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明 沈周 溪山秋色圖 卷
明 沈周 溪山秋色圖 卷 明 楷書溪山秋色圖 引首
Autumn Colors among Streams and Mountains

Artist:
Shen Zhou (Chinese, 1427–1509)
Period:
Ming dynasty (1368–1644)
Date:
ca. 1490–1500
Culture:
China
Medium:
Handscroll; ink on paper
Dimensions:
Image: 8 1/8 in. x 21 ft. 1/4 in. (20.6 x 640.7 cm) Overall with mounting: 10 1/4 in. x 36 ft. 4 1/4 in. (26 x 1108.1 cm)
Classification:
Paintings
Credit Line:
Gift of Douglas Dillon, 1979
Accession Number:
1979.75.1
On view at The Met Fifth Avenue in Gallery 214
In this long handscroll, Shen Zhou explored four Yuan painters' brush idioms-those of Ni Zan (1306–1374), Huang Gongwang (1269–1354), Wang Meng (ca. 1308–1385), and Wu Zhen (1280–1354). Beginning with the familiar Ni Zan image of sparse trees, barren rocks, and an empty pavilion, Shen Zhou developed Ni's angular "folded-belt" texture strokes into a longer texture pattern that signaled the style of Huang Gongwang and an expansive change of mood. Then, with his brush tip turned inward to form round, dense, curling, and stippled texture strokes, Shen created rock forms that contained the controlled energy of those by Wang Meng. Finally, using simple round brushstrokes to represent rolling shores and blunt and stocky trees, he evoked the serene and melancholy mood of Wu Zhen.

By practicing the different brush idioms of the Yuan masters, Shen was able to treat the theme of autumn mountains with a wide range of expressive moods and interpretations.
Signature: Mounted before the painting is the artist's 4-character title in large, semi-cursive regular script (xingkai), with signature and three seals; "Shen Zhou inscribed"; after the painting is a poem and explanatory note by Shen Zhou, and his seals appear on the paper joins throughout the painting as well as after the inscription:
(13 columns in running script)
"It is more than one hundred years since Ni Zan observed
the world.
What remains are only a few trees that look old and spare.
What is left for this old fellow to continue
Are the long ranges piled up with level wastes in between.
This scroll follows the ideas of Ni Zan. Ni's brushwork is spare, mine is cluttered. Yet though he was sparing, his meaning was ample. That part is what is called the unlearnable."

Inscription: Artist's inscriptions and signatures

(Frontispiece with 4 large characters in semi-cursive script and 1 column in standard script):

Autumn Colors among Streams and Mountains
Shen Zhou inscribed.

溪山秋色
沈周題。

(13 columns in semi-cursive script)

雲林觀化百年餘,剩得踈林侣舊踈。
此意還教老夫續,長巒曡曡帶平墟。
此卷倣倪雲林意為之。雲林以略,余以繁,略而意足,此所謂不可學者矣!沈周

Artist’s seals

沈 (twice)
石田
沈啓南
沈氏啓南
煮石亭

Label strip

Tao Geng 陶賡 (active early 19th c.), 1 column in standard script, undated; 1 illegible seal (on brocade wrapper):

白石翁 《溪山秋色》 卷。逸品。陶賡題簽。

Colophons

1. Yao Shou 姚綬 (1423–1495), 15 columns in semi-cursive script, undated; 3 seals:

墨汁無多興有餘,老倪筆法本迂踈。
但存破屋長林下,咲殺人閒瓦礫墟。
仙癡姚子和。

我愛長洲沈石田,寫山隨處不論錢。
未誇落筆如倪老,還放清詩逼米顛。
賛石田 癡

樹踈多見石,水淺少坦磯。
人間烏程酒,江南白板扉。
請石田文契和。

用墨不厭淡,淡中滋味長。
道寧何太黑,弗似此迂狂。
逸史 [印]:雲東逸史、嘉禾姚氏、公受

2. Tao Geng 陶賡 (active early 19th c.) 7 columns in semi-cursive script, dated 1823; 3 seals:

誰續迂倪筆,還教瘦沈摹。
蕭踈林似舊,繁略意云殊。
畫格高難即,秋山淡欲無。
題詩姚逸史,珍賞已先有。
道光癸未正月假讀沅薌所藏石田倣雲林畫卷,率占一律呈教。陶賡 [印]: 陶賡之印、松藏、臣汶印記

3. Luo Zhenyu 羅振玉 (1866–1940), 5 columns in semi-cursive script, dated 1915; 2 seals:

石田翁早嵗但有小品,傳世至少,而晚嵗之作流傳為多。此卷乃中晚年製。自稱仿雲林,實得力于梅道人者,並採源于北苑,元四家皆從北苑出也。蕭疎冷雋,為平生傑搆。雲東長于石田亦贊歎不已,豈虛譽耶?宣統乙卯七月仇亭老民羅振玉觀並題記。 [印]: 羅振玉印、羅叔言

Collectors’ seals

Sun Yuwen 孫毓汶 (1833–1899)
萊山真賞

遲庵書畫
遲庵
歸于遲庵
半禪三宿

Wang Yirong 王懿榮 (1845–1900)
蓮生審定

Mu Si 穆思 (Earl Morse, 1908–1988)
穆思收藏名跡

Unidentified
賜嶽歧淵亭書屋鋻藏真跡
十午

Marking: Seals of the three colophon writers, plus six other collectors:

1. Shen Zhou: Zhushiting (Wang& Contag, p. 167 no. 7), before title: Shen Qinan, before title; Shitian (Wang& Contag, p. 168, no. 22), after signature to title: Shen, on joins; Sheshi Qinan, after inscription.

2. Yao Shou: Gongshou, before his inscription; Yüntong Yishi and Jiahe Yaoshi, after inscription.

3. Xiang Hongzi (1798–1835): Liansheng shending, after Yao Shou's inscription.

4. Tao Geng: Tao Geng zhiyin, after his colophon.

5. Yamamoto Teijirô (1870–1937): Zi Yüezhi Yüanting shuwu jiancang zhenji, Shijia and Guiyü Qian on title sheet; Qian and Leishan zhenshang on painting; Qian shuhua, after Yao Shou's inscription; Erfeng qingshang, on label and wrapper; Shanben shi Xiangxüe shuwu bingchenhou zhiyin, on wrapper; Guan zi zhenji shi jüe weizhe shen koxiao ye, on wrapper.

6. Mounter's seal: Wu Wenyü zhuang, at end of scroll.

7. Luo Zhenyü (1866–1940): Luo Zhenyü yin and Luo Shuyen; both after his colophon.

8. Sun Yüwen (act. ca. 1856): Wen (Wang& Contag, p. 560, no. 3) and Banchan sansu (Wang& Contag, p. 560, no. 7) after Yao Shou's inscription.
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