書畫印
球圖寶骨肉情

Gu Luofu 顧洛阜 (John M. Crawford, Jr., 1913–1988)
顧洛阜
漢光閣

Illegible: 5

[1] Translations from Department records.
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