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Inscriptions by Scholars

Collecting activities conducted by members of the Mongol Yuan imperial family were closely related to those of court scholars and officials during this period. For example, Yuan Jue took part in Princess Sengge Ragi's elegant gathering and left an invaluable record of this event at Tianqing Temple. Feng Zizhen and Zhao Yan also frequently wrote inscriptions for works in her collection. The album "Calligraphy by Yuan Figures" in the National Palace Museum contains poetic inscriptions they did for one of her paintings. In addition, Ke Jiusi and Yu Ji, who served as consultant and connoisseur of painting and calligraphy for Emperor Wenzong, left behind numerous inscriptions. For instance, the signature and inscription of Ke Jiusi, Erudite of the Kuizhang Pavilion under Wenzong, appears after Lu Jishan's "Copy of the Orchid Pavilion Preface." Jing Hao's "Mt. Kuanglu" and "A Thousand Miles of Rivers and Mountains" ascribed to Jiang Shen also bear inscriptions by Ke.

Writings by court scholar-officials on one hand provide material evidence for the support of Chinese painting and calligraphy by the Mongol Yuan imperial family. On the other hand, they also testify to the interaction and participation among scholars of different ethnic backgrounds, including the ways in which they utilized their cultural knowledge in the collecting activities of the rulers. Inscriptions by related Yuan figures are plentiful, and many examples can still be found on surviving works of painting and calligraphy from the Song and Yuan dynasties. For instance, after Zhao Mengfu's "Layered Riverbanks and Serried Peaks" in the National Palace Museum collection are inscriptions by Yu Ji, Shi Yan, and Liu Guan. The contents of scholars' inscriptions not only echo the artistic expression of the works on which they appear, the attitudes revealed within make them invaluable for understanding the arts of Chinese painting and calligraphy during the Mongol Yuan period.

Mt. Kuanglu
Rotation 1 10/6-11/15

Attributed to Jing Hao (fl. 10th c.), Five Dynasties period
Hanging scroll, ink on silk, 185.8 x 106.8 cm

This hanging scroll bears no seal or signature of the artist but has an inscription at the top that reads, "Authentic work of the ‘Divine Category' by Jing Hao." Scholarship points to the style of the six characters as similar to that of the Yuan emperor Wenzong (Tugh Temür). The painting also has an inscription by Wenzong's official, Ke Jiusi, who wrote, "A painting of Wulao Peak at Mt. Kuanglu." The inscription accords with the title and indicates the scroll was once in the imperial Yuan collection.

On the left side of the composition stands a cluster of peaks, the layers connecting with the level distance space at the right. In addition to a winding path, buildings are scattered here and there, the thrust of the mountains formed on the right side no longer following the landscape formula of the early Northern Song. Instead, it is closer to that of the twelfth century or later. Areas of void appear on the mountaintops with tree clusters, creating an unusual manner that demonstrates a new understanding of the Jing Hao tradition in the later Northern Song period. The actual style of paintings done afterwards in Jing Hao's name, however, requires further study. Two other works of similar composition in the Museum collection can also be seen as patterned after this hanging scroll.

A Thousand Miles of Mountains and Rivers

Jiang Shen (fl. early 12^th c.), Song dynasty
Handscroll, ink on silk, 46.3 x 546.5 cm

This painting is unsigned, but at the end of the scroll on the left is an inscription by Ke Jiusi of the Yuan dynasty that states, "'A Thousand Miles of Mountains and Rivers,' an authentic trace of Jiang Shen, style name Guandao. Authenticated by Your Servant, Ke Jiusi." Ke was frequently ordered by the Mongol Yuan emperor Wenzong (Tugh Temür) to select paintings, of which this is perhaps an example. Jiang Shen was a painter active between the Northern and Southern Song period in the twelfth century. Few of his works survive, but Southern Song scholars often wrote inscriptions in praise of his painting.

According to the literary anthology of Yuan Jue, Princess Sengge Ragi in the Yuan dynasty had in her collection a painting by Jiang Shen entitled "Mists and Rain." The handscroll here depicts layers of forested hills and mountains with scenery of riverbanks and marshes interspersed with human activity, such as travelers on a mountain path. The "alum heads" for the mountaintops and use of ink dots reflect a continuation of the landscape tradition associated with the tenth-century artists Dong Yuan and Juran. Whether this work is actually an authentic example of Jiang's painting, however, is still a matter of debate.

