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1. Explore one of the linked resources

2. Select an piece you find interesting

3. Add it to this padlet WITH a short description that includes a connection to what we have learned.

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The "Master Wuyong Scroll" illustrates the Fuchun Mountains, highlighting the balance between nature and the innovations of the Tang and Song dynasties. This period saw important developments in printing, ceramics, and agriculture, leading to a cultural revival. The artwork connects the beauty of nature with the progress of society in shaping modern China

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Scarlett Wills - This is a sculpture of Buddha. This represents when we learned about world religions. Buddha was an important figure in Buddhism. He's sitting in a meditating pose, which is important because Buddhists believe in meditation and peace.

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Sirén, Osvald. Chinese Sculpture from the Fifth to the Fourteenth Century: Over 900 Specimens in Stone, Bronze, Lacquer and Wood, Principally from Northern China. London: Ernest Benn, Ltd., 1925, vol. 1, p. 147, pl. 548.

Lerman, Leo. The Museum: One Hundred Years and The Metropolitan Museum of Art. New York: Viking Press, [1969], p. 203.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983, p. 257, fig. 39.

The Metropolitan Museum of Art: Asia. New York: The Metropolitan Museum of Art, 1987, p. 57, pl. 31.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed., New York: The Metropolitan Museum of Art, 1994, p. 109, fig. 39.

The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012, p. 88.

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Buddha, probably Amitabha | China | Tang dynasty (618-907) | The Metropolitan Museum of Art

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Sirén, Osvald. Chinese Sculpture from the Fifth to the Fourteenth Century: Over 900 Specimens in Stone, Bronze, Lacquer and Wood, Principally from Northern China. London: Ernest Benn, Ltd., 1925, vol. 1, p. 147, pl. 548. Lerman, Leo. The Museum: One Hundred Years and The Metropolitan Museum of Art.

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This image connects to the Mongols. The Mongols rode horses from an early age, as horses where their means of transportation. Therefore, horses played a large role in their daily lives.

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Horse and rider | China | Tang dynasty (618–907) | The Metropolitan Museum of Art

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this illustrates them keeping items in dark places so they can be reused and not go bad

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Round bronze box - Google Arts & Culture

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This box is round and somewhat flat. The lid fits tightly against the inner rim. The box contains agarwood, which was in the box when it was found.

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The bronze lamp helped people have light in their homes and see at night. This helped technical advancements by making homes more advanced by giving better light to them. This caused more advancements to be discovered for lights like light bulbs.

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Bronze Lamp - Unknown - Google Arts & Culture

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Two lamps made of bronze are found in the mausoleum. The lamps have three protruding nails to hold wicks. They bear an inscription which indicates their we…

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The Night Shining White is a scroll that is a fiery-tempered horse that represents ancient Chinese myths of fear. This represents the use of block printing used on the scroll.

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Inscription: No Artist's inscription, signature, or seal

Other inscriptions[1]

1. Southern Tang emperor Li Yu南唐後主李煜 (r. 961-975), signed with a cipher, 1 column in standard script, undated:

Night-Shining White painted by Han Gan, [signed with a cipher].

韓幹畫《照夜白》。

2. Qing emperor Qianlong清帝乾隆 (r. 1736-1795), 5 columns in semi-cursive script, dated 1746-1647; 2 seals:

I have heard about Han Gan's ambitions,
And now I come to understand him.
The horse he painted neighs under a clear moon,
While standing alone in the chilly wind.
The horse's temper is not to be controlled by a golden bridle,
And it does not even care about an embroidered saddle.
Even for a master painter like Cao Ba (active 8th c.),
Depicting the flesh of such a horse would be difficult.

Imperially inscribed in the middle winter month of the bingyin year in the Qianlong reign era (Dec. 12, 1746-Jan. 10, 1647). [Seals]: Ji xia yiqing, Qianlong chenhan

於古聞空翼，而今果識韓。
獨嘶霜月白，特立朔風寒。
有志凌金絡，無心憶錦鞍。
丹青曹霸老，畫肉也應難。

乾隆丙寅仲冬御題。 [印]：幾暇怡情、乾隆宸翰

3. Zhang Yanyuan 張彥遠 (ca. 815-ca. 907), 1 column in standard script, undated:

Yanyuan

彥遠

4. Mi Fu米芾 (1051-1107), 1 character in standard script, undated; 1 seal:

Fu [Seal]: Pingsheng zhenshang

芾 [印]：平生真賞

Colophons[2]

