{
"data": {
"id": 147574,
"accession_number": "1973.72",
"share_license_status": "CC0",
"tombstone": "Waiting for the Moon in the Mid Autumn Festival (\u4e2d\u79cb\u5f85\u6708\u5716), 1400s. Shi Rui (Chinese, c. 1400-c. 1470). Handscroll; ink, color, and gold on silk; painting: 27.5 x 155 cm (10 13/16 x 61 in.). The Cleveland Museum of Art, John L. Severance Fund, 1973.72",
"current_location": null,
"title": "Waiting for the Moon in the Mid Autumn Festival",
"title_in_original_language": "\u4e2d\u79cb\u5f85\u6708\u5716",
"creation_date": "1400s",
"creation_date_earliest": 1426,
"creation_date_latest": 1470,
"artists_tags": [
"male"
],
"culture": [
"China, Ming dynasty (1368\u20131644)"
],
"technique": "handscroll; ink, color, and gold on silk",
"support_materials": [],
"department": "Chinese Art",
"collection": "ASIAN - Handscroll",
"type": "Painting",
"measurements": "Painting: 27.5 x 155 cm (10 13/16 x 61 in.)",
"dimensions": {
"painting": {
"height": 0.275,
"height_inch": 10,
"height_inch_fraction": 0.8125,
"width": 1.55,
"width_inch": 61,
"width_inch_fraction": 0.0
},
"overall": {
"height": 0.295,
"height_inch": 11,
"height_inch_fraction": 0.625
},
"frontispiece": {
"height": 0.295,
"height_inch": 11,
"height_inch_fraction": 0.625,
"width": 0.98,
"width_inch": 38,
"width_inch_fraction": 0.5625
},
"end colophon": {
"height": 0.295,
"height_inch": 11,
"height_inch_fraction": 0.625,
"width": 1.18,
"width_inch": 46,
"width_inch_fraction": 0.4375
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "[\u5370] \u77f3\u6c0f\u4ee5\u660e; \u6e38\u622f\u7ff0\u58a8.",
"inscription_translation": "Artist's 2 seals: Shi shi yi ming; You xi han mo",
"inscription_remark": null,
"sortorder": 1
},
{
"inscription": "\u50ca\u5c71\u6a13\u89c0",
"inscription_translation": "Title on frontispiece by Zhu Changyi \u6731\u660c\u9824, dated 1849: Pavilions in the Mountains of the Immortals (Xian shan lou guan) by the Junior General Li of the Tang Dynasty.",
"inscription_remark": null,
"sortorder": 2
},
{
"inscription": "1 inscription, dated 1639, and 1 seal of Xiao Yuncong \u856d\u96f2\u5f93 (1596-1673). \n\nInscription by Xiao Yuncong:\n\nThis is a painting by the Junior General Li. The painting is damaged and cracked at many places. Many of the paper strips for backing have been missing since long ago, but the colors are still fresh as if they had just been applied and the ink still looks moist.\n\nDuring the reign of Tianbao (742-756) of the Tang Dynasty, the Imperial Klansman Li Sixun was summoned to paint the walls of the Datong Hall. He was known as the \"Senior General.\" His son, who came to be known as the \"Junior General,\" was named Zhaodao.\n\nOf the stone epitaph [Li Sixun bei, or the \"epitaph of Li Sixun,\" one of the best known calligraphic monuments of the Tang Dynasty], engraved with the calligraphy of Li Beihai \u674e\u5317\u6d77 [Li Yong \u674e\u9095, 678-747], more than half has fallen off. Why, in contrast, was this painting able to survive? Or could it be that despite the fact that the stone is hard and the silk is soft, their preservation or destruction depends on some other factors? Moreover, since they were titled nobility of imperial descent, it is doubtful that they had the leisure and the mood to indulge in such decorative and descriptive blue and gold painting for the mere amusement of their fellow men. Recently, I read the Yi zhou ming hua lu \u76ca\u5dde\u540d\u756b\u9304 [by Huang Xiufu \u9ec3\u4f11\u5fa9, preface 1005]. I found a certain Li Chin-nu who compared himself with Li Zhaodao \u674e\u662d\u9053 and was called by the Sichuan people the Junior General Li. In a painting which he did, entitled Mt. Ch'ing-ch'eng, the architectural structure of the pavilions, terraces, bridges, and boats are meticulous and accurate. The horsemen on a spring outing are as small as grain and the wild geese among the clouds as tiny as dust. It was also said that he painted on silk of any length in accordance to specific commissions. Is it possible that this painting is one of his? Since that time 700 years have passed. Yet one of the two Junior General Li's must be our painter.\n\nFormerly, there were the so-called \"Four Excellents\" in the Hall of Portraits of the Buddhist monk Wu-ta Kuo-shih: the [portrait] painting by Ch'ang Ts'an [act. ca. 881-888}, the calligraphy by Priest Tao-ying, the eulogy by Li Shangyin \u674e\u5546\u96b1 [813-858], and the landscape by Li Sheng [act. ca. 908-925]. This Li Sheng was styled Chin-nu and was also called Junior General Li.\n\nIn the tenth month of the Chi-mao year, the twelfth year of the Chongzhen era [1639], recorded by Xiao Yuncong of Wuhu. \n\n(translated by Wai-Kam Ho)",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": 3
