Art/ Collection/ Collection/ Art Object
{{img.publicCaption}}

清 鄭旼 黃山八景圖 冊 紙本
Eight views of the Yellow Mountains

Artist:
Zheng Min (Chinese, 1633–1683)
Period:
Qing dynasty (1644–1911)
Date:
1681
Culture:
China
Medium:
Album of nine leaves of painting and calligraphy; ink on paper
Dimensions:
Image (each leaf): 9 1/2 x 5 1/2 in. (24.1 x 14 cm) Overall with mounting (each double leave): 12 1/8 x 14 3/8 in. (30.8 x 36.5 cm)
Classification:
Paintings
Credit Line:
Purchase, The Vincent Astor Foundation Gift and Susan Dillon Gift, in honor of James C. Y. Watt, 2012
Accession Number:
2012.167a–l
Not on view
In the seventeenth century, painters from Anhui began to exploit the album’s special qualities to represent the Yellow Mountains (Huangshan), vista by vista, one leaf at a time. This example, by the relatively little-known artist Zheng Min, ranks among the best Huangshan albums; its compositional originality and subtle brushwork unfolds over a journey of eight distinct parts. Zheng Min combined the signature dry brush technique of the Anhui School’s founder Hongren with subtle ink washes to create a less austere, more descriptive style. Adding to the album’s appeal is the artist’s lengthy inscription, on the final leaf,which explains the story of the album’s creation.

In this long inscription, written to accompany the album, Zheng Min explains the circumstances of its creation: [Summary]: In 1681, Zheng was approached by a younger friend named Chuzhen, who asked the master to paint two albums: one for him, and one for a friend. He obliged, painting this album for Chuzhen in the hopes of spurring his interest in Mount Huang, where the young man had never been. Zheng Min himself had been there only twice, the most recent trip more than seven years earlier. He painted this album from memory. In his inscription, he writes, “In the future, after all his children get married, if Chuzhen ever travels there, I hope he will take this album with him to check against the actual sites. I will then become his tour guide.”
—Trans. by Shi-yee Liu
Inscription: Artist’s inscriptions and signatures (69 columns in standard script and 1 column in seal script)

Leaf A (5 columns in standard script):

Pines at the Heavenly Gate

Passing through perils, I arrive at the Heavenly Gate,
Where two pines stand upright and calm.
They soothe my thoughts at this moment;
Planting my staff, I bow to them with respect.
Min

天門松
歷險到天門,雙松端以立。今朝慰所思,植杖一顛揖。


Leaf AA (8 columns in standard script):

The Reclining-dragon Pine

弇天一徑許人通,走壁孤根僅措躬。
古柏夔祠當與配,怪他容易出隆中。
臥龍松

Sunrise at the Heavenly Gate

奇光具大文,海氣發天芬。往昔應生悔,于時若有聞。
冠霞峯上日,履濕壑中雲。學悟如掀牖,孜孜競寸分。
天門日上

天門者,取道天都必繇此石門而上,一徑南登則達峯頂。先至天門,後入掀雲牖,過一線天,觀臥龍松,松作宜次於後。予遊時八月十九,宿文殊院,月色如晝,乘興半夜月下隨步幾天都峯半,因有天門日上之作,具全記中。旼並識。

Leaf B (1 column in seal script):

Fishing Terrace

釣臺

Leaf BB (6 columns in standard script):

The Pavilion of Playful Waves

影動潛蛟夜壑秋,萬山深處起高樓。
不嫌聵聵閒清對,洗耳何須更上流。
題狎浪閣。旼

The poem to the right was composed when I first visited the White-dragon Pool in Mount Huang in search of Master Wenzhen’s [Zheng Yu, 1298–1355] Fishing Terrace in the gengxu year [1670]. Inscribed by Min again.

雲峯曡矗斷空青,濯足滄浪任委形。
卻聘名高三詔洞,遺書志在一函經。
波聲漸注嚴陵瀨,山色圖開古帝庭。
獨自徘徊磯石上,他年應構避賢亭。
右庚戌初入黃山白龍潭,尋文貞公釣臺之作,旼再書。

Leaf CC (3 columns in standard script):

Composed on reaching the summit of the Lotus Peak.

縣梯梁木接嶇嶔,指定天南子午針。
巖洞中空沿出入,風雷下界割晴陰。
縱觀六合思方廣,誰擲千秋不上尋。
此後躬行能造極,無忘栗栗此時心。
登蓮峯絕頂作。旼

Leaf DD (6 columns in standard script):

Immortal’s Bridge

仙橋我昔遠相望,徑斷年深不可杭。
山中祕蹟應非少,夢向天臺渡石梁。
仙橋

Spring of Sounding Strings

不必伶倫傳叔夜,廣陵散絕到于今。
空山太古遺音在,石上泉流嚮作琴。
鳴弦泉

仙橋拒鳴弦泉可十餘里,可望而不可即。導老謂予,自汪扶光先生到後,徑斷多年矣,因合圖之。旼識。

Leaf EE (5 columns in standard script):

