{
"data": {
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"accession_number": "1980.13",
"share_license_status": "CC0",
"tombstone": "Plum Blossoms and Peonies (\u6885\u82b1\u7261\u4e39\u5716), 1741. Gao Fenghan (Chinese, 1683\u20131749). Handscroll, ink on paper; image: 26 x 96.2 cm (10 1/4 x 37 7/8 in.); overall: 28.9 x 534.7 cm (11 3/8 x 210 1/2 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1980.13",
"current_location": null,
"title": "Plum Blossoms and Peonies",
"title_in_original_language": "\u6885\u82b1\u7261\u4e39\u5716",
"creation_date": "1741",
"creation_date_earliest": 1741,
"creation_date_latest": 1741,
"artists_tags": [
"male"
],
"culture": [
"China, Qing dynasty (1644-1911)"
],
"technique": "handscroll, ink on paper",
"support_materials": [],
"department": "Chinese Art",
"collection": "ASIAN - Handscroll",
"type": "Painting",
"measurements": "Image: 26 x 96.2 cm (10 1/4 x 37 7/8 in.); Overall: 28.9 x 534.7 cm (11 3/8 x 210 1/2 in.)",
"dimensions": {
"image": {
"height": 0.26,
"height_inch": 10,
"height_inch_fraction": 0.25,
"width": 0.962,
"width_inch": 37,
"width_inch_fraction": 0.875
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"height": 0.289,
"height_inch": 11,
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"width": 5.347,
"width_inch": 210,
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"inscriptions": [
{
"inscription": "Artist's 2 inscriptions and 9 seals (the painting of Peonies with the artist's colophon and the colophon by Hou Chia-fan are on a single sheet of paper).\r\n\r\nArtist's inscription and 2 seals (Plum Blossoms): [seal] Ts'ai-y\u00fcn. After finishing writing my colophon, I unrolled the painting to take another look, and it now seems that the composition here should have moved to the later part of the scroll. If that is the case, then the \"Cool Beauty\" [prunus] of the Solitary Hill is after all unable to take precedence over the \"King of Flowers\" [peony]. A laugh. Lao-fou inscribed. [seal] Feng-han.\r\n\r\nArtist's colophon (Plum Blossoms):\r\n[3 seals] Tun; Yen-y\u00fcn-kung-yang, Hou-shang-tso-sheng. A few days after I painted this scroll for Shui-\r\nhsien [Y\u00fceh Meng-y\u00fcan], the plum blossoms were in full bloom at his residence. He invited me over to enjoy them together for a long while, and I composed two additional poems and wrote them down here for his criticism. [Poems on the colophon are not translated.]\r\n\tFirst month, twenty-first day, your junior, Kao Feng-han of Nan-fou drafted this with the left hand. [seal] Feng-han.\r\n\r\nArtist's inscription and 4 seals (Peonies):\r\n\r\nBrushed with the left hand in the hsin-yu year [1741]. [seal] Yu-hsi. [3 seals at end of painting] Hou-shang-tso-sheng; Yen-y\u00fcn-kung-yang; Shih-tsao-wu.\r\n\r\nArtist's colophon and seal (Peonies):\r\n\r\nThe imperial concubine from the Yang family loved to dress in red,\r\nAnd from the emperor won the title of Hai-t'ang.\r\nBut ever since she became the new dream of the moon palace,\r\nShe changed into rainbow colors, while learning to dance.\r\n\r\nAfter I wrote the poem on Looking for Plum Blossoms in the Teng-wei Mountains, I attached to it a few branches of prunus, some bamboo tips and a piece of rock, with a scattering of green [moss] here and there to fill up the scroll. Unexpectedly, my playful fascination [with these subjects] was still not quite satisfied, so I made up these amorous ideas and romantic images [of the peony], to follow the footsteps of the fair lady of the Ku-hsieh Mountain [prunus]. Furthermore, I picked out one poem to be my vanguard. Perhaps such luminosity of wealth and power will be enough to overwhelm the poor fellows, and [they] will not mind the comparatively short length [of paper] assigned to it. Amusingly inscribed. Please correct me again.\r\n\tTo Shui-hsien, my learned senior, your junior Han inscribed again. [seal] Tso-hua [left-handed painting].\r\n\r\n1 additional colophon and 5 additional seals: 1 colophon, dated 1742, and 3 seals of Hou Chia-fan (act. ca. 1742); 1 seal of P'u Ch'\u00fcan (20th c.?); 1 seal of Li family (dates unknown).",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 304521,
"title": "Year in Review: 1980",
"description": "Year in Review: 1980. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).",
"opening_date": "1981-06-24T04:00:00"
},
{
"id": 376407,
"title": "Layers of Meaning: China\u2019s Flora and Fauna in Painting and on Porcelain",
"description": "Layers of Meaning: China\u2019s Flora and Fauna in Painting and on Porcelain. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6, 2020-June 6, 2021).",
"opening_date": "2020-11-06T05:00:00"
}
],
"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).",
"opening_date": "1981-02-10T00:00:00"
},
{
"description": "Main Asian Gallery Rotation (Gallery 122). The Cleveland Museum of Art, Cleveland, OH (March 10-April 7, 2004).",
"opening_date": "2004-03-10T00:00:00"
},
{
"description": "Main Asian Rotation (Gallery 242). The Cleveland Museum of Art, Cleveland, OH (July 28, 2014-January 7, 2015).",
"opening_date": "2014-07-28T00:00:00"
}
]
},
"provenance": [
{
"description": "(James J. Freeman, Kyoto, Japan, sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": [],
"date": "?-1980",
"sortorder": 1
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": "1980-",
"sortorder": 2
}
],
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"did_you_know": "In East Asian art, peonies traditionally symbolize prosperity and wealth.",
"description": "One of the so-called Yangzhou Eccentrics (a group of painters who lived in Yangzhou and were known for their unorthodox art and lifestyle), Gao Fenghan depicts China\u2019s two most loved flowers in full bloom\u2014the \u201ccold beauty,\u201d or plum blossom, in the first section, and the \u201cking of flowers,\u201d or peony, in the second section. Painted in 1741, the year when Gao decided to leave the south and return home to Shandong province in eastern China, this work was likely a token of farewell. His casual brushwork may indicate his mental and physical struggle at the time. After having crippled his right hand in 1737, Gao used his left hand to paint and achieved a crudeness and eccentric style unattainable before.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60474338"
],
"internet_archive": [
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"citations": [
{
"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. 266, pp. 362-364",
"url": null
},
{
"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d The Bulletin of the Cleveland Museum of Art 68, no. 6 (June 1981): 163\u2013219.",
"page_number": "Reproduced: p. 207; Mentioned: p. 218, no. 272",
"url": "http://www.jstor.org/stable/25159730"
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