Art/ Collection/ Art Object

清 石濤(朱若極) 風雨竹圖 軸
Bamboo in Wind and Rain

Artist:
Shitao (Zhu Ruoji) (Chinese, 1642–1707)
Period:
Qing dynasty (1644–1911)
Date:
ca. 1694
Culture:
China
Medium:
Hanging scroll; ink on paper
Dimensions:
Image: 87 3/4 x 30 in. (222.9 x 76.2 cm) Overall with mounting: 132 1/4 x 37 3/8 in. (335.9 x 94.9 cm) Overall with knobs: 132 1/4 x 41 in. (335.9 x 104.1 cm)
Classification:
Paintings
Credit Line:
Edward Elliott Family Collection, Gift of Douglas Dillon, 1984
Accession Number:
1984.475.2
On view at The Met Fifth Avenue in Gallery 215
Shitao, one of the most outstanding landscape masters of his time, was also passionately in love with bamboo painting. On this monumental work, he quotes a description by Su Che (1039–1112) of Wen Tong (1018–1079), the Northern Song bamboo painter: "He dallies amid bamboo in the morning, stays in the company of bamboo in the evening, drinks and eats amid the bamboo, and rests and
sleeps in the shade of bamboo; having observed all the different aspects of the bamboo, he then exhausts all the bamboo's many transformations."

Accompanying Shitao's signature is his seal, which quotes a saying by Wen Tong: "How can I live one day without this gentleman!"

During the eighteenth,century, Shitao's style of bamboo painting was practiced by members of the Eight Eccentrics of Yangzhou.
Inscription: Artist’s inscription and signature (5 columns in semi-cursive and standard scripts)

Wen Yuke [Wen Tong, 1018–1079] painted bamboo in ink without colors and regarded it as fine bamboo. A guest saw it and was startled. Ziyou [Su Che, 1039–1112] explained, “Walking among bamboo in the morning, being a companion to bamboo in the evening; drinking and eating amid bamboo, relaxing in the shade of bamboo. Only after much observation of the transformations of bamboo” can one completely understand it. If this is not done, then whether horizontal or slanting, crooked or straight, its character will be obscured. If that guest had not been startled, my heart would not be on the right path, and I would always have been an outsider in bamboo painting[1].

文與可以墨為竹,視之良竹也。客見而驚,子由云:“朝與竹乎為遊,莫與竹乎為朋;飲食乎竹間,偃息乎竹陰;觀竹之變者多。” [2] 而後能盡竹之變。不爾,橫斜曲直杳然風致,客視不驚,予心亦未適,終是寫竹家門外漢。清湘苦瓜和尚濟


Artist’s seal

He ke yiri wu ci jun 何可一日無此君


Label strip

Zhang Daqian 張大千 (1899–1983), 1 column in semi-cursive script, undated; 2 seals:

清湘老人《風雨竹》神品,大千居士供養百石之一 [印]:張爰、大千鉢


Collector’s seals

Zhang Daqian 張大千 (1899–1983)
大千居士供養百石之一
己丑以後所得
球圖寳骨肉情
別時容易
南北東西只有相隨無別離
敵國之富

[1] Trans. by Maxwell K. Hearn, in The Metropolitan Museum of Art, Notable Acquisitions 1984-1985 (1985), p. 72. Modified.
[2] Su Che, “Mozhu fu” (Rhapsody on Ink Bamboo).
Douglas Dillon , New York, 1984; donated to MMA
New York. The Metropolitan Museum of Art. "Cultivated Landscapes: Reflections of Nature in Chinese Painting with Selections from the Collection of Marie-Hélène and Guy Weill," September 10, 2002–February 9, 2003.

New York. The Metropolitan Museum of Art. "Great Waves: Chinese Themes in the Arts of Korea and Japan I," March 1, 2003–September 21, 2003.

New York. The Metropolitan Museum of Art. "Chinese Painting, Masterpieces from the Permanent Collection," August 28, 2004–February 20, 2005.

New York. The Metropolitan Museum of Art. "The Four Seasons," January 28, 2006–August 13, 2006.

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