{
    "data": {
        "id": 138688,
        "accession_number": "1963.102",
        "share_license_status": "CC0",
        "tombstone": "Zhao Mengfu Writing the Heart (Hridaya) Sutra in Exchange for Tea, 1542\u201343. Qiu Ying (Chinese, 1494\u20131552). Handscroll; ink and light color on paper; image: 20.6 x 78.3 cm (8 1/8 x 30 13/16 in.); overall: 21.1 x 553.6 cm (8 5/16 x 217 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1963.102",
        "current_location": null,
        "title": "Zhao Mengfu Writing the Heart (Hridaya) Sutra in Exchange for Tea",
        "creation_date": "1542\u201343",
        "creation_date_earliest": 1542,
        "creation_date_latest": 1543,
        "artists_tags": [
            "male"
        ],
        "culture": [
            "China, Ming dynasty (1368\u20131644)"
        ],
        "technique": "handscroll; ink and light color on paper",
        "support_materials": [],
        "department": "Chinese Art",
        "collection": "ASIAN - Handscroll",
        "type": "Painting",
        "measurements": "Image: 20.6 x 78.3 cm (8 1/8 x 30 13/16 in.); Overall: 21.1 x 553.6 cm (8 5/16 x 217 15/16 in.)",
        "dimensions": {
            "image": {
                "height": 0.206,
                "height_inch": 8,
                "height_inch_fraction": 0.125,
                "width": 0.783,
                "width_inch": 30,
                "width_inch_fraction": 0.8125
            },
            "overall": {
                "height": 0.211,
                "height_inch": 8,
                "height_inch_fraction": 0.3125,
                "width": 5.536,
                "width_inch": 217,
                "width_inch_fraction": 0.9375
            }
        },
        "state_of_the_work": null,
        "edition_of_the_work": null,
        "copyright": null,
        "inscriptions": [
            {
                "inscription": "Inscription accompanying text of \"Heart\" sutra, by Wen Zhengming \u6587\u5fb5\u660e (1470\u20131559):\n \nZhengming \u5fb5\u660e, written in a boat at Kunshan \u5d11\u5c71, on the twenty-first day of the ninth month, in the renyin \u58ec\u5bc5 year, the twenty-first year of the Jiajing era [1542].",
                "inscription_translation": null,
                "inscription_remark": "Wen Zhengming's written text of the Maha Prajnaparamita hridaya sutra (Mo-ho-pang-jo po-lo-mi-to hsin-ching or The Heart of the Perfection of the Great Wisdom, commonly known as the \"Heart\" sutra) is the short form of the original Sanskrit text translated by the Buddhist pilgrim Hs\u00fcan-chuang in 649 (Taisho Shinshu Daizokyo, 1930, VIII, 848; for English translation see Conze, Prajnaparamita Texts, 1974, pp. 142-43).",
                "sortorder": 1
            },
            {
                "inscription": "Colophon by Wang Shih-mou:\nChou Y\u00fc-sh\u00fcn [Feng-lai] of K'un-shan was a scholarly, refined connoisseur of antiquities.  He had acquired the poem written by Chao Ch'eng-chih [Chao Meng-fu] about the exchage of tea for Chao's calligraphy of the Prajna sutra.  But the sutra itself, also written by Chao Meng-fu, is lost.  He therefore asked Ch'iu Shih-fu [Ch'iu Ying] to do a painting and had Wen Cheng-ming, the artist-in-attendance, write the Hridaya Sutra in the \"small, regular\" style for replacement.  Both works are so excellent that even Chao Meng-fu himself would certainly applaud if he should be reborn to see them.  I, Shih-mou, had gotten possession of this scroll from the family of Chou Y\u00fc-sh\u00fcn, and since it was so wonderfully matched with one of the treasures in my collection. the Hridaya Sutra written by Chao Meng-fu for Priest Li in \"running script,\" like the reuniting of two halves of a jade pi, I completed the scroll with the several colophons written for the \"tea-exchange\" poem.  I did this because the painting of Ch'iu Ying and the calligraphy of Wen Cheng-ming are definitely masterpieces by themselves with absolutely no need to depend on any of the colophons written for the Chao Meng-fu poem.  Furthermore, the two sons of Wen Cheng-ming, Shou-ch'eng [Wen P'eng] and Hsiu-ch'eng [Wen Chia]. have each written a colophon explaining the reason for replacing the calligraphy.  As their writings are both acceptable for high standard, I didn't want to throw them away.  [So by separating these into two scrolls] I was able to get two complete works of art in one clever stroke.  I was quite pleased with myself, and hope that those who see this scroll shall not get suspicious because of the missing colophons.\n\nWang Shih-mou wrote in his Jih-sun-chai study, on the first day of the tenth month, in the chia-shen year of the Wan-li era [1584].\n\n(translated by Wai-Kam Ho)",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": 2
            },
            {