Autumn Mountains

Anonymous, Yuan dynasty (1279-1368)
Hanging scroll, ink on silk, 46.3 x 57.1 cm

This small hanging scroll shows forested hills and mountain valleys with buildings on the left side. It has neither seal nor signature of the artist, but the brushwork and forms are quite similar to those in Jiang Shen's handscroll "A Thousand Miles of Mountains and Rivers." In fact, there is some scholarly opinion that this painting is actually a lost section from a longer handscroll. Upon examination of its dimensions, the height of the painting indeed matches that of the abovementioned handscroll, measuring 46.3 centimeters. From a material perspective, the quality of silk used in both works is also very close. Stylistically speaking, a close correlation between the forms of buildings and bridges in these two works likewise appears. Thus, the painting here and the above handscroll, generally attributed to Jiang Shen, are probably originally part of the same scroll. Judging from the present condition, the handscroll would appear to also have had a longer beginning section that is unfortunately now lost.

Layered Riverbanks and Serried Peaks

Zhao Mengfu (1254-1322), Yuan dynasty
Handscroll, ink on paper, 28.4 x 176.4 cm

This handscroll bears a signature that reads, "Painted by Zhao Mengfu on the sixth day of the second month of the seventh year in the Dade reign (February 22, 1303)." Following the painting are colophons by such eminent Yuan dynasty scholars as Yu Ji, Shi Yan, and Liu Guan. Though the painting is generally considered to be a faithful copy after the original, the colophons that appear afterwards are authentic.

Zhao Mengfu pursued ancient styles, this work belonging to the Li-Guo tradition of Li Cheng and Guo Xi, to which he added elements from the level distance landscape mode of Wang Shen in the late Northern Song. The composition reflects old methods of the Song, but the brushwork for the mountain forms, perhaps as a result of copying, appear more formulaic. The contents of the colophons by Yu Ji and Liu Guan are found in their respective literary anthologies, and the frontispiece title for the painting was written in seal script by Cheng Nanyun of the early Ming dynasty.

Copy of the Orchid Pavilion Preface

Lu Jishan (1298-1345), Yuan dynasty
Album leaf, ink on paper, 25.4-25.7 x 10.5-12.8 cm

Lu Jishan, a native of Fuli in Jiangsu, studied calligraphy under Zhao Mengfu. According to Lu's inscription on the endpiece, this work appears to be a copy of a Tang dynasty imitation of the "Orchid Pavilion Preface" on five pieces of paper in the collection of his elder brother. In fact, close examination reveals traces of outlines for the strokes filled with ink, a traditional means for making faithful copies.

At the end are inscriptions by such Yuan dynasty figures as Ke Jiusi, Jie Xisi, Chen Lü, Chen Fang, Huang Jin, and Ni Zan, most of whom had been invited by Lu Jishan to write after viewing the work. Ke Jiusi also signed his name using his title of Literary Erudite-Academician of the Kuizhang Pavilion, a post he held under Emperor Wenzong (Tugh Temür). In particular, Ke noted that this copy by Lu of the "Orchid Pavilion Preface" came from an ink rubbing made by Chu Suiliang. Representing a lineage differing from the one for the "Dingwu Copy of the Orchid Pavilion Preface," he felt it had great archaism and to be superior.

Narcissi

Zhao Mengjian (1199-1264), Song dynasty
Handscroll, ink on paper, 32.7 x 1021.6 cm

Zhao Mengjian, a member of the Song imperial family, excelled at painting flowers in monochrome ink. His handscroll paintings of narcissi survive in several extant versions with scholarly opinion on their authenticity divided. Most, however, feature fine brushwork and complex compositions, the leaves rendered in delicate outlines filled with washes of gradated ink. The method of painting is a continuation of the technique for rendering plum blossoms in monochrome ink, the washes expressing a variety of poses to the flowers. This form of flower painting can be considered a new development of ink play in the Southern Song period.

In terms of visual effect, Zhao Mengjian emphasized the expressiveness of ink on the painting surface to create a rich and varied appearance. In the early Yuan dynasty, many scholars highly praised Zhao's ink flower painting. Although the inscriptions by Yuan figures at the end of this scroll are copies, they nonetheless testify to this phenomenon.

Seven-Character Truncated Verses Inscribed for a Painting

Feng Zizhen (1257-1348) and Zhao Yan (dates unknown), Yuan dynasty
Album leaf, ink on paper, 28 x 49.3 cm

This leaf from the album "Calligraphy by Yuan Figures" features two works written by scholars at the Yuan dynasty court. The work on the right side is a seven-character truncated poem by Feng Zizhen of two lines that read, "On land are residences and on the waters are boats, verdant mountains are reflected upside-down close to the shoals." The inscription at the left is also a seven-character truncated verse but by Zhao Yan, who wrote, "Clear sails appear to sweep the skies, the cloudy trees and river moon are pure and beautiful." Based on the poetry, these two scholars probably had viewed a water-filled painting of a Jiangnan landscape. They also had been "ordered by Grand Elder Imperial Sister Princess," a reference to Sengge Ragi.

