{
    "data": {
        "id": 139746,
        "accession_number": "1963.515",
        "share_license_status": "CC0",
        "tombstone": "Bamboo, Rocks, and Lonely Orchids (\u7af9\u77f3\u5e7d\u862d\u5716), 1271\u20131368. Zhao Mengfu (Chinese, 1254\u20131322). Handscroll; ink on paper; mounted: 52.4 x 1337.7 cm (20 5/8 x 526 5/8 in.); image: 50.9 x 147.8 cm (20 1/16 x 58 3/16 in.). The Cleveland Museum of Art, John L. Severance Fund by exchange, 1963.515",
        "current_location": null,
        "title": "Bamboo, Rocks, and Lonely Orchids",
        "title_in_original_language": "\u7af9\u77f3\u5e7d\u862d\u5716",
        "creation_date": "1271\u20131368",
        "creation_date_earliest": 1271,
        "creation_date_latest": 1368,
        "artists_tags": [
            "male"
        ],
        "culture": [
            "China, Yuan dynasty (1271\u20131368)"
        ],
        "technique": "Handscroll; ink on paper",
        "support_materials": [],
        "department": "Chinese Art",
        "collection": "ASIAN - Handscroll",
        "type": "Painting",
        "measurements": "Mounted: 52.4 x 1337.7 cm (20 5/8 x 526 5/8 in.); Image: 50.9 x 147.8 cm (20 1/16 x 58 3/16 in.)",
        "dimensions": {
            "mounted": {
                "height": 0.524,
                "height_inch": 20,
                "height_inch_fraction": 0.625,
                "width": 13.377,
                "width_inch": 526,
                "width_inch_fraction": 0.625
            },
            "image": {
                "height": 0.509,
                "height_inch": 20,
                "height_inch_fraction": 0.0625,
                "width": 1.478,
                "width_inch": 58,
                "width_inch_fraction": 0.1875
            }
        },
        "state_of_the_work": null,
        "edition_of_the_work": null,
        "copyright": null,
        "inscriptions": [
            {
                "inscription": "\u7af9\u77f3\u5e7d\u862d",
                "inscription_translation": "Artist's title: Bamboo, Rocks, and Lonely Orchids.",
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "\u5b5f\u982b\u70ba\u5584\u592b\u5beb.\n\n[\u5370] \u8d99\u6c0f\u5b50\u6602; [\u5370] \u677e\u96ea\u9f4b; [\u5370] \u5929\u6c34\u90e1\u5716\u66f8\u5370",
                "inscription_translation": "Artist's inscription and 3 seals [lower left]: \nMengfu wrote [painted] it for Shanfu [Gu Xin's hao].\n\n[seals] Zhao shi Zi'ang; Song xue zhai; Tian shui jun tu shu yin",
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "\u53e4\u4eba\u5584\u66f8\u8005\u5fc5\u80fd\u756b\u9ede\u58a8\u4f5c\u8805\uff0c\u4fbf\u81ea\u6709\u751f\u610f\u3002\u677e\u96ea\u7fc1\u862d\u77f3\u8349\u8056\u98db\u5e1b\u7b46\u6cd5\u7686\u5177\uff0c\u53ef\u5bf6\u4e5f\u3002\u5b89\u967d\u97d3\u6027 [\u5370]\u660e\u5584",
                "inscription_translation": "Those ancients who excelled in calligraphy were also always good in painting. Even a random drop of ink, turned into a housefly [like Chang Sheng-yu] would be full of life, befitting the object. These orchids and rocks by the venerable master Songxue embrace both the brush method of the 'running' style as well as the 'flying white' manner in calligraphy. Indeed, it should be treasured. Han Xing of Anyang.\u3000[seal] Ming Shan",
                "inscription_remark": "Sheet 1. Yuan: colophons 1\u20132 are contemporaries of Zhao Mengfu and Gu Xin; colophons 3\u20135 are friends of Gu Ying, the second known collector.\n \nColophon 1. Han Xing \u97d3\u6027 (1266-1341), a Confucian scholar and teacher active in Shaoxing \u7d39\u8208. Among his many students was Wang Mian (see 1974.26), the master of plum blossoms.",
                "sortorder": null
            },
            {
                "inscription": "Colophon 2. Qiu Yuan \u4ec7\u9060 (1247\u2013after 1328), a respected poet during the Song and Yuan periods. He was linked to, among others, Zhao Mengfu and Gao Kegong. Zhao Mengfu painted a version of Nine Songs \u4e5d\u6b4c\u5716 for him, and Gao Kegong dedicated to him a painting titled Mountain Village \u5c71\u6751\u5716 (current whereabouts unknown). His poem here is also preserved in his collected works.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 3. Zheng Yuanyou \u912d\u5143\u7950 (1292\u20131364), an erudite scholar and teacher of renown, active in Hangzhou and Suzhou. In the 1350s, when Gu Ying\u2019s literary gatherings were at their peak, he was already elderly and participated in a limited way.