                "inscription": "Colophon by Wen P'eng:\nI-shao [Wang Hsi-chi] wrote in exchange for a flock of geese.  Su Tung-po wrote in exchange for meat.  Both episodes have become legends of a thousand years.  Sung-hs\u00fceh [Chao Meng-fu] \"teased\" Priest Kung for tea, and the story was immediately immortalized in the poems by all the famous scholars of the times.  Indeed, how could one say his humor and elegance are not equal to the ancient worthies?  Unfortunately, the poetry has survived but the writing of the sutra is lost.  Y\u00fc-sh\u00fcn [Chou Feng-lai] therefore asked my father to make up the writing and so here is the complete work of art.\n\nRespectfully inscribed by Wen P'eng in the mid-summer of 1543.\n\n(translated by Wai-Kam Ho)",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": 3
            },
            {
                "inscription": "Colophon by Wen Chia:\nSung-hs\u00fceh [Chao Meng-fu], in exchanging tea leaves for his writing of the Prajna, had put himself in the company of Yu-ch\u00fcn [Wang Hsi-chih] who exchanged geese for his writing of the Huang-t'ing sutra [the Yellow Chamber, or the Wai-ching ching, a Taoist text attributed to the Yellow Emperor].  However, was this romantic and cultivated gesture really intended for such small things?  Actually, he was only proud that the excellence of his calligraphy had made him worthy to be the successor of the Ch'in Dynasty master.  Since, very unfortunately, Chao Meng-fu's writing [of the Prajna] was already lost, my father therefore agreed to replace it, and did the calligraphy in the style of the Yellow Chamber.  In addition, Yu-sh\u00fcn [Chou Feng-lai] had asked Mr. Ch'iu Shih-fu [Ch'iu Ying] to do a painting of the sutra writing story in the style of Li Lung-mien at the head of the scroll.  Now it would seem the entire episode should go down in history for immortality.\n\nRespectfully recorded by Wen Chia, on the eighth day of the eighth month, in the year of k'uei-mao [1543].  \n\n(translated by Wai-Kam Ho)",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": 4
            },
            {
                "inscription": "4 colophons and 23 seals:  1 colophon, dated 1543, and 2 seals of Wen Peng (1498\u20131573); 1 colophon, dated 1543, and 2 seals of Wen Chia (1501\u20131583); 1 colophon, dated 1584, and 3 seals of Wang Shih-mou (1536\u20131588); 2 seals of Chou Feng-lai (16th c.); 3 seals of Sung Lo (1634\u20131713);  5 seals of the Qianlong emperor (r. 1736\u201395); 1 colophon, dated 1902, and 1 seal of Fei Nien-tz'u (1885\u20131905); 4 seals of Wan-go H. C. Weng \u7fc1\u842c\u6208 (1918\u20132020); 1 seal unidentified.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": 5
            }
        ],
        "exhibitions": {
            "current": [
                {
                    "id": 304258,
                    "title": "Year in Review (1963)",
                    "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).",
                    "opening_date": "1963-11-27T05:00:00"
                },
                {
                    "id": 358322,
                    "title": "Edwards, Wen Cheng-ming (calligraphy only)",
                    "description": "<i>Edwards, Wen Cheng-ming (calligraphy only)</i>. University of Michigan Museum of Art, Ann Arbor, MI (January 25-February 29, 1976).",
                    "opening_date": "1976-01-25T05:00:00"
                },
                {
                    "id": 304518,
                    "title": "Chinese Paintings: Themes and Techniques",
                    "description": "<i>Chinese Paintings: Themes and Techniques</i>. The Cleveland Museum of Art, Cleveland, OH (February 7-April 5, 1981).",
                    "opening_date": "1981-02-07T05:00:00"
                },
                {
                    "id": 232365,
                    "title": "Wu School Painting Series:  The Art of Qiu Ying",
                    "description": "<i>Wu School Painting Series:  The Art of Qiu Ying</i>. Suzhou Museum, Suzhou, China (organizer) (November 10-December 20, 2015).",
                    "opening_date": "2015-11-10T00:00:00"
                },
                {
                    "id": 312307,
                    "title": "Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c",
                    "description": "<i>Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 13, 2018-February 3, 2019).",
                    "opening_date": "2018-08-13T04:00:00"
                }
            ],
            "legacy": [
                {
                    "description": "<em>Mostra D'arte Cinese</em>. Palazzo Ducale, Venice, Italy (1954).",
                    "opening_date": "1954-01-01T05:00:00Z"
                },
                {
                    "description": "<em>Eight Dynasties of Chinese Painting</em>. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 10-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982).",
