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

明 仿陳淳 雜花圖 冊
Garden Flowers

Artist:
After Chen Chun (Chinese, 1483–1544)
Period:
Ming dynasty (1368–1644)
Date:
dated 1540
Culture:
China
Medium:
Album of sixteen paintings and one leaf of calligraphy; ink and color on paper
Dimensions:
Image (six leaves): 12 13/16 x 22 9/16 in. (32.5 x 57.3 cm)
Image (ten leaves): 13 1/8 x 22 3/4 in. (33.3 x 57.8 cm)
Classification:
Paintings
Credit Line:
Gift of Douglas Dillon, 1986
Accession Number:
1986.266.1a–u
Not on view
Following Shen Zhou’s (1427–1509) example of treating still-life painting as uninhibited “ink plays,” Chen Chun strove to turn his flower paintings into spontaneous “idea writings.” Realistic flower paintings had been a popular subject since at least the tenth century, and Chen Chun was perhaps the greatest exponent of this genre in his time. This album, with a rich variety of spring blossoms, treats flowers not merely as botanical specimens but also as inevitable reminders of the brevity of life, beauty, and material existence.
#7631. Garden Flowers
For Audio Guide tours and information, visit metmuseum.org/audioguide.
Signature: Each leaf bears one of the three artist's seals found after Chen Chun's inscription.

(a, b) Two doublet leaf frontispiece sheets in four large clerical script (lishu) characters- two to a sheet: (a) Baiyang; (b) zahua [Miscellaneous Flowers by Baiyang]

(s, t) Double sheet, inscription by artist: "In the gengzi year of the Jiajing era (1540), I traveled to Yushan and passed by Mr. Chou Liuguan's 'thatched hut' [caotang]. The owner brought out this album, prepared the powdered colors and inscribed it as pictures of miscellanous plants. My stay extended until it became several months and before I knew it, I had filled the album. Those who look at it might best regard it as an album of studies. [signed] Daofu made this [followed by three seals] Baiyang shanren, Chen Taofu shi and Fusheng yin."

Inscription: Colophons:
Leaf t: Wen Peng (1498–1573), right section, in running script
Wang Zhideng (1535–1612), left section, standard script
Leaf u: Jin nong (1687–after 1764)
Edward Elliott; Douglas Dillon , New York (1981–1986; donated to MMA; on loan to MMA from 1981
New York. The Metropolitan Museum of Art. "Peach Blossom Spring," November 21, 1983–June 3, 1984.

Memphis Brooks Museum of Art. "Late Wu School Painting and Calligraphy," September 14, 1984–October 28, 1984.

Fort Worth. Kimbell Art Museum. "Late Wu School Painting and Calligraphy," December 2, 1984–January 27, 1985.

New York. The Metropolitan Museum of Art. "The New Chinese Galleries: An Inaugural Installation," 1997.

New York. Godwin-Ternbach Museum, Queens College, CUNY. "The Light of Infinite Wisdom: Asian Art from the Godwin-Ternbach Museum and Other Collections," October 15, 2003–December 20, 2003.

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

New York. The Metropolitan Museum of Art. "Arts of the Ming Dynasty: China's Age of Brilliance," January 23, 2009–September 13, 2009.

New York. The Metropolitan Museum of Art. "Chinese Gardens: Pavilions, Studios, Retreats," August 18, 2012–January 6, 2013.

Related Objects

River Landscape

Artist: Attributed to Chen Chun (Chinese, 1483–1544) Medium: Handscroll; ink and color on paper Accession: 46.146 On view in:Not on view

Summer Garden

Artist: Chen Chun (Chinese, 1483–1544) Date: ca. 1530 Medium: Hanging scroll; ink and color on paper Accession: 1986.266.2 On view in:Not on view

Poem on the Double Ninth Festival

Artist: Chen Chun (Chinese, 1483–1544) Medium: Folding fan mounted as an album leaf; ink on gold paper Accession: 13.100.50 On view in:Not on view