{
"data": {
"id": 159731,
"accession_number": "1997.106",
"share_license_status": "CC0",
"tombstone": "Hall of Lofty Pines (\u677e\u55ac\u5802\u5716), 1703. Wang Hui (Chinese, 1632\u20131717). Handscroll; ink and color on paper; overall: 40.7 cm (16 in.). The Cleveland Museum of Art, Bequest of Mrs. A. Dean Perry, 1997.106",
"current_location": null,
"title": "Hall of Lofty Pines",
"title_in_original_language": "\u677e\u55ac\u5802\u5716",
"creation_date": "1703",
"creation_date_earliest": 1703,
"creation_date_latest": 1703,
"artists_tags": [
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],
"culture": [
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"technique": "handscroll; ink and color on paper",
"support_materials": [],
"department": "Chinese Art",
"collection": "ASIAN - Handscroll",
"type": "Painting",
"measurements": "Overall: 40.7 cm (16 in.)",
"dimensions": {
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"inscription": "[\u984c] \u677e\u55ac\u5802\u5716\n\n\u5eb7\u7199\u7678\u672a\u590f\u516d\u6708, \u6d77\u865e\u8015\u7159\u6563\u4eba\u738b\u7fec\u756b\u3002[\u5370]\u738b\u7fec\u4e4b\u5370; \u77f3\u8c37. \n\n[\u5de6\u4e0b] \u4f86\u9752\u95a3; \u8015\u7159\u91ce\u8001\u6642\u5e74\u4e03\u5341\u6709\u4e8c.",
"inscription_translation": "Artist's title, inscription, signature, and 4 seals: \n\n[Title, upper right corner] Hall of Lofty Pines. \n\nIn the sixth month, summer, of the guiwei year [1703] of Kangxi, painted by geng yan san ren, Wang Hui, from Haiyu. [2 seals] Wang Hui zhi yin; Shi gu. \n\n[2 seals at end of painting, lower left corner] Lai qing ge; Geng yan lao ye shi nian qi shi you er.",
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"inscription_translation": "1 colophon and 3 seals of Wang Hongxu \u738b\u9d3b\u7dd2 (1645-1723): \n\nThe Hall of Lofty Pines, a handscroll, was painted by Master Wang Shigu of Haiyu [Wang Hui] for the honorable Vice Minister of Justice, Master Li Jinggong of Jinghai. The scroll was completed in the summer of kuiwei [1703], and not long after, he passed away. His son, who is now the Junior Compiler, Li Nanhu [i.e., Li Tingyi] requested that I inscribe it. \n\nMaster Li and I were both attending [the Emperor], and we developed a close friendship. From my side, I observed that his refined cultivation and unmitigated virtues were very much appreciated and favored by our sagacious Son of Heaven. Thus he was able to attend [the Emperor] in the inner court, and assisted in deciding critical matters for more than two decades. As a consequence, common people were steeped in such bounties and the ranks of the literati were able to immerse themselves in his benevolence. Neither could they fathom from a distance, nor would servitors in the court have had any inkling. Consequently, the Emperor\u2019s favor to him increased daily, and rewards too increased in number. Even though he was getting older and frequently entertained the thought of retirement, His Majesty refused to grant his wish. If or when it were to take place, he would reside in the Hall of Lofty Pines, [the title] of which was being bestowed upon him by His Majesty. The Emperor compared the refined deportment and virtuous strength of the Master to the pines, and in the meantime, also took the resilience of pine, its ability to withstand frosty cold while enjoying splendid growth, as symbolic of his longevity. The Master realized that it was not easy to beg for a free self, so much so that it was but an idle wish on his part to dream of [retiring] and enjoying hills, forests, a hut in mountain torrents. Wasn\u2019t this the reason for the commissioning of the Hall of Lofty Pines? \n\nIn this painting, Shigu made the pictorial composition quite lean and dense, while his brush and ink are surpassing. In depicting the verdant growth of the trees, and the beauty and seclusion of the halls and buildings, it reminds us of Wang Wei\u2019s Wangchuan Tu, or Bai Juyi\u2019s residence in the scenic Mt. Lu. It is regrettable that [when alive], Master Li was not able to spend even a single day in this old garden. Still, this painting was done to appease his desires, and now it could enshrine his wish and enable it to last forever. This is the reason why the Junior Compiler, [in his affection for his late father], remained ever so mindful. \n\nTo be sure, a pine tree of thousand years could cast shadows below over hundreds of acres, while its wood up above could indeed be made into pillars and beams as needed. Indeed, was it not His Majesty\u2019s wish when he named the hermitage, with the added hope that the Master\u2019s progeny too could follow suit and nourish their own talents? I wish that our Junior Compiler not only cherish this painting, but also hope that he would expand the Hall by plastering the walls and applying red coating to [wooden structures].\n\nIn the bingxu year of Kangxi [1706], the third day after chongyang, I, Wang Hongxu from Yunjian, wrote this.",
"inscription_remark": null,
"sortorder": 2
},
{