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 4. Wu Kegong \u5433\u514b\u606d (active mid-1300s), a friend of Gu Ying and Ni Zan \u502a\u74da (1301\u20131374), a major Yuan painter.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 5. Angji \u663b\u5409 (jinshi of 1348), of Western Xia \u897f\u590f origin and a poet of distinction. He wrote an introduction to the painting Literary Gathering at Yushan \u7389\u5c71\u96c5\u96c6\u5716, of which Zhang Wo was the painter",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 2. Yuan: friends of Gu Ying\n \nColophon 6. Wang Zifang \u738b\u5b5c\u65b9 (active mid-1300s), an official who, at the time of his visits to Gu\u3000Ying\u2019s estate, had reached the rank of Minister. He is better known under the name Wang Keju \u738b\u53ef\u77e9.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 7. Ke Jiusi \u67ef\u4e5d\u601d (1290\u20131343), a major official who served in the Kuizhang Pavilion \u594e\u7ae0\u95a3 and as an advisor to Emperor Wenzong in matters of calligraphy and painting.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 8. Yu Li \u4e8e\u7acb (active mid-1300s), a Daoist recluse, poet, and close friend of Gu Ying, so much so that during his visit to Gu Ying\u2019s estate he was given accommodation in a special pavilion. His poem here is also preserved in Gu Ying\u2019s Cao tang ya ji.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "\u81f3\u6b63\u5341\u4e00\u5e74\u5341\u6708\u5eff\u516b\u65e5\u7537\u5955\u767e\u62dc\u5807\u89c0 [\u5370] \u8d99\u5955",
                "inscription_translation": "Zhizheng, eleventh year [1351], tenth moon, twentieth-eighth day [your] son, I, after paying respects, carefully examined [this].\n[seal] Zhao Yi",
                "inscription_remark": "Sheet 3. Yuan: further friends of Gu Ying\n \nColophon 9. Zhao Yi \u8d99\u5955 (active mid-1300s), the third son of Zhao Mengfu after Zhao Yong \u8d99\u96cd (about 1289\u2013about 1362). His colophon here is dated 1351.",
                "sortorder": null
            },
            {
                "inscription": "Colophon 10. Yu Ji \u865e\u96c6 (1272\u20131398), a major official and literary figure who also served in the Kuizhang Ge. His poem is recorded in his collected works. The poem is one of a set of four inscribed at the request of Wang Huayu \u6c6a\u83ef\u7389 on Orchids and Rock \u862d\u77f3\u5716 by Zhao Mengfu, obviously a different, long lost, painting. Wang Huayu was an official and a collector (jinshi of 1327). Yu Ji\u2019s colophon here was written before 1348 and during his retirement in Linchuan \u81e8\u5ddd, Jiangxi, possibly sent from there. It is possible he had not seen the painting, and his calligraphy here appears to be rather casual and detached, jotting down an old poem without much care, contrary to his earlier practice.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 11. Sun Shi \u5b6b\u6642 (mid-1300s\u2013early 1400s), a native of Yuncheng \u9106\u57ce, Shandong, and a jinshi of 1390. He may have been quite young when paying a visit to the Yushan gatherings in the late 1340s and early 1350s.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 12. Zhang Zhu \u5f35\u7fe5 (1287\u20131368), Qiu Yuan\u2019s disciple and a poet of renown, who enjoyed a belated career in officialdom and was known for his integrity.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 4. Yuan and Ming: further friends of Gu Ying; colophon 17 begins the early Ming sequence.\n \nColophon 13. Zhang Wo \u5f35\u6e25 (active c. 1336\u2013after 1364), a frustrated scholar, a poet, and a painter of landscape and figures. An active participant in Gu Ying\u2019s literary circle, he painted the Literary Gathering at Yushan, a pictorial document of the individuals and activities on Gu Ying\u2019s estate. His rendering of Nine Songs is well known, and one version is in the collection of the Cleveland Museum of Art (see 1959.138). His poem here is also found in Gu Ying\u2019s Cao tang ya ji, under the entry \u201cti Zhao Hanlin mo lan \u984c\u8d99\u7ff0\u6797\u58a8\u862d\u201d (inscribed on the Ink Orchid by Zhao the Hanlin academician). This is a rare instance of calligraphy as well as signature by the artist.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "\u89c0\u5433\u8208\u516c\u7af9\u77f3\u5e7d\u862d\u5716\u4f7f\u4eba\u9119\u541d\u9813\u6d88\u3002\u5176\u7b46\u52e2\u5f9e\u6a6b\u5929\u771f\u721b\u6fb7\uff0c\u4e00\u51fa\u65bc\u4e8c\u738b\u66f8\u6cd5\u3002\u519d\u4ef2\u745b\u5bf3\u800c\u73a9\u4e4b\u7570\u65bc\u5e38\u54c1\u4e5f\u3002\u81f3\u6b63\u516b\u5e74\u5341\u6708\u5929\u53f0\u9673\u57fa\u66f8",
