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Photo: Susan Dirk

Wangchuan Villa

17th century

Style of Wang Wei

Chinese

Artist Unknown artist


Ink and color on silk, Overall: 36 ft x 11 13/16 in., Eugene Fuller Memorial Collection, 47.142,

Inscribed: Inscriptions 本幅隸書題:王摩詰本輞川圖。 籤題:宋郭忠恕輞川圖。寒雲。 拖尾: 題跋一 王右丞輞川圖與余昔在杭苕故 家見者一様。前有集賢院御書印, 内合同印。題摩詰本。後書河北郭 忠恕奉命復本。則知為江南李 後主時臨本也。虎賁中郎, 更無辨處。郭亦妙筆矣!右丞唐 開元天寳朝士,名維,字 摩詰,工詩畫。輞川其所居, 自冩為圖。精宻細潤,在小李 將軍著色山水上(以小字注並用於天京上)。今如魯寳玉 大弓,絶無僅有,吾昻霄 珍之攜上天京, 名公相一見,賞識鍳定,價增 十倍。大德戊戌冬至,廬陵民八十叟李珏元暉敬 跋贅絶句: 園圖親畫早流傳,已是人 間五百年。凝碧池頭 秋句在,當時幾負此林泉。 Colophon no. 1: This painting, Picture of Wang Wei’s Country Retreat at Wang River, resembles the one I witnessed in the same seal on its picture. Its inscription indicated it was the work by Wang Wei (701–761) himself. From the fact that this painting’s postscript calls it a copy of Wang’s original painting, a copy made, upon the imperial request, by Guo Zhongshu, a native of Hebei, we know for certain that this painting is a later replica. That the replica and the original, extremely alike, cannot be distinguished speaks for Guo’s wonderful skills. An official during the Reigns of Tianbao and Kaiyuan of the Tang, Mr. Wang had as his given name Wei, and alias Mojie. He was good at writing poems and painting. Wang River is where he had his country retreat which he made a subject for his painting. Superior to the color paintings by Li Zhaodao (ca. 8th c.) for their precise details and delicate smoothness, Wang’s paintings are now extremely rare, hard to come by like the bow decorated with precious stones mentioned in the classics. Now my friend Xiaozhen’s bringing this painting by Guo to the capital has provided an opportunity for various prominent people and high officials to see and authenticate this work. As a result, the value of this painting has increased ten times. —Eighty-year-old man, Li Jue (1219–1307), a native of Luling, on the first day of winter, year of Wuxu (1298) during the Dade’s Reign. I also compose respectfully four lines below: Long in circulation has been the original painting of the Country Retreat, No less than five hundred years has since then passed in the world of men. Master Wang’s poetic lines about the Deep-Green Lake in autumn are still available, Though at his time vicissitudes of life almost rendered waste the fine woods and springs.* *The last two lines allude to what happened during the 755-62 rebellion during the Tang. Upon hearing the the rebel army that occupied the capital held parties by the Deep-Green Lake in the imperial palace, Wang wrote a poem expressing his longing for the official army to return and restore order by recapturing the capital including the Lake and the imperial palace. Wang’s country retreat at the Wang River was about thirty miles south to Chang’an, the capital of the Tang Empire. 題跋二 摩詰嘗與裴廸倡和二十絶,紀輞川之勝,至今讀之,如身遊其間。此本甚精緻,尚可想見其景與詩合之時也。因而和之。其詩自孟城始。 孟城。春風孟城,年年自花柳。當日倦遊人,何處談空有。 華子崗。蜿蜒浮遠空。慘淡凝古色,出雲亦無心,既而返無極。 文杏舘。種杏白雲間,因之葺茅宇。鶯聲烟中曙,虎跡夜來聚。 斤竹嶺。苞竹秀孤嶺,虚籟涵清漪。秋風何時實,鳯飢竹不知。 鹿柴。崖慼石林稠,谷静山泉響。麏麚囿其間,攸伏息下上。 木蘭柴。手折木蘭花,心憶懐沙侶。墜露土可和。金盤羞帝所。 茱萸沜。茱萸綻紫粟,白雲封不開。似待陶元亮,共把菊花杯。 宫槐陌。屯雲隂廣陌,零露濕古苔。中街日亭午,四面風徐來。 臨湖亭。積水涵倒影,萬象凌虚來,魚在山中泳,花從天上開。 南垞。亭亭一風榭,脱屨席可即。階前白鶴雙,相迎似相識。 欹湖。岸巾臨水澨,酒醒呼隠君。