"inscription": "10 additional seals: \n\n1 seal of Li Duna \u52f5\u675c\u7d0d (1628\u20131703); \n4 seals of Zha Ying \u67e5\u7469 (jinshi of 1766); \n5 seals of Li Yun (dates unknown).",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": 3
}
],
"exhibitions": {
"current": [
{
"id": 377849,
"title": "1000 Jahre Chinesische Malerei",
"description": "1000 Jahre Chinesische Malerei. Haus der Kunst, Munich, M\u00f9nich, Germany (organizer) (October 16-December 13, 1959).",
"opening_date": "1959-10-16T04:00:00"
},
{
"id": 286274,
"title": "Chinese Gallery 240a Rotation \u2013 August 2016",
"description": "Chinese Gallery 240a Rotation \u2013 August 2016. The Cleveland Museum of Art (organizer) (August 1, 2016-February 6, 2017).",
"opening_date": "2016-08-01T04:00:00"
}
],
"legacy": [
{
"description": "Five Centuries of Chinese painting: Ming & Ch'ing dynasties. Dallas Museum of Fine Arts, Dallas, TX (June 27-August 8, 1954).",
"opening_date": "1954-06-27T00:00:00"
},
{
"description": "1000 Jahre chinesische Malerei. Haus der Kunst, Munich, Germany (October 16-December 13, 1959).",
"opening_date": "1959-10-16T00:00:00"
},
{
"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"
}
]
},
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{
"description": "Li Duna \u52f5\u675c\u7d0d [1628\u20131703], by descent to Li Tingyi",
"citations": [],
"footnotes": null,
"date": "1703",
"sortorder": 1
},
{
"description": "Li Tingyi \u52f5\u5ef7\u5100 [1669\u20131732]",
"citations": [],
"footnotes": null,
"date": "1703-?",
"sortorder": 2
},
{
"description": "Zha Ying \u67e5\u7469 [jinshi of 1766]",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": 3
},
{
"description": "Li Enqing \u674e\u6069\u6176 [about 1797\u2013about 1858]",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": 4
},
{
"description": "Wan-go H. C. Weng \u7fc1\u842c\u6208 [1918\u20132020], Lyme, NH",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": 5
},
{
"description": "Mr. and Mrs. A. Dean Perry [Helen Wade Greene Perry] [1911\u20131996], Cleveland, OH, bequest to the Cleveland Museum of Art",
"citations": [],
"footnotes": null,
"date": "?\u20131997",
"sortorder": 6
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
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"footnotes": [],
"date": "1997-",
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}
],
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"did_you_know": "One servant carries the estate owner's carefully wrapped qin, a type of zither.",
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"description": "Wang Hui \u738b\u7fec, a leading painter in the orthodox school of the early Qing dynasty (1644\u20131911), was commissioned to paint this landscape with a country estate for Li Duna \u52f5\u675c\u7d0d (1628\u20131703), vice minister of justice in Emperor Kangxi\u2019s court. The emperor had honored Li by granting him a piece of calligraphy with the name of Li\u2019s retirement retreat, \u201cHall of Lofty Pines.\u201d He drew a comparison between pines and Li\u2019s upright character, resilience, and longevity. Wang Hui\u2019s painting was supposed to allow Li to imagine living in a beautiful, secluded compound among the hills and pines. Sadly, Li died before seeing the completed painting and before receiving the emperor\u2019s permission to retire.
The landscape begins with peaceful riverbanks and low hills. The pines around the estate in the middle of the handscroll are truly lofty, some stretching even beyond the frame of the painting. Li Duna, the estate\u2019s owner, is shown twice in his serene mountain retreat: first approaching the entrance to the compound with two servants at the right, and then later in the scroll, to the left, reading in the comfort of an inner room.",
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"citation": "Five Centuries of Chinese Painting: Ming & Ch'ing Dynasties: [Exhibition] June 27 Through August 8, 1954, Dallas Museum of Fine Arts. Dallas, TX: Dallas Museum of Fine Arts, 1954.",
"page_number": "Reproduced: cat. no. 33.",
"url": null
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"citation": "Goepper, Roger. 1000 Jahre chinesische Malerei. Mu\u0308nchen: Haus der Kunst, 1959.",
"page_number": "Reproduced: cat. no. 94, pp. 164-165",
"url": null
},
{
"citation": "Wang, Chi-ch\u02bbien, and Victoria Contag. Seals of Chinese painters and collectors of the Ming and Ch'ing periods reproduced in facsimile size and deciphered. Hongkong: Hong Kong University Press, 1966.",
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"url": null
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"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. 246, p. 333",
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"citation": "Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland: The Clevleand Museum of Art, 2015.",
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"citation": "Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland, OH: The Cleveland Museum of Art, 2015.",
"page_number": "p. 411",
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