                "inscription_translation": "On seeing the Bamboo, Rocks, and Lonely Orchids by the Duke from Wuxing [Zhao Mengfu], one feels one is suddenly cleansed of lowly and narrow-minded sentiments. His brush moves so freely at his will, vertically and horizontally [as though meeting no resistance]. It comes so naturally with a disarming flair of naivet\u00e9 and earnestness, as though coming directly from the calligraphies of the Two Wangs [Wang Xizhi and his son, Wang Xianzhi]. No wonder it has been so much more treasured and enjoyed by Zhongying [Gu Dehui, or Gu Ying, 1310-1369] than other ordinary works. Written on the tenth day of the fourth month of the eighth year of Zhizheng [1348]. Chen Ji of Tiantai.",
                "inscription_remark": "Colophon 14. Chen Ji \u9673\u57fa (d. 1370), a scholar-official with a literary bent who was a close friend of Gu Ying and an active participant in the literary gatherings in the latter\u2019s Yushan retreat. His colophon is dated 1348.",
                "sortorder": null
            },
            {
                "inscription": "Colophon 15. Zhang Shen \u5f35\u7d33 (active about 1340\u2013after 1385), a respected calligrapher and participant in Gu Ying\u2019s literary gathering. He resided in Kunshan, the same city where Gu Ying\u2019s estate lies. In the third line of the poem, he mentioned Gu Ying\u2019s hao, \u201cJinsu \u91d1\u7c9f.\u201d This was a name he assumed later in life, after the death of his mother in the year 1356. Thus this inscription must have been written after that date.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 16. Wang Sun \u6c6a\u905c (active mid-14th century), a little-known native of Kuaiji \u6703\u7a3d, who may have been one of the infrequent visitors to Gu Ying\u2019s estate.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 17. Hu Guang \u80e1\u5ee3 (1370\u20131418) is the first Ming colophon writer on this scroll. He was an official of great power in the court and a trusted advisor of Emperor Chengzu; he served as the Grand Academician of the Hall of Literary Profundity \u6587\u6df5\u95a3\u5927\u5b78\u58eb and Grand Academician of the Left Secretariat of the Heir-Apparent \u5de6\u6625\u574a\u5927\u5b78\u58eb.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 5. Early Ming\n \nColophon 18. Wang Yinshi \u738b\u5c39\u5be6 (active about 1403\u2013about 1424), a native of Siming \u56db\u660e, Zhejiang, and a minor official and calligrapher.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 19. Zhang Yuchu (signed here as \u201cWuwei \u7121 \u70ba\u201d), the forty-third Heavenly Master of the Zhengyi sect of Daoism. A man of erudition, he was also a poet, painter, and calligrapher. A modified version of the poem here was published in his collected works titled Xian quan ji \u5cf4\u6cc9\u96c6. A slight modification in the first line is the only change: \u201cWu xing miao yao nian bing xue zi \u5433\u8208\u7385\u5e74\u6c37\u96ea\u59ff.\u201d",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 20. Yao Guangxiao \u59da\u5ee3\u5b5d (1335\u20131418), a Buddhist monk, scholar, and counselor to Chengzu in his successful attempt at usurpation of the throne. Yao Guangxiao was a controversial figure but wielded enormous power.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 6. Wang Ning alone\n \nColophon 21. Wang Ning \u738b\u5be7 (d. 1411) signed as \u201cQingzhen \u6e05\u771f\u201d in this colophon. One of the three seals reveals his identity as the Yongchun Hou \u6c38\u6625\u4faf [Marquis of Lasting Spring] (appointed 1402), and the husband of Princess Huaiqing \u61f7\u6176\u516c\u4e3b (1328\u20131398), the sixth daughter of the founder of the Ming dynasty, Zhu Yuanzhang. This colophon postdates 1402.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 7. Mid-Ming\n \nColophon 22. Ou Yi\u2019an \u5340\u6613\u5b89 (active first half of 15th century), unknown",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 23. Chen Lian \u9673\u7489 (1370\u20131454), a native of Dongguan \u6771\u839e, Guangdong \u5ee3\u6771, and an official admired for his erudition and perspicacity. In view to the known calligraphic style of Chen Lian, this colophon appears to be a transcription and not written by him.