In the Palace, a freehand copy of a tenth-century handscroll by Zhou Wenju, depicts daily life among the palace ladies of the Southern Tang emperor Li Yu (r. 961–75), a renowned patron of the arts who trained his ladies to sing and act out his lyrics.
This twelfth-century copy is not a later painting in an ancient style but an ancient work reincarnated in a later vernacular. In making his copy, the artist chose the “plain-drawing” (baimiao) style of Li Gonglin (ca. 1049–1106), whose nephew commissioned the work in 1140. Concentrating on line, the painter eliminated the colors found in the original. Figures are drawn in the type of strongly calligraphic line admiringly characterized by Song critics as “iron wire.” In this style, the brush tip is kept at the center of the brushstroke to create taut fluid lines.
The twelfth-century painting was later divided into four sections. The Metropolitan’s scroll is the fourth section. The three other sections are in the Bernard Berenson collection, near Florence, Italy; the Cleveland Museum of Art; and the Fogg Art Museum at Harvard University.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
宋 佚名 倣 周文矩 宮中圖 卷
Title:In the Palace
Artist:Unidentified artist Chinese, active early 12th century
Artist: After Zhou Wenju (Chinese, active 940–975)
Period:Song dynasty (960–1279)
Date:before 1140
Culture:China
Medium:Handscroll; ink and touches of color on silk
Dimensions:Image: 10 1/4 × 57 3/4 in. (26 × 146.7 cm) Overall with mounting: 10 11/16 in. × 29 ft. 11 7/8 in. (27.1 × 914.1 cm)
Classification:Paintings
Credit Line:Purchase, Douglas Dillon Gift, 1978
Object Number:1978.4
Inscription: No artist’s inscription, signature, or seal
Label strip
Unidentified artist, 1 column in standard script, undated:
唐楊昇 《春閨士女圖》
Collectors' seals
Unidentified Liu Yunlong yin 劉雲龍印 Jun si (half seal) 軍司(半印) Chang (half seal) 昌(半印) Dan ? 澹□ He dan zhai ? zhi yin 何澹齋□之印
Graphic seal: 1
Illegible: 3
Sir Percival and Lady David (Sheila Riddell), London, by 1954; [ Sheila Riddell , London, by 1954 until 1978; sold 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. "Great Waves: Chinese Themes in the Arts of Korea and Japan II," March 22–September 21, 2003.
New York. The Metropolitan Museum of Art. "The Douglas Dillon Legacy: Chinese Painting for the Metropolitan Museum," March 12–August 8, 2004.
Shanghai Museum. "Masterpieces of Chinese Tang, Song and Yuan Paintings from America," November 3, 2012–January 3, 2013.
Princeton University Art Museum. "The Eternal Feast: Banqueting in 10th - 14th Century Chinese Art," October 19, 2019–February 9, 2020.
Cahill, James. An Index of Early Chinese Painters and Paintings: T'ang, Sung, and Yüan. Berkeley: University of California Press, 1980.
Wang Yuanqi 王原祁 et al, ed. Peiwen Zhai shuhua pu 佩文齋書畫譜 (Encyclopedic compilation of writings on calligraphy and painting by the Peiwen Zhai Studio). Dated 1708, juan 100. Reprinted. Shanghai: Shanghai guji chubanshe, 1991, vol. 5, p. 432.
Sun Yueban 孫岳頒 et al. Peiwen Zhai shuhua pu 佩文齋書畫譜 (Encyclopedic compilation of writings on calligraphy and painting of the Peiwen Zhai Studio). Preface dated 1708. Reprinted. Shanghai: Shanghai guji chubanshe, 1991, vol. 4, pp. 527–28.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 34–37, pls. 5, 5a.
Bian Yongyu 卞永譽. Shigu Tang shuhua huigao 式古堂書畫彚考 (Studies of calligraphy and painting of the Shigu Tang Studio). Preface dated 1682, juan 11. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 6, p. 935.
Gu Fu 顧復. Pingsheng zhuangguan 平生壯觀 (The Great Sights of My Life). Preface dated 1692, juan 7 of painting section. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of Classical Publications on Chinese Painting and Calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 4, p. 965.
Wang Keyu 汪砢玉. Wang shi shanhu wang minghua tiba 汪氏珊瑚網名畫題跋 (Inscriptions on famous paintings from the Coral Net). Preface dated 1643. Juan 1. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 5, p. 1008.
Yu Fengqing 郁逢慶. Xu shuhua tibaji 續書畫題跋記 (Sequel to Records of inscriptions and colophons on calligraphies and paintings). After 1634, juan 1. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 4, pp. 672–73.
Zhang Chou 張丑. Qinghe shuhua fang 清河書畫舫 (Painting and calligraphy barge at Qinghe). Preface dated 1616, juan 7. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000.
Zhang Chou 張丑. Qinghe shuhua fang 清河書畫舫. Preface dated 1763. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 4, p. 255.
Törmä, Minna. Landscape Experience as Visual Narrative: Northern Song Dynasty Landscape Handscrolls in the Li Cheng–Yan Wengui Tradition. Helsinki: Academia Scientiarum Fennica, 2002, p. 107, fig. 50.
Lesbre, Emmanuelle, and Liu Jianlong. La Peinture chinoise (Chinese painting) Paris: Hazan, 2004, pp. 117–18, fig. 85.
Kwok, Zoe S. The Eternal Feast; Banqueting in Chinese Art from the 10th to the 14th Century. Exh. cat. Princeton, N. J.: Princeton University Art Museum, 2019, pp. 55, 127, 129–35, cat. no. 24.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Asian art—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and most comprehensive in the world.