In 1286, Kublai Khan had placed a call for sages in the Jiangnan region, and Feng Zizhen and Zhao Yan were both recommended to the Yuan court and came to serve as Jixian ("Scholarly Worthies") Attendant Academicians. Zhao Yan was also in the service of the Prince of Lu, an imperial son-in-law, and once composed a rhapsody for and appreciated by Sengge Ragi. In fact, many of the works in her collection bear inscriptions of poetry by these two scholars.

Inscriptions for a Painting

Ke Jiusi (1290-1343), Yu Ji (1272-1348), Li Jiong (1274-1332), and Jie Xisi (1274-1334), Yuan dynasty
Album leaf, ink on paper, 40.9 x 54.9 cm

This album leaf includes inscriptions by four Yuan dynasty figures: Ke Jiusi, Yu Ji, Li Jiong, and Jie Xisi. The work was originally a piece of colophon paper that probably appeared after a handscroll painting by a Tang dynasty artist, for which only the calligraphy now survives.

According to Ke Jiusi's record, the title of the handscroll painting was "Hu Qian Crossing Waters to Barbarian Land," which had passed through the Southern Song imperial collection. The three other Yuan scholars had also received "imperial orders to do inscriptions," indicating that they served the Mongol Yuan court and that the painting in question was part of the imperial Yuan collection. All four scholars served as officials at the Kuizhang Pavilion, and the inscriptions were probably done after viewing the work. The contents by Yu Ji and Jie Xisi are also recorded in their respective literary anthologies.

Letter to Honorable Erudite Danqiu

Yu Ji (1272-1348), Yuan dynasty
Album leaf, ink on paper, 21 x 37.7 cm

Yu Ji's ancestors came from Sichuan but he moved with his father to settle in Jiangxi. In 1302, under Emperor Chengzong (Temür Khan), he became Instructor of Confucian Schools in the Dadu Circuit and during the Yanyou reign (1314-1320) came to serve in the Hanlin Academy with Zhao Mengfu under Emperor Renzong (Buyantu Khan). In 1328, Yu Ji was appointed as Academician-in-Waiting at the Kuizhang Pavilion. Yu was a learned scholar famous for his poetry, of which he left behind numerous examples on the painting and calligraphy that he viewed. His writings frequently were done in response to those by Ke Jiusi at the Kuizhang Pavilion.

This letter in semi-cursive script was written to Ke Jiusi, apologizing on account of illness for not congratulating him earlier on his promotion to Erudite at the Kuizhang Pavilion. Yu also refers to two eulogies on paintings that he had presented, thereby demonstrating the close friendship between these two figures. Yu Ji followed the idea of revivalism advocated by Zhao Mengfu, achieving the essence of Jin calligraphers. The style of the work here, as a result, is pure and natural with a spirited and classical atmosphere.

Letter to Palace Writer of the Imperial Stud

Yu Que (1303-1358), Yuan dynasty
Album leaf, ink on paper, 29.3 x 67.4 cm

Yu Que, a "Special Category Man" (non-Chinese, non-Mongolian) in the Yuan caste system, was a Tangut from China's so-called Western Regions. His ancestors resided in Wuwei in Gansu, but later he accompanied his father to settle down in Luzhou, Anhui. Yu became a Presented Scholar in 1333 and rose to the posts of Hanlin Academician and Investigating Commissioner in the Censorate, also taking part in compiling the official histories of the Song, Liao, and Jin dynasties.

This work is a letter that Yu Que wrote to the "Palace Writer of the Imperial Stud," a reference to Wei Su (1303-1372), who had been appointed to the Hanlin Academy. At the right is a date for the "nineteenth day of the seventh month of the ninth year in the Zhizheng reign," corresponding to August 3, 1349; it probably represents when the missive was received. In the letter, Yu first thanks Wei Su for giving him a farewell dinner before commencing on his trip south. Also, because a friend of Yu's was traveling north to Dadu, he wrote to ask Wei for a favor to provide a recommendation for his friend. The style of Yu's calligraphy here may seem careless at first but actually is much in the manner of the Jin dynasty.

National Palace Museum