收緡玉梭起,摇蕩空中雲。 柳浪。年年黄金縷,照影麴塵漪。誰為南浦贈,紉佩扈江蘺。 欒家瀬。鑿鑿沸白喧,浩浩空青瀉,漁翁互相呼,放船莫輕下。 金屑泉。洗耳山下泉,永念童蒙嵗。敢希作聖功。事心如事帝。 白石灘。湍駛風逾清,水明石可把。倚杖獨移時,白鷗翩然下。 北垞。波影媚松樾,山色麗石間。留連兩川月,不肯下雲端。 竹里舘。此君儼相崎,清坐一晤嘯。天風振空聲。萬境通夕照。 辛夷塢。迎春發蒼柯。映日出瓊蕚。欣欣各自私,先開還早落。 漆園。黽勉殉世名,鞅掌嬰俗務。漆以津自枯,不如樗櫟樹。 椒園。申椒芳馨逺,秉德類幽人。時來薦瑶席,慎勿佞夫君。 天台楊敬德。 藍田可勝宋家荘,認作伊家華子岡。身後不知誰是主,謾留副墨至今香。食淡衣麄識幻身,如何幻境却留神。早知大地非真有,已了前生不二因。呉澂。(應刪) Colophon no. 2: Master Wang Wei once composed twenty-five-character quatrains describing the beauty of his real estate at the Wang River as his response to his friend Pei Xiu, who wrote poems on the same topic. Read today, these poems still make one feel as if one is in the country retreat. This picture is well made, leading the audience to imagine how centuries ago the description in the poem and the actual scene of the retreat match each other. Therefore I write my poems employing the very rhymes used by Master Wang in his twenty poems, which began with the one on The Hollow around the Town of Meng. The Hollow around the Town of Meng Spring wind □ the Town of Meng, Flowers and willows come to life year after year. When the ancient masters returned, slightly weary from their outings, Where did they sit to converse on the [Buddhist] Emptiness and Fullness. Note: The missing word indicated by a dot the two highlighted phrases (孟城始。孟城) should be 坳 (ao). Because the person writing this postscript are using all the original titles in Wang Wei’s twenty poems, one can simply copy from those titles of Wang for any missing words. Huazi Hill Zigzaging to faraway below the high sky, Light and faint is the hill, the color of old. Its peak piercing through the clouds unintently, It returns then to the Boundlessness. The House of Apricot Woods Plating apricot trees in the white clouds, We use the wood to repaie our thatched roof. Along the singing of orioles and cooking smoke comes each morning, Footprints of tigers gather at night. Bamboo Ridge With tall bamboos the lone ridge rises high, Rippling crisply are the sounds of nature. When does the autumn wind brings life? Bamboos know not when the phoenix is hungry.* *It was believed in ancient China that phoenix, a mythical bird, feeds on Bamboo seeds. Deer Park The cliffs look steep, the rocks and forest dense, When the valley is quiet, the springs run louder. Dwelling in the midst are the roebucks and deers, They walk and lie, here and there. Park of Maglonias Picking maglonias with my hand, I have my heart go out to my friends. The dripped dew mixes with the earth, On a plate of gold the flowers do not admire the imperial palace. Cornel Shore Cornel flowers blossom, producing purple seeds, White clouds rolling without opening up. As if they are awaiting the poet Tao Yuanliang, Till they can raise together the chrysanthemum-shaped cups. Road with Locust Trees Gathered clouds shadow the wide road, Scattered dew drops make wet the old moss. Pointing to mid-day, the sun is at the zodiac position called Zhongjie, When gentle wind comes from all four directions. The Pavillion by the Lake On the surface of water shadows are cast up-side-down, Through their reflections [on water], a myriad of images come: In the midst of mountains fishes swim, From the sky flowers