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 24. Wei Ji \u9b4f\u9a65 (1374\u20131471) enjoyed longevity (he lived to the age of ninety-eight) and an extended length of service as an official. A jinshi of 1406, he eventually became the Minister of Personnel in Nanjing \u5357\u4eac\u540f\u90e8\u5c1a\u66f8. The colophon here is dated 1434, when he was invited to view the painting by the Court Musician Mo Zhizhong \u83ab\u81f3\u7fc0, its owner. Again, in view of its calligraphic style, this was not written by him, but is a transcription from the original.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 25: Zhang Yi \u7ae0\u93b0 (active 1462\u20131473), a Ningbo native and an official with a reputation for courage and integrity.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 8. Further mid-Ming\n \nColophon 26. Yin Zhi \u5c39\u76f4 (1427-1511), a controversial figure in Ming politics in spite of his erudition and high position as the Minister of War \u5175\u90e8\u5c1a\u66f8.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Colophon 27. Zou Yu \u9112\u865e (active 1460\u20131520; jinshi of 1490), a native of Hangzhou. In 1510, he was appointed Administrative Vice Commissioner in Guangdong.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 9. Xu Shouhe \u5f90\u5b88\u548c alone\n\nColophon 28. Xu Shouhe \u5f90\u5b88\u548c dated his entry in 1629. Since he wrote it in his own studio, The Lesser Qingbi Pavilion \u5c0f\u6e05\u959f, he was likely the owner of the scroll. Xu\u2019s life is not well documented; he was a connoisseur of note during the last years of the Ming dynasty rule. He may have acquired the Cleveland scroll from Wu Ting, whose seals appear here.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            },
            {
                "inscription": "Sheet 10. The mounter\u2019s note.\n\nXu Shudong \u5f90\u66d9\u6771 of Jiaxing \u5609\u8208 made the remounting on the first day of sixth month, 1802.",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            }
        ],
        "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": 301895,
                    "title": "The Colors of Ink",
                    "description": "<i>The Colors of Ink</i>. Asia House Galleries (January 10-March 3, 1974); The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-May 12, 1974).",
                    "opening_date": "1974-01-10T04:00:00"
                },
                {
                    "id": 444120,
                    "title": "Looking East: Yuan Dynasty Paintings",
                    "description": "<i>Looking East: Yuan Dynasty Paintings</i>. Taft Museum of Art, Cincinnati, OH (organizer) (September 15-November 6, 1976).",
                    "opening_date": "1976-09-15T04:00:00"
                },
                {
                    "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": 304517,
                    "title": "Eight Dynasties of Chinese Painting",
                    "description": "<i>Eight Dynasties of Chinese Painting</i>. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 11-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982).",
                    "opening_date": "1981-02-11T05:00:00"
                },
                {
                    "id": 304561,
                    "title": "Visions of Landscape: East and West",
                    "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).",
                    "opening_date": "1982-02-17T05:00:00"
                },
                {
                    "id": 311446,
                    "title": "Asian Autumn: Masterpieces from the Collection",
                    "description": "<i>Asian Autumn: Masterpieces from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992).",
                    "opening_date": "1991-09-17T04:00:00"
                },
                {
                    "id": 231365,
                    "title": "Masterpieces of Early Chinese Painting and Calligraphy in American Collections",
                    "description": "<i>Masterpieces of Early Chinese Painting and Calligraphy in American Collections</i>. Shanghai Museum, Shanghai, China (organizer) (November 1, 2012-January 3, 2013).",
