This album contains paintings by Wang Hui and four of his students. In 1692, Wang was organizing a major imperial commission to commemorate the Kangxi emperor’s 1689 Southern inspection tour, a visit to the empire’s south. As the workshop master, Wang had to find worthy assistants, and this collaborative piece seems to have played a role in the selection, as the four students who worked on this album would go on to assist with the Southern Inspection Tour handscrolls. Each leaf is painted in the manner of a different old master; together, the album expresses Wang Hui’s and his students’ mastery of the landscape painting tradition.
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leaf a
leaf b
leaf c
leaf d
leaf e
leaf f
leaf g
leaf h
leaf i
leaf j
leaf k
leaf l
leaf m
leaf n
leaf o
leaf p
Artwork Details
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王翬、楊晉、顧昉、王雲、徐玫 仿古山水圖 冊
Title:Landscapes after old masters
Artist:leaves a, o, p by Wang Hui (Chinese, 1632–1717)
Artist: leaf b by Xu Mei (Chinese, active ca. 1690–1722)
Artist: leaves c, d by Wang Yun (Chinese, 1652–after 1735)
Artist: leaves e,f,g,h,i,j by Yang Jin (Chinese, 1644–1728)
Artist: leaves k,l,m,n by Gu Fang (Chinese, active ca. 1690–1720)
Period:Qing dynasty (1644–1911)
Date:dated 1692
Culture:China
Medium:Album of sixteen leaves; ink and color on paper
Dimensions:Image (each leaf): 11 x 12 1/8 in. (27.9 x 30.8 cm)
Classification:Paintings
Credit Line:Gift of Marie-Hélène and Guy A. Weill, 2000
Accession Number:2000.665.2a–p
Signature:
Inscription: Artists’ inscriptions and signatures[1]
Leaf A: Wang Hui 王翬 (1632–1717), “Fishing Village after Guan Daosheng.” Ink on paper (24 columns in semi-cursive script):
“Fisherman’s Song”
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 Mei 徐玫 (active ca. 1690–1722), “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] Xu Mei
《水村圖》，倣趙大年。徐玫
Leaf C: Wang Yun 王雲 (1652–after 1735), “River and Sky: Level Distance.” Ink on paper (1 column in standard script):
"River and Sky: Level Distance" Wang Yun
江天平遠。王雲
Leaf D: Wang Yun 王雲 (1652–after 1735), “Shadowy Summer Grove after Juran.” dated 1692. Ink on paper (4 columns in standard script, dated 1692):
"Shadowy Summer Grove," [painted] by a rainy window in early autumn of the renshen year [1692], studying the [brush] concepts of Juran [active ca. 960–95] Wang Yun of Hanjiang [Yangzhou]
《夏木垂陰》。壬申新秋雨窗，學巨然意。邗江王雲
Leaf E: Yang Jin 楊晉 (1644–1728), “Fishing Cottage Under a Clear Autumn Sky after Zhao Mengfu,” dated 1692. Ink on paper (2 columns in standard script, dated 1692):
"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] Yang Jin
漁莊秋霽。壬申七月既望橅趙文敏筆。楊晉
Leaf F: Yang Jin 楊晉 (1644–1728), “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]
晴江新水漲春潮，草閣幽人坐寂寥。 忽憶村南素心友，正拖竹杖過溪橋。 倣白石翁。
Leaf G: Yang Jin 楊晉 (1644–1728), “Landscape after the Poetic Idea of Wang Wei.” Ink on paper (3 columns in semi-cursive script):
"Beneath tall pines the summer feels cool."[2] Sketching the poetic idea of the Assistant Director of the Right [Wang Wei, 699–759] Wild Crane, Jin
落落長松夏寒。寫右丞詩意。 野鶴晉
Leaf H: Yang Jin 楊晉 (1644–1728), “Bamboo and Rock after Guan Daosheng.” Ink on paper (7 columns in standard and semi-cursive 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 Shuixi Jin