                    "opening_date": "1980-11-07T05:00:00Z"
                },
                {
                    "description": "<em>Main Asian Rotation (Gallery 122)</em>. The Cleveland Museum of Art, Cleveland, OH (January 22-April 22, 2002).",
                    "opening_date": "2002-01-22T05:00:00Z"
                }
            ]
        },
        "provenance": [
            {
                "description": "(Wan-go H. C. Weng \u7fc1\u842c\u6208 [1918\u20132020], Lyme, NH, sold to the Cleveland Museum of Art)",
                "citations": [],
                "footnotes": [],
                "date": "?\u20131963",
                "sortorder": 1
            },
            {
                "description": "The Cleveland Museum of Art, Cleveland, OH",
                "citations": [],
                "footnotes": [],
                "date": "1963\u2013",
                "sortorder": 2
            }
        ],
        "find_spot": null,
        "related_works": [],
        "former_accession_numbers": [],
        "did_you_know": "Qiu Ying was born to a peasant family, but his natural talent led him to a successful career as a professional painter with wealthy patrons.",
        "early_education_description": null,
        "artlens_description": null,
        "description": "The Yuan dynasty calligrapher Zhao Mengfu (1254\u20131322) is said to have transcribed the <em>Heart Sutra</em> for a certain priest named Li in exchange for tea. Later, during the Ming dynasty, the professional painter Qiu Ying from Suzhou painted this scene for his patron.<br><br>Here, Zhao Mengfu holds a brush and has a piece of paper laid out before him. On the table is an ink stone, an ink stick, and a small water dropper. Drops of water would dissolve the ink stick into liquid ink when it was ground on the flat square stone.",
        "external_resources": {
            "wikidata": [
                "https://www.wikidata.org/wiki/Q60469037"
            ],
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                "https://archive.org/details/clevelandart-1963.102-zhao-mengfu-writing"
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        "citations": [
            {
                "citation": "Dubosc, Jean Pierre, and Alberto Giuganino. <em>Mostra D'arte Cinese : Catalogo = Exhibition of Chinese Art: Catalogue</em>. Venezia: Alfieri Editore, 1954.",
                "page_number": "cat. no. 815",
                "url": null
            },
            {
                "citation": "Sire\u0301n, Osvald. <em>Chinese Painting: Leading Masters and Principles</em>. New York: Ronald Press, 1956.",
                "page_number": "p. 177",
                "url": null
            },
            {
                "citation": "Lee, Sherman E. \"Literati and Professionals: Four Ming Painters.\" <em>The Bulletin of the Cleveland Museum of Art</em> Vol. 53, No. 1 (January, 1966), pp. 2\u201325.",
                "page_number": "Reproduced: pp. 23\u201325, figs. 16, 17",
                "url": "https://www.jstor.org/stable/25152081"
            },
            {
                "citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.",
                "page_number": "Reproduced: p. 264",
                "url": "https://archive.org/details/CMAHandbook1966/page/n288"
            },
            {
                "citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.",
                "page_number": "Reproduced: p. 264",
                "url": "https://archive.org/details/CMAHandbook1969/page/n288"
            },
            {
                "citation": "Edwards, Richard. <em>The Art of Wen Cheng-Ming (1470-1559)</em>. Ann Arbor: University of Michigan, 1976.",
                "page_number": "Reproduced: cat. no. 39",
                "url": null
            },
            {
                "citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.",
                "page_number": "Reproduced: p. 351",
                "url": "https://archive.org/details/CMAHandbook1978/page/n371"
            },
            {
                "citation": "Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. <em>Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980.",
                "page_number": "Mentioned and Reproduced: pp. 204\u2013206, cat. no. 165",
                "url": null
            },
            {
                "citation": "Lefebvre, E\u0301ric, Mael Bellec, and Ce\u0301dric Laurent. <em>Peindre Hors du Monde: Moines et Lettre\u0301s des Dynasties Ming et Qing: Collection Chih Lo Lou = Shi wai dan qing : Zhi le lou cang Ming Qing shi seng shu hua zhan</em>. Paris: Paris Muse\u0301es, 2021.",
                "page_number": "Mentioned and Reproduced: pp. 16\u201317, fig. 5",
                "url": ""
            }
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