id: 140440 accession number: 1964.371 share license status: CC0 url: https://clevelandart.org/art/1964.371 updated: 2023-04-15 11:10:42.624000 Twelve Views of Tiger Hill, after 1490. Shen Zhou (Chinese, 1427–1509). Album of twelve leaves; ink or ink and slight color on paper; overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1964.371 title: Twelve Views of Tiger Hill title in original language: 虎丘十二景圖 series: series in original language: creation date: after 1490 creation date earliest: 1491 creation date latest: 1509 current location: creditline: Leonard C. Hanna, Jr. Fund copyright: --- culture: China, Ming dynasty (1368–1644) technique: Album of twelve leaves; ink or ink and slight color on paper department: Chinese Art collection: ASIAN - Album leaf type: Painting find spot: catalogue raisonne: --- CREATORS * Shen Zhou (Chinese, 1427–1509) - artist --- measurements: Overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.) state of the work: edition of the work: support materials: inscriptions: inscription: [印] 启南; 石田 translation: remark: inscription: 1 colophon and 1 seal of Yao Yuanzhi 姚元之 (1776-1852). The brushwork of this album is aged and powerful. It is so vigorous that it gives you a feeling of the mist and clouds when looking at it. It could not be done by any other than the old master, Shen Zhou. Formerly the album was in the collection of Hu Zhishou's 胡之壽 family. After many changes of hands, it came finally into the possession of Ligeng 笠耕, the Keeper of the Imperial Stable [that is, Binliang 斌良, Manchurian poet-calligrapher, later the Imperial Resident in Lhasa, Tibet, 1784-1847]. Not long ago, when its former owner Zhishou came to visit me and found the album in my study, he sighed in nostalgia and told me that there were originally an inscription and colophons in the album which are now lost. Song Luo 宋犖 [zi 牧仲, 1634-1713] once had a poem by Shen Shitian on the painting of Tiger Hill. [The poem is missing from the album.] It must be a poem written for this album. However, according to Song's own title, the poem was composed after the rhymes and meter of the original poem on the album. Now there is no poem whatsoever in the frontispiece or at the end of the album. Is this what Zhishou meant - that the original colophons and inscriptions are missing? Ligeng, the Keeper of the Imperial Stable, has asked me for a colophon. The album has been left on my desk since last year. How time has passed! On the first day of the jiashen year 甲申 [1824], I returned from the Court Audience. The plum trees in the pots have started to blossom with their first fragrance. How much has this added to my enjoyment of the painting! I therefore write down a few words for your criticism. [signed] the Student of the Grass Leaf Pavilion, Yao Yuanzhi. translation: remark: inscription: 3 seals of Hou Shigong 侯士恭 [late 19th–early 20th century]. (1 each on the colophon, seventh, and eleventh leaves). translation: remark: --- CURRENT EXHIBITIONS title: Year in Review (1964) opening date: 1964-12-08T05:00:00 Year in Review (1964). The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965). title: The Colors of Ink opening date: 1974-01-10T04:00:00 The Colors of Ink. Asia House Galleries (January 10-March 3, 1974); The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-May 12, 1974). title: Visions of Landscape: East and West opening date: 1982-02-17T05:00:00 Visions of Landscape: East and West. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982). title: Asian Autumn: Masterpieces from the Collection opening date: 1991-09-17T04:00:00 Asian Autumn: Masterpieces from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992). --- LEGACY EXHIBITIONS --- PROVENANCE Hu Zhishou 胡之壽 [late 18th–mid 19th century] date: footnotes: citations: Binliang 斌良 [1784–1847] date: footnotes: citations: Hou Shigong 侯士恭 [late 19th–early 20th century] date: footnotes: citations: Richard B. Hobart [1885-1963], Cambridge, MA. Owner of four leaves B = 2, E = 5, F = 6, J = 10. date: footnotes: citations: (Walter Hochstadter [1914–2007], New York, NY, sold to the Cleveland Museum of Art) date: ?-1964 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1964- footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Sirén, Osvald. Chinese Painting: Leading Masters and Principles. New York: Ronald Press, 1956. page number: Mentioned: VII, 299 url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. page number: Reproduced: p. 263 url: https://archive.org/details/CMAHandbook1966/page/n287 Lee, Sherman E. “Literati and Professionals: Four Ming Painters.” The Bulletin of the Cleveland Museum of Art, vol. 53, no. 1, 1966, pp. 2–25. page number: Reproduced: p. 47, figs. 4-15 url: www.jstor.org/stable/25152081 Goepper, Roger. Kunst und Kunsthandwerk Ostasiens; ein Handbuch für Sammler und Liebhaber. München: Keyser, 1968. page number: Reproduced: pl. 97 url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. page number: Reproduced: p. 263 url: https://archive.org/details/CMAHandbook1969/page/n287 Froncek, Thomas, and Hugh Honour. The Horizon Book of the Arts of China. New York: American Heritage Pub. Co., 1969. page number: Reproduced: p. 323 (G) url: The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. page number: Reproduced: p. 349 url: https://archive.org/details/CMAHandbook1978/page/n369 Hironobu Kohara 古原宏伸, Richard Edwards, and Takeo Hibino 日比野丈夫. Shin Shū, Bun Chōmei [沈周 文徴明 = Shen Zhou, Wen Zhengming]. Tōkyō: Chūō Kōronsha, 1978. page number: Reproduced: p. 162, pls. 38 (J), 39 (B), 40 (G), 41 (D) url: Cahill, James. Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580. New York: Weatherhill, 1978. page number: Reproduced: pp. 91-92, pls. 39 (G), 40 (B) url: Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980. page number: Reproduced: pp. 187-190, cat. no. 155 url: Dong, Shouqi 董寿琪, and Yi Xueling 衣学领. Suzhou yuan lin shan shui hua xuan 苏州园林山水画选. Shanghai: Shanghai san lian shu dian, 2007. page number: p. 115 url: Clunas, Craig. Art in China. Oxford: Oxford University Press, 2009. page number: Reproduced: p. 156, fig. 81 url: Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 2015. page number: Reproduced: pp. 245-251 url: Giuffrida, Noelle. Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America. Oakland, California: University of California Press, 2018. page number: Reproduced: p. 160, fig. 89 url: Karlsson,Kim. "Wanderlust: Painting "Famous Mountains and Unexcelled Places." In Longing for Nature: Reading Landscapes in Chinese Art. Kim Karlsson, and Alexandra von Przychowski, 146-203. Zürich: Museum Rietberg; Berlin: Hatje Cantz Verlag, 2020. page number: Mentioned and reproduced: P. 151 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1964.371/1964.371_web.jpg print: https://openaccess-cdn.clevelandart.org/1964.371/1964.371_print.jpg full: https://openaccess-cdn.clevelandart.org/1964.371/1964.371_full.tif