Leaf I: Yang Jin 楊晉 (1644–1728), “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 friend?[3] Yang Jin
雨過郊原曙色分，亂山元氣碧氤氳。 白雲滿案從舒卷，誰道不堪持寄君。 楊晉
Leaf J: Yang Jin 楊晉 (1644–1728), “Mountain Waterfall.” Ink on paper (3 columns in standard script):
For ten days spring clouds have obscured the stream, In the middle of the night a west wind brings the rain to an end. Feeling only the roar of the rolling thunder in the empty valley, From a distance I know that the myriad gorges are vying in their flows. Yang Jin of Yushan
春陰十日溪頭暗，夜半西風雨腳收。 但覺奔霆吼空谷，遙知萬壑正爭流。 虞山楊晉
Leaf K: Gu Fang 顧昉 (active ca. 1690–1720), “Landscape with Temple.” Ink on paper (4 columns in standard script):
In the evening I pass the temple south of the bridge, Leaning on my staff I lightly trod the wilderness path. Birds cry, the spring rain is plentiful, Flowers fall, the midday breeze is fair. Gu Fang
晚過橋南寺，扶黎步野輕。 鳥啼春雨足，花落午風晴。 顧昉
Leaf L: Gu Fang 顧昉 (active ca. 1690–1720), “Reading in a Thatched Studio after Wang Meng.” Ink and color on paper (2 columns in semi-cursive script):
[After] the Yellow Crane Mountain Wood Gatherer's [Wang Meng's, ca. 1308-1385] "Reading in a Thatched Hall”
黃鶴山樵《草堂讀書圖》
Leaf M. Gu Fang 顧昉 (active ca. 1690–1720), “Pavilion by a Stream with Distant Mountains after Wang Fu,” dated 1692. Ink on paper (4 columns in standard script, dated 1692):
After Drafter Wang's [Wang Fu, 1362–1416] "Pavilion by a Stream with Distant Mountains," autumn, the seventh month, in the renshen year [1692], Gu Fang
倣王舍人《溪亭遠山》。壬申秋七月。顧昉
Wang Hui inscription (9 columns in semi-cursive script):
In his studio in Chang'an [i.e., the capital Beijing], from morning till night Ruozhou [Gu Fang] and I daily discussed calligraphy and famous paintings until the second drum [9–11 pm] when we retired. Watching him paint, [his works] truly rival those of the Yuan masters. Wang Hui
長安寓齋與若周晨夕聚首，較論法書名畫，每至二鼓方臥。觀其染翰揮洒，真與元賢頡頏也。王翬
Leaf N: Gu Fang 顧昉 (active ca. 1690–1720), “Landscape after Juran.” Ink on paper (1 column in standard script):
After Juran's [active ca. 960–95] brush [manner], Gu Fang
倣巨然筆。顧昉
Wang Hui 王翬 (1632–1717) inscription (5 columns in cursive script):
Mountain path, whistling wind, the scattered trees part; Small bridge, flowing water, a thatched hut in a grove. Autumn wind, yellow leaves, travelers are scarce; I don’t hear chickens or dogs, I only read my book. Wang Hui
山徑蕭蕭落木疏，小橋流水限林廬。 秋風黃葉少人跡，雞犬不聞唯讀書。 王翬
Leaf O: Wang Hu i王翬 (1632–1717), “Landscape with Sailboat.” Ink on paper (6 columns in semi-cursive script):
Dozing with the fragrance of tea, not a care in the world; In my hand a scroll of the Yellow Court [Sutra]. Leaning on a pillow, the blinds rolled up, I look out on the myriad miles of river; The boatmen don't talk as the wind fill our sails. Shigu Wang Hui
茶香睡覺心無事，一卷黃庭在手中。 欹枕捲簾江萬里，舟人不語滿帆風。 石谷王翬
Leaf P: Wang Hui 王翬 (1632–1717), “Landscape after a Painting by Ni Zan.” Ink on paper (5 columns in standard and 2 columns in semi-cursive script):
Tenth month in Jiangnan, frost has yet to fall, The green maple turns red, the emerald wutong tree yellows[4] Stopping the oars I face the Western mountains as evening falls, Newly [arrived] wild geese inscribe a poem as the little authors pass by. In the jiyou year [1369], Ni Zan
