Signature: Leaf A: Wang Hui. Fishing Village after Guan Daosheng. Ink on paper (24 columns in running script)
On the Zhenze Marsh [of Lake Tai, Jiangsu Province] in the southeast,
My fishing boat crosses the misty waves day by day.
Mountains appear verdant;
Wine looks gleaming-
In my drunken eyes, the mountains aren't so free [as I].
On the misty expanse of waves is a tiny boat,
In the west wind leaves fall, as autumn arrives on the Five Lakes [Lake Tai].
Bonding with gulls and egrets,
Slighting princes and nobles,
Who cares that the sea-perches don't come for the bait!
Zi'ang [Zhao Mengfu (1254-1322)]
Living in Mt. Yan [Hebei Province] near the imperial palace,
Day and night I think of returning to Eastern Wu [Wuxing region].
To drink tasty wine;
To cook fresh fish-
Without leisure, nothing feels good.
The highest status one can attain in life is that of a prince or noble,
But their wealth and fame are fleeting and they have no freedom.
How can [such a life] compare with that in a tiny boat.
Appreciating the moon, chanting in the wind, and living at home in retirement!
Madame Guan [Guan Daosheng (1262-1319)]
The brush concepts of Lady Guan's authentic small monochrome handscroll painting are elegant and take [the Song monk-artist] Huichong [ca. 965-1017] as her mentor, therefore I have recreated it and also transcribed its inscriptions. Wang Hui
Leaf B: Xu Min. Water Village after Zhao Lingrang. Ink and color on paper (2 columns in standard script)
"Water Village" after Zhao Danian [Lingrang, active ca. 1070-after 1100]
Leaf C: Wang Yun. River and Sky: Level Distance. Ink on paper (1 column in standard script)
"River and Sky: Level Distance"
Leaf D: Wang Yun. Shadowy Summer Grove after Juran, dated 1692. Ink on paper (4 columns in standard script)
"Shadowy Summer Grove," [painted] by a rainy window in early autumn of the renshen year , studying the [brush] concepts of Juran [active ca. 960-95]
Wang Yun of Han Jiang [Yangzhou]
Leaf E: Yang Jin. Fishing Cottage Under a Clear Autumn Sky after Zhao Mengfu, dated 1692. Ink on paper (2 columns in standard script)
"Fishing Cottage Under a Clear Autumn Sky," [painted] on the sixteenth day of the seventh month of the renshen year [August 27, 1692], following the brush [manner] of Zhao Wenmin [Mengfu, 1254-1322]
Leaf F: Yang Jin. Landscape after Shen Zhou. Ink on paper (4 columns in standard script)
In the sunlit river fresh waters have swollen the spring tide,
In the thatched studio a recluse sits alone.
Suddenly he recalls his pure-minded friend from south of the village,
Just as he crosses the bridge carrying a bamboo staff.
After Baishiweng [Shen Zhou, 1427-1509]
Leaf G: Yang Jin. Landscape after the Poetic Idea of Wang Wei. Ink on paper (3 columns in standard script)
"Beneath tall pines the summer feels cool." Sketching the poetic idea of the Assistant Director of the Right [Wang Wei, 699-759]
Wild Crane, Jin
(Shi-yee Liu has identified this line as coming from the fourth of seven poems in the series Tianyuan le; see Quan Tang shi 1960, p. 1305. For a list of English translations of the poem, see Fung and Lai 1984, p. 522.)
Leaf H: Yang Jin. Bamboo and Rock after Guan Daosheng. Ink on paper (7 columns in standard and running scripts)
The lady [Guan] sketches bamboo the way she writes characters,
And doesn't sink into painters' shortcuts.
Her inspiration comes from a mountain dwelling on a bright moonlit night,
Suddenly the [painted] leaves rustle in the autumn wind.
Studying Guan Zhongji's [Daosheng, 1262-1319] ink bamboo
Leaf I: Yang Jin. Cloudy Mountains. Ink on paper (6 columns in standard script)
Dawn's light emerges as the rain lifts from the wilderness expanses,
Revealing the azure mists of the scattered mountains' primal breath.
White clouds fill the table as I unroll the scroll,
Who says they cannot be sent to a fr
王翬之印 Leaves A, M, P
石谷子 Leaves M, O, P
王翬 Leaf N
徐玫私印 Leaf B
王雲 Leaf C
臣雲 Leaf D
漢藻 Leaf D
楊晉 Leaves E, F, G, H, J
楊晉之印 Leaf I
子鶴氏 Leaf I
顧昉 Leaves K, L, M, N
若周 Leaf K
Inscription: Label strip (on brocade cover)
Yinhu (unidentified 20th century), 2 columns in standard script, dated 1912
Sixteen-leaf collaborative work of Wang Shigu [Hui] and his disciples; [formerly] collected and appreciated in the Xuzhai Studio [of Pang Yuanji (1864-1949)]
Yinhu inscribed this title in winter, the tenth month of the renzi year  [seal] Yinhu jushi
Label strip (on the interior title page)
Sun Yuwen (died 1899) 2 columns in standard script, dated 1895
Sixteen-leaf album of the Master, Shigu [Wang Hui], and his Disciples
Shigu, three [leaves]; Zihe [Yang Jin], six [leaves]; Ruozhou [Gu Fang], four [leaves]; Hanzao [Wang Yun], two [leaves]; Cairuo [Xu Mei], one [leaf].
Chiweng [Sun Yuwen] recorded this in winter, the tenth month of the yiwei year 
Label strip (on brocade cover)
虛齋鑑藏。壬子冬十月，印瓠題籤 [印] 印瓠居士
Label strip (on the interior title page)
Marking: First frontispiece page, gold-flecked paper:
Two collector's seals of Pang Yuanji (1864-1949): Laichen xinshang; Wuxing Pangshi
Second frontispiece page, gold-flecked paper:
Two collector's seals, unidentified (20th c.): Laishan zhenshang; Jiang lao si ? zui
Sun Yuwen* (died 1899)
Yuwen Leaves A-P
Chi'an shending Second label strip
Laishan zhenshang Second front-sheet
Jiang lao si you zui Second front-sheet
Laishan shending zhenji Second end-sheet
*Sun Yuwen also owned Qian Xuan's Dwelling in the Floating Jade Mountains; see Zhongguo shuhuajia yinjian kuanshi 1987, v. 2, p. 861.
Pang Yuanji (1864-1949)
Pang Laichen zhenshang yin Leaves A, B, D, F, K, M
Xuzhai jianshang Leaves C, E, G, J, L, O
Xuzhai shending Leaves H, I, N, P
Wuxing Pangshi zhencang First front-sheet
Xuzhai miwan First end-sheet
Laichen shencang zhenji First end-sheet
孫毓汶 (died 1899)
毓汶 Leaves A-P
遲庵審定 Second label strip
萊山真賞 Second front-sheet
將老斯遊最 Second front-sheet
萊山審定真跡 Second end-sheet
龐萊臣珍賞印 Leaves A, B, D, F, K, M
虛齋鑑藏 Leaves C, E, G, J, L, O
虛齋審定 Leaves H, I, N, P
吳興龐氏珍藏 First front-sheet
虛齋祕玩 First end-sheet
萊臣審藏真跡 First end-sheet