blossom. South Hill Rising high is the pavilion in the wind, Off with sandals one can climb up to sit in it. The white crane twins strolling before the stairs, They welcome one just arriving as if they are his acquaintances. Lake Qi Coming to the water side with my hat leaning on the head, I wake up from my drunkenness and call my hermit friend. When the fishing cord is pulled, fish on the hood shoots out of the water, Swinging and swaying in the air, it jumps among the clouds. The Willow Trees Swinging like Waves Locks and locks of golden willow twigs come every year, Their reflections in the water ripple and dimple. What is the appropriate to be given to a departing friend, This riverside alga [i.e., willow twig]* is what one remembers friends by. *Breaking a twig or twigs from the willow tree to give to a departing friend at riverside is a stock scene of farewell described in traditional Chinese poetry. Luanjia River Roaring and bellowing, the sounds of the water gushing forth, Mighty and torrential, the look of the river running through. Calling for caution, the fishermen warn each other: With great care, when setting your boat to the river. Jinxie Spring Washing one’s ears in the spring at the foot of the hill, One longs for one’s past of juvenile ignorance. Dared by the hope to pursue some holy task, One cultivates one’s mind the same way as one serves the ruler. White Rock Beach As one sails along the gushing current, the wind turns refreshing, The water becomes so clear that the rocks in the river look close. One stands leaning against one’s cane, time is the one thing moving, While white seagulls glide down in the sky. North Hill Reflection for the water cast on the shade of the pine trees, The color of the mountains beautifies the rocks. Lingering between the valleys there is the moon, Staying above the clouds, it is reluctant to come down. The Bamboo Grove House Aloof and unyielding do the bamboos look, Standing by themselves, they accompany and converse with man. They make hollow sounds echoing the wind from the sky, A myriad of scenes as their backgrounds, they filter through the beam from the evening sun. Lily Dock When spring arrives, new buds grow on trees of lily magnolia, Under the sun they burst into flowers. Lively and happily they remain self-appreciative, Blossoming before other flowers, they fall before other flowers. Lacquer Garden Working hard to earn fame, Busily one surrounds oneself with worldly affairs. Sweating profusely in order to lacquer one’s body for glory till one is dry, That is not as good as to live life like a Chu or Li tree.* *Chu and Li are two types of trees mentioned in the essays by Zhuang Zhou (ca. 369-286 BCE). Because their wood is not useable for anything, furniture, building materials, or boats alike, these two trees, usually spared by carpenters, tend to live long. It is worth pointout out in passing that the poem’s title “Lacquer Garden” also references to Zhuang Zhou who, once serving as a low-rank official at a place called Lacquer Garden,” is often referred to as Lacquer Garden or Qi Yuan. Garden of Prickly Ash Prickly ash, it has its fragrance which goes faraway, Its virtue is much like that of the hermit. Offering itself to be the material to make sitting mat, It is careful not to cringe before gentlemen or the rule. —Yang Jingde (14th c.), a native of Tiantai. 