Yunlin [Ni Zan, 1306–1374] studied Guan Tong's [active ca. 907–23] use of slanted brush the way Dongpo [Su Shi, 1036–1101] studied Xu Hao's [703–782] bent brush. Shiguzi [Wang Hui]
十月江南未隕霜，青楓欲赤碧梧黃。 停橈坐對西山晚，新雁題詩小著行。 己酉歲，倪瓚
雲林學關仝用側筆，如東坡學徐浩用偃筆。石谷子
Artists’ seals
Wang Hui 王翬 (1632–1717) Wang Hui zhi yin 王翬之印 [Leaf A, M, P] Shiguzi 石谷子 [Leaf M, O, P] Wang Hui 王翬 [Leaf N]
Xu Mei 徐玫 (active ca. 1690–1722) Xu Mei siyin 徐玫私印 [Leaf B]
Wang Yun王雲 (1652–after 1735) Wang Yun 王雲 [Leaf C] Chen Yun 臣雲 [Leaf D] Hanzao 漢藻 [Leaf D]
Yang Jin 楊晉 (1644–1728) Yang Jin 楊晉 [Leaf E, F, G, H, J] Yang Jin zhi yin 楊晉之印 [Leaf I] Zihe shi 子鶴氏 [Leaf I]
Gu Fang 顧昉 (active ca. 1690–1720) Gu Fang 顧昉 [Leaf K, L, M, N] Ruozhou 若周 [Leaf K]
Label strips
1. Zhang Yinchun 張蔭椿 (active late 19th – early 20th c.), 2 columns in standard script, dated 1912; 1 seal (on brocade cover):
Sixteen-leaf collaborative work of Wang Shigu [Hui] and his disciples; 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 [1912]. [Seal]: Yinhu jushi
王石谷師弟合璧十六葉 虛齋鑑藏。壬子冬十月印瓠題籤。[印]：印瓠居士
2. Zou Mengchan 鄒夢禪 (1904–1986), 2 columns in standard script, dated 1955:
Sixteen-leaf Album of Master Shigu [Wang Hui] and His Disciples. In the winter, the tenth lunar month of the yiwei year (1955) recorded by Chiweng [Zou Mengchan].
Shigu, three [leaves]; Zihe [Yang Jin], six [leaves]; Ruozhou [Gu Fang], four [leaves]; Hanzao [Wang Yun], two [leaves]; Cairuo [Xu Mei], one [leaf].
石谷師弟十六葉冊，乙未冬十月遲翁記。 石谷三，子鶴六，若舟四，漢藻二，采若一
Collectors’ seals
Sun Yuwen 孫毓汶 (1833–1899) Yuwen 毓汶 [Leaf A-P] Chi An shending 遲庵審定 [Second label strip] Laishan zhenshang 萊山真賞 [Second front-sheet] Jianglao si you zui 將老斯遊最 [Second front-sheet] Laishan shending zhenji 萊山審定真跡 [Second end-sheet]
Pang Yuanji 龐元濟 (1864–1949) Pang Laichen zhenshang yin 龐萊臣珍賞印 [Leaf A, B, D, F, K, M] Xu Zhai jianshang 虛齋鑑藏 [Leaf C, E, G, J, L, O] Xu Zhai shending 虛齋審定 [Leaf H, I, N, P] Wuxing Pang shi zhencang 吳興龐氏珍藏 [First front-sheet] Xu Zhai miwan 虛齋祕玩 [First end-sheet] Laichen shencang zhenji 萊臣審藏真跡 [First end-sheet]
[1] Translations by Maxwell K. Hearn from Hearn, Cultivated Landscapes: Chinese Paintings from the Collection of Marie-Hélène and Guy Weill. Exh. cat. New York: The Metropolitan Museum of Art, 2002, cat. no. 6, pp. 174‒78. [2] This line comes from the fourth of seven poems in the series Tianyuan le; see Quan Tang shi, Beijing: Zhonghua shuju, 1960, p. 1305. For a list of English translations of the poem, see Sydney S. K. Fung and S. T. Lai, 25 T’ang Poets: Index to English Translations, Hong Kong: The Chinese University Press, 1984, p. 522. [3] The reference is to the Daoist Tao Hongjing (451‒536) who regretted that he could not send the emperor the white clouds that surrounded his residence. See “Poem composed in response to emperor Qi Gaodi’s question, `What is in the mountains?’” in Shen Deqian, Gu shi yuan. Reprint. Hong Kong: Zhonghua shuju, 1973, p. 327. [4] The wutong tree is identified as Sterculia platanifolia.
Marking:
Marie-Hélène and Guy A. Weill , New York (until 2000; 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. "The Art of the Chinese Album," September 6, 2014–March 29, 2015.
The Metropolitan Museum of Art. "Learning to Paint in Premodern China," February 18, 2023–January 7, 2024.
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