Scholars of the Liuli Hall commemorates a famous gathering hosted by the poet Wang Changling (act. ca. 713-41) at his official residence in Jiangning (modern Nanjing, Jiangsu Province). An earlier, cut-down version of the same composition, entitled simply Literary Gathering (Palace Museum, Beijing), is attributed to Han Huang (723-787). The costumes and the style in which the figures are drawn, however, relate these works to Zhou Wenju, the great Southern Tang (937-75) court painter who used a "tremulous brush line" (zhanbi) to draw drapery.
In the Metropolitan's scroll, Zhou's tenth-century style has been transformed by a thirteenth-century artist. The sensitively drawn faces are late Song in style; while more schematic than Tang (618-907) examples, they are more solidly and three-dimensionally conceived than those of the late Ming (16th-17th century). In describing the figures' robes, Zhou Wenju's "tremulous brush line" has become a virtuoso performance: elegant fluttering lines, at once playful and confident, are well integrated, and the hooks and curves representing creases and pockets show an extravagant realism matched only by the best late Southern Song Academy figure painters.
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detail
section 8, colophon
section 1, frontispiece
section 2, frontispiece
section 3, frontispiece
section 4
section 5
section 6
section 7, colophon
entire scroll
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Artwork Details
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南宋 佚名 舊傳 五代周文矩琉 璃堂人物圖 卷
Title:Scholars of the Liuli Hall
Artist:Unidentified artist Chinese, late 13th century
Period:Southern Song dynasty (1127–1279)
Date:late 13th century
Culture:China
Medium:Handscroll; ink and color on silk
Dimensions:Image: 12 3/8 × 50 9/16 in. (31.4 × 128.4 cm) Overall with mounting: 15 1/8 in. × 27 ft. 5 1/2 in. (38.4 × 836.9 cm)
Classification:Paintings
Credit Line:Gift of Mrs. Sheila Riddell, in memory of Sir Percival David, 1977
Object Number:1977.49
Inscription: No artist's inscription, signature or seal
Inscription on the painting
Song emperor Huizong 宋徽宗 (r. 1101–1126) [spurious], 2 columns in standard script, undated; 1 seal:
Zhou Wenju's Scholars of the Liuli Hall, a refined work of the divine class. [Seal]: Neifu tushu zhi yin
周文矩《琉璃堂人物圖》,神品工妙也。 [印]:内府圖書之印
Label strip
Di Baoxian狄葆賢 (1873–1941), 1 column in standard script, undated; 1 illegible seal:
Zhou Wenju's Scholars of the Liuli Hall, a genuine work of the divine class, unsurpassed. Treasured in the collection of the Pingdeng Ge Studio.
周文矩《琉璃堂人物圖》真跡,無上神品。平等閣珍藏。
Frontispiece
Di Baoxian 狄葆賢 (1873–1941), 11 large characters in standard script and 2 columns in semi-cursive script, dated 1925; 3 seals:
Zhou Wenju's Scholars of the Liuli Hall of the Divine Class In the first month of winter of the yichou year (1925) Di Pingzi inscribed this in the Baoxian An Retreat. [Seals]: Pingdeng Ge cang, Di Pingzi, Baoxian An
周文矩《琉璃堂人物圖》神品 乙丑孟冬狄平子題於寶賢庵。 [印]:平等閣藏、狄平子、寶賢庵
Label strip
Liu E 劉鶚 (1857–1909), 1 column in standard script, dated 1900:
Zhou Wenju's Scholars of the Liuli Hall, acquired in the twelfth month of the gengzi year. Liu Tieyun (Liu E) inscribed the title strip.
周文矩《琉璃堂人物圖》,庚子臘月得此,劉鐵雲書簽。
Colophons
1. Di Baoxian 狄葆賢 (1873–1941), 4 columns in semi-cursive script, dated 1924; 1 seal:
3. Wang Yijian 王易簡 (late 13th century), 10 columns in standard script, undated; 2 seals:
Zhang Qiao (late 9th c.) of the Tang dynasty (618–907) once wrote a quatrain titled “On Wang Changling’s (690–756) Hall That Has Become Xu Tang’s (late 9th c.) Official Residence in Shangyuan,” which reads:
The guests of the Liuli Hall in those days Have long ceased chanting, but their practice continues in later times. After 140 years, trees in the courtyard have grown old; Now they get to meet poets again.
[Wang] Changling was a native of Jiangning [modern Nanjing region], which later changed its name to Shangyuan. [Zhang] Qiao received his jinshi degree during the Xiantong reign (860–74). The gap between his and Changling’s times roughly corresponds to that mentioned in the poem. The so-called "Liuli Hall" was doubtless in Jinling (Nanjing), so it should be in the repertoire of Jiangnan painting. What I do not know is, several decades after the Xiantong era, for whom [Zhou] Wenju created this painting. Perhaps the drooping old pines are the only relics from the time of Wang [Changling] and Xu [Tang]. [Signed] Wang Yijian from Shanyin [in Zhejiang Province][1] [Seals]: Wang Lide fu, Huayin Yuan
Sir Percival David , London (until d. 1964); his widow Lady David , later Mrs. Sheila Riddell, London (1964–1977; donated to MMA)
Washington D.C. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. "Chinese Figure Painting," 1973.
New York. The Metropolitan Museum of Art. "Traditional Scholarly Values at the End of the Qing Dynasty: The Collection of Weng Tonghe (1830–1904)," June 30–January 3, 1999.
New York. The Metropolitan Museum of Art. "The World of Scholars' Rocks: Gardens, Studios, and Paintings," February 1–August 20, 2000.
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. "Secular and Sacred: Scholars, Deities, and Immortals in Chinese Art," September 10, 2005–January 8, 2006.
Nara National Museum. "Imperial Envoys to Tang China: Early Japanese Encounters with Continental Culture," April 3, 2010–June 20, 2010.
New York. The Metropolitan Museum of Art. "Chinese Gardens: Pavilions, Studios, Retreats," August 18, 2012–January 6, 2013.
New York. The Metropolitan Museum of Art. "Chinese Painting and Calligraphy Up Close," January 25, 2020–June 27, 2021.
Cahill, James. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. Berkeley: University of California Press, 1980.
Suzuki Kei 鈴木敬, ed. Chûgoku kaiga sogo zuroku: Daiikan, Amerika-Kanada Hen 中國繪畫總合圖錄: 第一卷 アメリカ - カナダ 編 (Comprehensive illustrated catalog of Chinese paintings: vol. 1 American and Canadian collections) Tokyo: University of Tokyo Press, 1982, pp. 28–29, cat. no. A1-136.
Morris, Edwin T. The Gardens of China: History, Art and Meanings. New York: Scribner, 1983, p. 57.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 40–41, pl. 6.
Nara Kokuritsu Hakubutsukan 奈良国立博物館. Dai Kentōshi-ten: Heijō sento 1300-nen kinen 大遣唐使展 : 平城遷都1300年記念 (Imperial envoys to Tang China: early Japanese encounters with continental culture). Exh. cat. Nara: Nara Kokuritsu Hakubutsukan, Heisei 22 [2010], pp. 52–53, 298, cat. no. 25.
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