題跋三 開元宇宙承平日,華子岡頭曾燕適。至今自貌輞川圖,下有幽人交莫逆。 辛夷塢外茰沜隔,亦復扁舟春蕩潏。竹君氷霰嵗寒傲,未辨申椒能辨屈。平生雅志厭朝市,醒醉悠哉睠泉石。是間山水無限趣,况廼佳賔得裴廸。規模想像郭忠恕。垂四百年留神迹,鶯啼花落香句在。誰信長安歎凝碧,後來拊卷意迷茫。且復追惟三太息。 海南金元帥出此圖與予,三十年前,張公有家觀摩詰真卷,無不似昔,則忠恕殆神仙者流。信名下之士無虚也,海粟子振書。 Colophon no. 3: During the Reign of Kaiyuan (), and when the entire world enjoyed peace, Sparrows flew over the peak of the Huazi Hill. Because, up till today, still available is the picture of Wang River Retreat painted by the Master himself, Hermits living years later are able to frequent the place. Near the Lily Dock is the Cornel Shore, There are also small boats rowing on water in the spring. Standing proudly and bravely to face the ice of winter, The bamboos who cannot recognize prickly ash know what is wrong. Embracing the hermit spirit and taking an apathy to the city and court, One in drunkenness and in wake affiliates effortlessly with the rocks and springs. The mountains and creeks here already appeal with their unresistable charm, The pleasure they provide receives enhancement by the marvelous guest called Mr. Pei Di. Then there came the painter Guo Zhongshu who exercised his imagination, He painted the fascinating picture of the Retreat four hundred years after it was built. With orioles still singing and flowers forever falling, images perpetuated in the poetic lines, Who can believe that Master Wang later had the reason to lament over Chang’an, the capital, and the Deep-Green Lake in the imperial palace? Later audience of the painting like me would caress gently the scroll with a sense of loss, And I sigh heavily three times. Marshall Jin from Hai’nan shows this painting to me. Thirty years ago at Mr. Zhang’s house I witnessed Master Wang Wei’s original. Now the current painting by Guo resembles the original in every detail, which proves Zhongshu to be an incredible master painter, a fact that convinces one that famous people never failed to live up to their fame. —Postscript by (Feng) Zizhen (1257-?), studio alias Haisu 題跋四 輞川圖有二本,此從矮本所臨,畫格高絶,觀此猶有生意,為賦短句。袁桷。 詩中傳畫意,畫裏見詩餘。山色無還有,雲光卷復舒。前溪漁父宿,舊宅梵王居。千古風流在,披圖儼起予。 Colophon no. 4: There are two versions of the Picture of Wang River Retreat. This one is a replica of the version with lower width, which is most elegant in its style. Even from the replica the elegance is apparent. I compose below a short poem to praise the painting. —Yuan Jue (1266–1317) The poem carries forward the meaning of the painting, The painting illustrates what is implied in the poem. The mountains look so faint that they appear clear to the eyes, The clouds rolled up with their shine only to spread in the sky. The head of the creek, the dwelling place for the fishermen, The ancient retreat, the residence of the Buddhist Wang.* Lingering around are the unrestrained spirit and behavior despite the passing of centuries, Having gazed for long at the picture I stand up with a solemn look on the face. *A play of words by the poet here. The phrase “Fan Wang” or Buddhist Wang, refers to Wang Wei, a devout Buddhist. But because, when not used as a surname, the term wang can also mean a king or the no. one person for something, the phrase therefore implies that, owing to Wang Wei’s extreme piety of and devotion to Buddhism, he is an utmost Buddhist. 