Stele of King Xuanyuan

水土形墳任世傳,雲程我自憶當年。
不迷襄野留岐問,未造倉書鳥篆先。
軒轅碑

潘山史以素問刻入黃海,誠非無見,但墳索先乎五經,秦火而後,素問又豈能獨保乎?然而其間若辨閏差月令諸篇,有二典所不及者,不可不謂真古書。斯儒者所當深究。旼紀事。

Leaf FF (2 columns in standard script):

Nine-dragon Pool

倦遊於此憶廻腸,津逮桃源若祼將。
九派清流泓可掬,卻如筵徹勸盈觴。
九龍潭。旼

Leaf GG (2 columns in standard script):

Twisting-dragon Pine

何能跨鶴一躋攀,自闢洪蒙具古顔。
四面旋觀皆下拜,分身千億散人間。
繞龍松。旼

Leaf H (12 columns in standard script):

Ode to the Heavenly Citadel Peak

Painted and inscribed by Min in the autumn, the seventh lunar month, of the xinyou year [1681].

天都峰頌
將發潛川道中,自百里外遠觀尊嚴,恐無徑可登,乃先集三百篇句頌之:

倬彼雲漢,峻極于天。維石巖巖,于萬斯年。
以莫不增,方斵是處。亦既覯止,陟則在巘。

辛酉秋七月旼畫并書。

Leaf HH (6 columns in standard script):

Gazing at the Heavenly Citadel Peak

滄桑變盡人間世,惟有天都尚古初。
蕝壁固難攜蠟屐,煙蘿應得引霞裾。
閒情願早償塵俗,極理終當質玉虛。
何日尋真能踐約,石牀丹鼎證倉書。
望天都峯

閲景升先生天都峯絕頂記,非不能登,登之惟艱耳。予癸丑[1673]再入黃山,與汪子于鼎實有鼓勇之勝,徐子孝則、吳子顧喦坦阻之,以畏險而且止,不知何年得償此夙願也。旼並紀事。

Leaves I & II (14 columns in standard script, dated 1681):

In the summer, the fifth lunar month, of the xinyou year [1681] my young friend Chuzhen returned from the West River [Xi Jiang, in modern Guangxi and Guangdong provinces] and asked me to paint two albums that he brought, one for Min Yi An and the other for his own enjoyment. The sweltering heat of the time made it difficult for me to make paintings. When autumn rain came and cooled the air, I painted the scenic sites along the West River for Yi An. Then I painted these intimate sceneries of Mount Huang for Chuzhen, and appended my writings from the journeys to complement the paintings. I have traveled very little in my life. Except for Gusu [Suzhou] and Baimen [Nanjing], I haven’t been anywhere north of the Yangzi River. Since the dynastic change [in 1644], I have become even less active and haven’t ventured beyond forty li from home. The only exceptions are my two trips to Mount Huang in the gengxu [1670] and the guichou [1673] years. I searched almost all the sites there, as any native of Shexian [in Anhui, near Mount Huang] should. Since Chuzhen has never been to Mount Huang, I painted its scenery to spur his interest. But he had traveled to the West River and enjoyed its landscape day by day, so there is no need of my painting, which can appropriately go to Yi An. In the future after all his children get married, if Chuzhen ever travels there, I hope he will take this album with him to check against the actual sites. I will then become his tour guide. According to ancient documents, the high mountains and expansive rivers where ceremonial offerings to Heaven were held include, in addition to the four holy mountains, those at the corners of the land. Mount Huang towers above the southeast region at a corner in relation to Mount Tai [in Shandong] and Mount Heng [in Hunan]. One can ascend its front side from Taiping. To enter it through the Yang Creek from my hometown Shexian, one can see beautiful cliffs and valleys, though it is actually the back of the mountain. I once discussed with Jienan, Yeren, and Wuyuan about the meaning of the character wu, and also touched upon that of the character du. The characters wu and yi are the same but written in reverse forms. The meaning of du are derived from that of xiang. See here the wu and du characters written in the current and the archaic seal script respectively. As to the towns of Gusu and Changwu in our time, Changwu on the east side still observes the ancient systems. How can I get some likeminded friends to explore this in detail? I just jotted down my thoughts at the end of this album for my young friend.[1] Min

辛酉夏五月楚珍弟歸自西江,以二冊致余作畫,一為閔頤菴,一以自賞。於時炎暑熾人,難親楮墨。及秋雨過樨涼,乃為頤菴者作西江名勝,而復之為楚珍作黃山小景,並以紀遊諸作附書其後。因念余生平遊跡最隘,自姑蘇白門而外,足未履北江之地。再生以來益謝人事,履跡所到,不離遠邇四十里地。惟庚戌癸丑兩入黃山,經尋殆遍,庻不負降生歙土。楚珍未到黃山,乃於圖繪以啓其興。而西江遊履所及,日領略其山水中,無恃楮墨,乃歸諸頤菴可也。他年既畢婚嫁,倘償遊,願攜此冊證其形勝,予得為楚珍導師矣。究古載籍奠高山大川,四岳而外,隅山亦有祡禷之禮。黃山高出東南,在泰、衡之隅,自太平直上為正面。吾歙自陽溪而入,雖巖壑多致,實為山背耳。嘗與街南、野人、鶩遠諸君詳論吳字,因及都字之義。吳取邑分向背之義,都義如鄉字云。吳[篆書]吳都[篆書]都,篆宜從古。今姑蘇長吳二邑,吳在東首,猶為古制,安得同志者共細證之,聊記於吾弟斯冊之末。旼