                    "opening_date": "2012-11-01T00:00:00"
                },
                {
                    "id": 298005,
                    "title": "Inspired by Chinese Landscape and Art \u2013 Chinese Gallery Rotation 240a, 241c",
                    "description": "<i>Inspired by Chinese Landscape and Art \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 14, 2017-February 5, 2018).",
                    "opening_date": "2017-08-14T04:00:00"
                }
            ],
            "legacy": [
                {
                    "description": "<em>Chinese Art Under the Mongols: The Yu\u0308an Dynasty, 1279-1368</em>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 24, 1968).",
                    "opening_date": "1968-10-01T00:00:00"
                }
            ]
        },
        "provenance": [
            {
                "description": "Gu Xin \u9867\u4fe1 [1279\u20131353]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 1
            },
            {
                "description": "Gu Ying \u9867\u745b [1310\u20131369]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 2
            },
            {
                "description": "Mo Zhichong \u83ab\u81f3\u7fc0 [1400s]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 3
            },
            {
                "description": "Wu Ting \u5433\u5ef7 [first half of 1600s]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 4
            },
            {
                "description": "Xu Shouhe \u5f90\u5b88\u548c [1600s]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 5
            },
            {
                "description": "Liang Qingbiao \u6881\u6e05\u6a19 [1620\u20131691]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 6
            },
            {
                "description": "Tang Zuomei \u5510\u4f5c\u6885 [late 1700s\u20131800s]",
                "citations": [],
                "footnotes": null,
                "date": null,
                "sortorder": 7
            },
            {
                "description": "(Frank Caro [1904\u20131980], New York, NY, sold to the Cleveland Museum of Art)",
                "citations": [],
                "footnotes": null,
                "date": "?\u20131963",
                "sortorder": 8
            },
            {
                "description": "The Cleveland Museum of Art, Cleveland, OH",
                "citations": [],
                "footnotes": null,
                "date": "1963\u2013",
                "sortorder": 9
            }
        ],
        "find_spot": null,
        "related_works": [],
        "former_accession_numbers": [],
        "did_you_know": "One of the many inscriptions records that the handscroll was last remounted by Xu Shudong \u5f90\u66d9\u6771 of Jiaxing \u5609\u8208 in 1802.",
        "early_education_description": null,
        "artlens_description": null,
        "description": "Bamboo and orchids are motifs associated with the virtues of the scholar-official. Bamboo that bends but does not break stands for moral integrity, endurance, and loyalty. Wild, fragrant orchids that bloom in the shadow symbolize modesty and the aura of learnedness. Rocks are often considered to be miniature versions of mountains that form the universe. This monochrome ink painting is brushed on paper in a masterfully calligraphic manner. While the rocks are delineated in chalky, dry strokes showing the effect of flying white (<em>feibai</em>), the bamboo and orchids are drawn with a swift brush demonstrating the virtuosity of the artist.",
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        },
        "citations": [
            {
                "citation": "Sire\u0301n, Osvald. <em>Chinese Painting: Leading Masters and Principles</em>. New York: Ronald Press, 1958.",
                "page_number": "Mentioned and Reproduced: vol. VI, pl. 22",
                "url": ""
            },
            {
                "citation": "\"Oriental Art Recently Acquired by American Museums, 1963.\" <em>Archives of the Chinese Art Society of America</em> 18 (1964): pp. 69\u201391.",
                "page_number": "Reproduced: p. 71, fig. 10",
                "url": "https://www.jstor.org/stable/20067074"
            },
            {
                "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. 262",