題跋五 是卷設色精雅,筆意生動,洵為宋人名蹟。得時款已失去,讀元人李玨跋。知為郭忠恕複本,當無疑也。馮子振亦元人也,字海粟,官至翰林學士。雖不以書名,其筆法似宗黃山谷,見劉璋書畫史。寒雲。 Colophon no. 5: With its colors set up elegantly and carefully, and its brushwork executed with vividness, this painting is certainly a masterpiece by the Song painter. Upon my acquisition, the inscription was already lost. I learnt it truly and undoubtedly to be a replica by Guo Zhongshu only through the postscript by Li Jue from the Yuan dynasty. Mr. Feng Zizhen, whose studio name was Haisu, was also a person living during Yuan. The highest post of office he occupied was membership of the Imperial Academy. Not known for his calligraphy, the style of Feng’s handwriting seems to model on that of Mr. Huang Tingjian. See for reference in the History of Calligraphy and Painting (1515) by Liu Zhang. —Hanyun (i.e., Yuan Hanyun [1889–1931]) 摩詰本輞川圖,前用集賢院御書印。又内合同印。二十景書悉題,後有河北郭忠恕奉命復本識。卷長二十四尺。王右丞輞川圖。郭忠恕模本。 散氏盤釋文 用夨[戈菐]散邑,廼即散用田。眉:自瀗涉,以南至于大沽,一封;以陟,二封;至于邊,柳。復涉瀗,陟雩[虘又]■■[阜美],以西,封于播城,楮木;封于芻逨,封于芻道;内陟芻,登于厂湶,封[者刀],[木厈]。[阜美]陵崗,[木厈]。封于原道,封于周道;以東封于■東疆;右還,封于眉道;以南,封于 ■ 逨道;以西,至于[工隹]莫。眉井邑田:自桹木道左至于井邑封道,以東一封;還,以西一封;陟崗,三封;降,以南,封于同道;陟州崗,登,[木厈];降,棫;二封。 夨人有司眉田:鮮且、微、武父、西宮襄、豆人虞考、彔、貞、師氏右眚、小門人繇、原人虞艿、淮司工虎、■龠、豐父、[工隹]人有司刑、考,凡十又五夫。正眉夨舍散田:司徒逆、司馬單堒、邦人司工[馬京]君、宰德父;散人小子眉田:戎、微父、效■父、襄之有司橐、州■、修從■,凡散有司十夫。 隹王九月,辰才乙卯,夨俾鮮且、■旅誓曰:“我既付散氏田器,有爽,實余有散氏心賊,則爰千罰千,傳棄之。”鮮且、■旅則誓。廼俾西宮襄、武父誓曰:“我既付散氏濕田■田,余有爽變,爰千罰千。”西宮襄、武父則誓。氒受圖夨王于豆新宮東廷。氒左執要史正中農。 用夨[戈菐]散邑,廼即散用田。眉:自瀗涉,以南至于大沽,一封;以陟,二封;至于邊,柳。復涉瀗,陟雩[虘又]■■[阜美],以西,封于播城,楮木;封于芻逨,封于芻道;内陟芻,登于厂湶,封[者刀],[木厈]。[阜美]陵崗,[木厈]。封于原道,封于周道;以東封于■東疆;右還,封于眉道;以南,封于 ■ 逨道;以西,至于[工隹]莫。眉井邑田:自桹木道左至于井邑封道,以東一封;還,以西一封;陟崗,三封;降,以南,封于同道;陟州崗,登,[木厈];降,棫;二封。 夨人有司眉田:鮮且、微、武父、西宮襄、豆人虞考、彔、貞、師氏右眚、小門人繇、原人虞艿、淮司工虎、■龠、豐父、[工隹]人有司刑、考,凡十又五夫。正眉夨舍散田:司徒逆、司馬單堒、邦人司工[馬京]君、宰德父;散人小子眉田:戎、微父、效■父、襄之有司橐、州■、修從■,凡散有司十夫。 隹王九月,辰才乙卯,夨俾鮮且、■旅誓曰:“我既付散氏田器,有爽,實余有散氏心賊,則爰千罰千,傳棄之。”鮮且、■旅則誓。廼俾西宮襄、武父誓曰:“我既付散氏濕田■田,余有爽變,爰千罰千。”西宮襄、武父則誓。氒受圖夨王于豆新宮東廷。氒左執要史正中農。 豬龍兒嬉錦䙀好,三郎嵗晚歡娱老。阿環姊娣擁華清,朝士宫前誰敢到。右丞脱却尚書履,布襪青鞵㺯烟水。藍田别業堪畫圖,矮本丹青自游戯。 華子岡。輞口荘。湖亭竹舘遥相望,小橋摺轉青紅牕。樹窠歴歴烟蒼蒼,欒家瀬前兩舟上。柳浪一尺春風狂,詩成與和者誰。子我外裴迪。誰能雙丘壑,風流妙如此。安知畫外凄凉意,凝碧池頭天樂聲。白髪纍臣淚如雨。亂後歸來舊第中,墻緑户老秋風。人生過眼皆夢境,乞與山僧開梵宫。半幅呉綃如傳舍,俟誰得此千金價。客來寒具莫匆匆,四百年前御橱畫。按維本傳,輞川乃宋之問别墅,在藍田後表上為。恠恠道人清凉寺臨江李核意山。 張大千柿圖(版畫) 霜重寒多日易曛,離離朱實欲然雲。祇園落葉堪題字,三絕流傳鄭廣文。六十二年癸丑八月朔。爰翁環蓽庵寫。鈐印二:大千唯印大年。環蓽盦。 奉天承運,皇帝制曰:資父事君,臣篤匪 躬之誼;作忠以孝,國家宏 賜類之恩。爾賀一宏,乃捐 職布政司,理問賀王言之 父善積於身,祥開厥後。教 子著義方之訓;傳家裕堂 構之遺。茲以爾子,遵例急 公,贈爾為儒林郎;錫之勑 命。於戲,殊榮必逮於所親; 寵命用光夫有子。承茲優 渥,長芘忠勤。 嘉慶九年十二月 勑命之寶 紫陌香塵逐玉珂,彤樓花暗弄雲和。光風已轉瀛洲草,細雨微生太液波。月榭管絃鳴曙早,水亭簾幕受風多。少秊(年)易感傷春思,喚取青娥對酒歌。至正廿三年春二月四日。尚左生元祐。鈐印一:鄭元祐印。 豐城揭徯斯曾觀。 關夫子像贊 手扶赤日。心格皇天。乾坤並壽。日月同懸。大義凜然。正襟危坐。為萬世師。尼山之佐。康熙四十三年五月十三日白山弟子達禮善敬撰并書

Provenance: Yuan Hanyun袁寒雲 (1889–1931); Baker’s Philadelphia

location
Not currently on view
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http://www1.seattleartmuseum.org/eMuseum/media/full/47.142_6.jpg
http://www1.seattleartmuseum.org/eMuseum/media/full/47.142_7.jpg
http://www1.seattleartmuseum.org/eMuseum/media/full/47.142_8.jpg
http://www1.seattleartmuseum.org/eMuseum/media/full/47.142_9.jpg
http://www1.seattleartmuseum.org/eMuseum/media/full/47.142_10.jpg

Media