Artist's seals

Muqian 穆倩 (Leaf AA, BB)
Muqian 穆倩 (Leaf A, E)
Muqian 穆倩 (Leaf BB, HH)
Mu, qian 穆, 倩 (Leaf B)
Zheng, Min 鄭, 旼 (Leaf C)
Muqian 穆倩 (Leaf C)
Zheng Min zhi yin 鄭旼之印 (Leaf CC, H)
Mu, qian 穆, 倩 (Leaf D)
Muqian 穆倩 (Leaf DD)
Zheng Min zhi yin 鄭旼之印 (Leaf DD, FF, GG)
Mu, qian 穆, 倩 (Leaf EE)
Xinmao 辛卯 (Leaf F)
Mu Daoren 慕道人 (Leaf F)
Muqian 穆倩 (Leaf F)
Muqian 穆倩 (Leaf G)
Zailairen 再來人 (Leaf G)
Muqian 穆倩 (Leaf GG)
Muqian 穆倩 (Leaf H)
Muqian 穆倩 (Leaf HH)
Zheng Gong xiang 鄭公鄉 (Leaf I)
Zheng Muqian shuhua ke 鄭慕倩書畫課 (Leaf II)

Colophon

Deng Shi 鄧實(1877–1951), 24 columns in standard script (Leaf J, JJ):

鄭旻,字慕倩,歙人,善山水,工書,嗜理學,有《拜經齋》、《致道堂》、《正己居》等集。《徽州府誌》
慕道人畫名不甚著,諸家書畫錄幾遺之,余極力蒐羅,得此寄黃山汪扶晨《九龍潭圖》,又得其《仿古山水十二冊》 及 《拾橡圖》 小幅,至為珍惜。蓋自前清乾隆中葉,畫道中靡,畫院諸臣皆習於熟輭一派,以爲應制體應爾,朝野皆慕虛榮,以故盛推四王,而壓置明末諸遺老。蓋以煙客、廉州皆江左名門望族,石谷曾供奉内庭,繪《南巡圖》,麓臺高官重位,領袖畫院。世人多以耳為目,震於聲勢,群相推許,顯赫一時。而野老遺民如八大、二石、半千、年少、大風、老蓮、尺木、慕倩之儔,皆以布衣窮老,不求聞達,寄情筆墨,詞多憤慨。當時士夫歌頌太平,畏聞激語,深恐得禍,因是赫奕之品聲聞日著,枯寂一路過問無人。是則畫品之高下不以清俗為衡,而以貴賤為斷,習染相傳,繪事日退有由矣。夫繪事之優劣,非有具眼真鋻,豈能懸斷。苟謂四王、湯、戴之作必遠勝於明末各家,何以易國而觀東瀛,即不收四王、湯、戴,而轉重值購青主、龍友、石齋、半千、石濤,可知貴賤帝王之見,越國即消除。比較參觀,真知乃出。余非謂四王之功力非不深,至點染非不悅目,然祇覺皴擦濃厚、邱壑渾円而已,終不如逸人隱士寥寥數筆,畫外自有無限意味,耐人尋賞不盡也。節錄 《輯錄餘譚》。(鄧實)

Collector’s seals

Lin Xiongguang 林熊光 (1897–1971)
Langan miwan 朗庵秘玩 (Leaf A)
Baosong Shi kaocang ji 寳宋室攷藏記 (Leaf II)
Lei Zhai 磥齋 (Leaf J)
Lei Zhai 磥齋 (Leaf JJ)

[1] Translation by Shi-yee Liu.
Lin Xiongguang Taiwanese, 1897–1971 and his descendants, Banqiao, Taiwan (until 1985; sale, Sotheby's New York, June 3, 1985, lot 44; to private collection, Canada); private collection , Canada (1985–2012; sale, Sothey's New York, March 22, 2012, lot 752; sold to MMA)
Related Objects

Landscapes

Artist: Zheng Min (Chinese, 1633–1683) Date: dated 1688 Medium: Album of ten paintings; ink on paper Accession: 1987.408.1a–j On view in:Not on view

Biographies of Lian Po and Lin Xiangru

Artist: Huang Tingjian (Chinese, 1045–1105) Date: ca. 1095 Medium: Handscroll; ink on paper Accession: 1989.363.4 On view in:Gallery 210

Ink Landscapes with Poems

Artist: Gong Xian (Chinese, 1619–1689) Date: dated 1688 Medium: Album of sixteen paintings; ink on paper Accession: 1981.4.1a–o On view in:Not on view

Landscapes in the styles of old masters

Artist: Wang Jian (Chinese, 1609–1677 or 1688) Date: dated 1668 Medium: Album of ten paintings; ink and color on paper Accession: 1979.439a–o On view in:Gallery 216