                "url": "https://archive.org/details/CMAHandbook1966/page/n286"
            },
            {
                "citation": "Lee, Sherman E., and Wai-kam Ho. <em>Chinese Art Under the Mongols: The Yu\u0308an Dynasty, 1279-1368</em>. Cleveland, OH: The Cleveland Museum of Art; [distributed by the Press of Case Western Reserve University], 1968.",
                "page_number": "cat. no. 235",
                "url": null
            },
            {
                "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. 262",
                "url": "https://archive.org/details/CMAHandbook1969/page/n286"
            },
            {
                "citation": "Lee, Sherman E. \u201cZen in Art: Art in Zen.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 9 (November 1972): 239\u2013259.",
                "page_number": "Mentioned and Reproduced: pp. 246\u2013247, fig. 8",
                "url": "http://www.jstor.org/stable/25152451"
            },
            {
                "citation": "Lee, Sherman Emery, and James Robinson. <em>The Colors of Ink: Chinese Paintings and Related Ceramics from the Cleveland Museum of Art</em>. New York: Asia Society; distributed by New York Graphic Society, 1974.",
                "page_number": "cat. no. 10",
                "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. 346",
                "url": "https://archive.org/details/CMAHandbook1978/page/n366"
            },
            {
                "citation": "Lee, Sherman E. \"River Village: Fisherman's Joy.\" <em>The Bulletin of the Cleveland Museum of Art</em>. Vol. 66, No. 7 (Oct., 1979), pp. 271\u2013288.",
                "page_number": "Reproduced: pp. 271\u2013288, Fig. 2",
                "url": "https://www.jstor.org/stable/25159640"
            },
            {
                "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": "Reproduced: cat. no. 81, pp. 100\u2013101",
                "url": null
            },
            {
                "citation": "Lee, Sherman E., and Wai-kam Ho. <em>The Nature and Significance of the Collection of Liang Ch\u2019ing-Piao</em>. Taipei, Taiwan: Chung-hua ming-kuo, 1981.",
                "page_number": "Mentioned: p. 134, no. 156",
                "url": null
            },
            {
                "citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (March 1983): 112\u2013135.",
                "page_number": "Mentioned and Reproduced: p. 121, fig. 14",
                "url": "http://www.jstor.org/stable/25159808"
            },
            {
                "citation": "Zhong Yinlan \u949f\u94f6\u5170, ed. <em>A Complete Collection of Chinese Connoisseurs' Seals </em>\u4e2d\u56fd\u9274\u85cf\u5bb6\u5370\u9274\u5927\u5168. Jiangxi Fine Arts Publishing House, July 2008.",
                "page_number": null,
                "url": null
            },
            {
                "citation": "Shanghai bo wu guan \u4e0a\u6d77\u535a\u7269\u9928. <em>Han mo hui cui: xi du Meiguo cang Zhongguo Wu dai Song Yuan shu hua zhen pin</em> [\u7ff0\u58a8\u8588\u8403: \u7ec6\u8bfb\u7f8e\u56fd\u85cf\u4e2d\u56fd\u4e94\u4ee3\u5b8b\u5143\u4e66\u753b\u73cd\u54c1 = Masterpieces of early Chinese painting and calligraphy in American collections]. Beijing: Beijing da xue chu ban she, 2012.",
                "page_number": "Reproduced: cat no. 48, pp. 447\u2013457",
                "url": null
            },
            {
                "citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.",
                "page_number": "Mentioned and Reproduced: pp. 102\u2013108",
                "url": null
            },
            {
                "citation": "Xie, Zhiliu \u8c22\u7a1a\u67f3. <em>Tang Wu dai Song Yuan ming ji </em>\u5510\u4e94\u4ee3\u5b8b\u5143\u540d\u8ff9. Shanghai: Shanghai ren min chu ban she, 2018.",
                "page_number": "Reproduced: pp. 178\u2013185",
                "url": null
            }
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        "creditline": "John L. Severance Fund by exchange",
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                "description": "Zhao Mengfu (Chinese, 1254\u20131322)",
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        "date_text": "1271\u20131368",
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        "updated_at": "2026-07-29 21:01:49.238000"
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}