Art/ Collection/ Art Object
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清 傳高鳳翰 書畫合璧 冊
Landscapes and Calligraphy

Artist:
Gao Fenghan (Chinese, 1683–1749)
Period:
Qing dynasty (1644–1911)
Date:
dated 1736
Culture:
China
Medium:
Album of six paintings; ink and color on paper
Dimensions:
Each leaf: 12 1/2 x 9 3/4 in. (31.8 x 24.8 cm)
Classification:
Paintings
Credit Line:
Edward Elliott Family Collection, Purchase, The Dillon Fund Gift, 1981
Accession Number:
1981.285.8a–f
Not on view
Passing the local-level civil-service examination in 1727, Gao Fenghan served as a petty bureaucrat in Anhui Province for about a decade. Then, in 1737, Gao not only lost his government position but his right hand suddenly became paralyzed from acute rheumatism. Painfully training himself to write and paint with his left hand, he came to prize the crude awkwardness of his left-handed brushwork—a quality he had been unable to attain with his right hand. Supporting himself through his painting, he moved to a Buddhist monastery in Yangzhou, where he became close friends with the eclectic group of artists known as the Eight Eccentrics of Yangzhou. In 1741 he left Yangzhou and retired to his hometown in Shandong Province.

This small album, dated 1736, was done one year before Gao lost the use of his right hand. It shows the artist already working in a highly individualistic, naive style that reflects, in part, his lack of contact with ancient masterpieces. In contrast to Orthodox School painters, who drew inspiration from the works of Song and Yuan scholar-artists, Gao reveals in his inscriptions his artistic debt to near-contemporary professional painters such as Lan Ying (1585–after 1664), Gong Xian (1619?–1689), and Dai Benxiao (1621–1698).
Inscription: Artist’s inscriptions and signatures

Leaf A (1 column in standard script on the painting)

南阜

(11 columns in clerical and semi-cursive scripts, dated 1736)

紅雪圖 乾隆改元丙辰
桃杏幷艷,余以為杏尤艷於桃。杏之艷不在於爛漫,而在于萼之初成。古人飲酒吹簫其下,寄興良不偶也。仿青州楊水心[楊涵]先生舊本,幷述其題語。鳳翰

Leaf AA (6 columns in semi-cursive script)

春溪春樹連春草,溪漾春波玉帶囊。
燕子一群趁落花,風簾半捲春初曉。

春詞二月二日濠上作。

Leaf B (1 column in standard script on the painting)

石農

(10 columns in clerical and semi-cursive scripts)

海陵岳王墩看桃花圖
地在泰州西城,鄂王昔所駐兵斥侯舊趾也。居民業桃為事,匝墩左右數十頃皆桃樹。每春酣紅雨時,士女雲集賞之。鳳翰幷記。

Leaf BB (23 columns in semi-cursive script)

平蕪如錯散穠華,半漬晴煙半涴霞。
黃土一堆留戰壘,青春兩度見桃花。
廻溪曲抱秦人徑,小艇遙通漁父家。
忽憶舊遊東海上,射魚曾問大瑯邪。

東海瑯邪臺下有秦皇射大魚處,地多桃花。

其二
蹋熟春風老海陵,古臺擕客復同登。
熱塵隊裏雲間侶,艷影香中雪澹僧。
杞葉豆苗新綠甲,短衫細帽小烏藤。
檻前野馬渾如海,白髮何堪着意凴。

去年春兩游岳墩看桃花,賦詩寫意不勝客情。今復臨筆作圖,又換一番景物。時方河干公冗不暇,更問花期,亦殊省一段客情惆悵耳。鳳翰並記。

Leaf C (1 column in standard script on the painting)

南邨

(9 columns in clerical and semi-cursive scripts)

倪米雲山合作
畫中倪、米兩家不同體而同韻,故前人每多合作。向見惲南田一幀,其題句云“千古墨林稱逸品,米顛以後只倪迂。”即用此意也。鳳翰記。

Leaf CC (7 columns in semi-cursive script)

濃墨欲空同是囗,側鋒能渾愈通神。
何妨潑墨淋漓處,插數倪家折帶皴。

高鳳翰題。

Leaf D (10 columns in clerical and semi-cursive scripts)

梅花書屋圖
藍蝶叟[藍瑛]畫筆娟潤,設色穠古,為勝國劫末善手。特其習氣太重,鑒藏者必以脫去套筆為上品。此幅仿其秀逸一派,獨愧格疎法生,未能追逐古人耳。鳳翰記。

Leaf DD (8 columns in clerical and semi-cursive scripts)

煙蒼樹瘦知何處,誰着書堂佔一間。
伴得幾枝香雪臥,不須放鶴也孤山。

高鳳翰題于河干行舘。

Leaf E (1 column in standard script, dated 1736)

石農追摹。丙辰

(9 columns in clerical and semi-cursive scripts)

秋岩觀瀑圖
向客金陵,於市攤上收得龔半千畫冊,筆皴乾蒼而嫣潤特過常染于中尤所賞心者,此幅元本也,後為一好友取去,至今猶時時念之。二月十日鳳翰記。

Leaf EE (2 columns in clerical and standard scripts)

偶為聼宗來,復為聼松住。
道人本無心,隨意自來去。

鳳翰題。

Leaf F (4 columns in semi-cursive and standard scripts on the painting, dated 1736)

玉山清賞,仿戴鷹阿[戴本孝]畫意。翰
丙辰

(10 columns in clerical and standard scripts)

《石梁詩思圖》 戴名本孝
戴鷹阿,本朝文派畫手中第一。高作渾古蒼秀潤出幹澁中,尤為難到。蓋其文心詩思釀液蒸膏所結,自與俗墨不同耳。偶因仿畫,論及之。鳳翰記。

Leaf FF (8 columns in semi-cursive script)

寒色黏天凍不開,孤吟曳杖大河隈。
風擕林響穿雲還,雪引山光逼眼來。
宰相何人煨芋火,將軍幾處灸羊杯。
人生得失渾難定,氈帽籠頭亦快哉!

山中雪味,拈此題畫,廻首如隔塵夢矣。鳳翰


Artist’s seals

鳳翰 (三鈐)
南村
高鳳翰印(五鈐)
漢之黔陬人 (三鈐)
鳳翰 (三鈐)
西園(三鈐)
西園(五鈐)
墨磨人(二鈐)


Collectors’ seals

Baoxi 寳熙 (1871–1930)
沈盦
瑞宸一粟盦中儲藏精品書畫

Lin Xiongguang 林熊光 (1897–1971)
林熊光
寳宋室

Cheng Qi 程琦 (19th–20th c.)
雙宋樓

Unidentified
少英祕玩
[ David L. Elliott , West Palm Beach, FL, 1981; sold to MMA]
New York. The Metropolitan Museum of Art. "Text and Image: The Interaction of Painting, Poetry, and Calligraphy," January 23, 1999–August 16, 1999.

New York. The Metropolitan Museum of Art. "The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection," September 15, 2000–January 7, 2001.

New York. The Metropolitan Museum of Art. "A Millennium of Chinese Painting: Masterpieces from the Permanent Collection," September 8, 2001–January 13, 2002.

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