},
{
"inscription": "4 colophons and 30 additional seals: \n1 seal of Xu Qianxue \u5f90\u4e7e\u5b78 (1631\u20131694); \n1 seal of Li Chien \u9ece\u7c21 (1747\u20131799); \n1 seal of Chang Chin-fang (1700s); \n2 seals of Sun Erzhun \u5b6b\u723e\u6e96 (1770\u20131832); \n1 colophon and 2 seals of Zhang Weiping \u5f35\u7dad\u5c5b (1780\u20131859); \n1 seal of Wu Rongguang \u5433\u69ae\u5149 (1773\u20131843); \n1 colophon and 2 seals of Luo Tianchi \u7f85\u5929\u6c60 (1826 jinshi); \n7 seals of Wu Yanhui \u4f0d\u5143\u8559 (active 1821\u20131851); \n2 colophons and 4 seals of Pan Zhengwei \u6f58\u6b63\u7152 (1791\u20131850); \n9 seals unidentified.",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": 4
}
],
"exhibitions": {
"current": [],
"legacy": [
{
"description": "Eight Dynasties of Chinese Painting. 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); The Asia Society Museum, New York, NY (December 3, 1982-February 28, 1983).",
"opening_date": "1981-02-10T00:00:00"
}
]
},
"provenance": [
{
"description": "Pan Zhengwei \u6f58\u6b63\u7152 [1791\u20131850]",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": 1
},
{
"description": "Wu Yuanhui \u4f0d\u5143\u8559 [active 1821\u20131851]",
"citations": [],
"footnotes": null,
"date": null,
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},
{
"description": "Abel William Bahr [1877\u20131959]",
"citations": [],
"footnotes": null,
"date": null,
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},
{
"description": "(Robert H. Ellsworth Ltd., New York, NY, sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": null,
"date": "?\u20131973",
"sortorder": 4
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1973\u2013",
"sortorder": 5
}
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"description": null,
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"https://www.wikidata.org/wiki/Q60472536"
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"https://archive.org/details/clevelandart-1973.72-waiting-for-the-moon"
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"citations": [
{
"citation": "Pan, Zhengwei \u6f58\u6b63\u7152. Ting fan lou shu hua ji \u807d\u5e06\u6a13\u66f8\u756b\u8a18. Shanghai: Shanghai shu hua chu ban she, 2000. (Text dated 1843)",
"page_number": null,
"url": null
},
{
"citation": "\u201cThe Year in Review for 1973.\u201d The Bulletin of the Cleveland Museum of Art 61, no. 2 (February 1974): 31\u201378.
Published as: Landscape in Blue and Green Style",
"page_number": "Reproduced: p. 64; Mentioned: p. 78, no. 172",
"url": "http://www.jstor.org/stable/25152513"
},
{
"citation": "Lee, Sherman E. \u201cEarly Ming Painting at the Imperial Court.\u201d The Bulletin of the Cleveland Museum of Art, vol. 62, no. 8, 1975, pp. 243\u2013259.",
"page_number": "Reproduced: pp. 245\u2013246, figs. 3\u20136",
"url": "www.jstor.org/stable/25152602"
},
{
"citation": "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. 348",
"url": "https://archive.org/details/CMAHandbook1978/page/n368"
},
{
"citation": "Cahill, James. Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580. New York: Weatherhill, 1978.",
"page_number": "Mentioned: p. 26, no. 8",
"url": null
},
{
"citation": "Sullivan, Michael. The Arts of China. Berkeley: University of California Press, 1979.",
"page_number": "p. 211",
"url": null
},
{
"citation": "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: cat. no. 136, pp. 159\u2013161",
"url": null
},
{
"citation": "Barnhart, Richard M., Mary Ann Rogers, and Richard Stanley-Baker. Painters of the Great Ming: The Imperial Court and the Zhe School. Dallas, TX: Dallas Museum of Art, 1993.",
"page_number": "Reproduced: pp. 74\u201375, cat. no. 23",
"url": null
},
{
"citation": "Barnhart, Richard M., Xin Yang, Chongzheng Nie, James Cahill, Shaojun Lang, and Hung Wu. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press; Beijing: Foreign Languages Press, 1997.",
"page_number": "Reproduced: p. 204, no. 184",
"url": null
},
{
"citation": "Nishioka, Yasuhiro \u897f\u5ca1\u5eb7\u5b8f and Noriko Miyazaki \u5bae\u5d0e\u6cd5\u5b50. Min \u660e. To\u0304kyo\u0304: Sho\u0304gakukan, 1999.",
"page_number": "Reproduced: p. 330, no. 211, 212",
"url": null
},
{
"citation": "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. 222\u2013228",
"url": null
}
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