1. Qing emperor Qianlong清帝乾隆 (1711-1799, r. 1736-1795), 19 columns in semi-cursive script, dated 1747; 3 seals:

Of the Tang dynasty painters, the General [Cao Ba, 8th c.] excels in painting horses.
Among his students, only Han Gan learned the essence of his art.
The important thing in painting horses is to convey their spirit.
This gives them a life-like appearance.
A master hand likes to depict celestial horses;
To paint a lame one would be wasting ink.
[Cao] Ba once painted Night-shining White;
There is no doubt [Han] Gan also painted him.
We can see how [Han Gan] learned from his tutor.
The poet Du [Fu, 712-770] was not critical when he commented on Han's works.
What a pity! Du Fu's comments were not all preserved;
Only fragments remain and invite further study.
Han Gan did not care to follow old styles;
Established rules are not always everlasting.
Night-shining White really is Night-Shining White.
It resembles pear blossoms in a moon-lit court-yard.
[Emperor Xuanzong, r. 712-756] rode this horse in polo games,
And to banquets in his palace at the foot of Mt. Li.
All's gone! The joyous moments of the past
Are now like empty dreams.
Unrolling the scroll, I see the lofty spirit of the horse.
By tilting its head, the horse is recalling previous battles.
Though muzzled, the horse refuses to be saddled.
The painter's intention is at once obvious and concealed.
Each time I look at a good horse,
I am thinking of an eclectic Daoist doctrine.

Imperially inscribed in the early third lunar month of the dingmao year in the Qianlong reign era (1747). [Seals]: Shu fang run, Qianlong chenhan, Xiebi liu yun zao

唐家畫馬稱將軍，弟子入室惟韓幹。
是道所重在傳神，亦如三鬣開生面。
騕褭乘黃稱妙手，駑駘奚足汚筆硯。
霸嘗皃取照夜白，幹亦有之非疑案。
權奇想見自師承，杜老畫肉非相訕。
惜乎轉語未留世，空擬金丹待久煉。
擇師已不屑陳閎，天閑矩矱多無萬。
照夜白真照夜白，却似梨花開月殿。
溫泉曾奉擊毬場，驪山每侍臨光宴。
當時歡樂已蕭條，炯戒詎惟標夢幻。
披圖矯矯見龍性，昂首似憶靈武戰。
試看受勒不受鞍，妙偈已兼滿與半。
介倪闉扼豈馬能，每對騏驎懷木雁。

乾隆丁卯暮春之初御題。 [印]：漱芳潤、乾隆宸翰、擕筆流雲藻

2. Qing emperor Qianlong清帝乾隆 (r. 1736-1795), 8 columns in small semi-cursive script, dated 1746; 2 seals:

Han Gan is well-known in history for his horse paintings. The flesh and bone structure of his horses are painted truthfully with a free hand. I have read Zhang Yanyuan's Record of Famous Painters [of Successive Dynasties, preface dated 847], which says that Han was serving in the Tang court of Emperor Minghuang [i.e., Xuanzong, r. 712-56] and that Han painted such famous horses as "Jade Flower" and "Night-shining White." I have longed to see these originals. But I don't even know the whereabouts of them. Recently, there are people trying to sell Huang Gongwang's (1269-1354) Dwelling in the Fuchun Mountains and other paintings. The work attributed to Huang is a fake. But this handscroll of "Night-shining White" by Han is so lively and powerful that it makes one feel he is looking at a real horse. There is no doubt about its authenticity. So I commanded that it be acquired and I am happy to fulfill one of my wishes. This is indeed a unique event. Imperially inscribed three days before the full-moon of the middle winter month of the bingyin year in the Qianlong reign era (December 23, 1746). [Seals]: Qian, Long

韓幹以畫馬擅名千古，其毛骨色相隨意所匠，冥會通神。嘗閱張彥遠《名畫記》，知當日供奉明皇朝圖有玉花驄、照夜白，每神往，以不得一見真蹟為憾，且未卜淪落何所也。近有以黃公望《富春山居》等圖求售者，黃蹟固屬僞作，而得幹所畫《照夜白》卷，神采飛騰，宛睹沛艾名種，為幹手筆無疑，因命購藏之。既以喜獲償夙願，而因王得羊，遭逢良復不偶云。乾隆丙寅仲冬月望前三日御識。 [印]：乾、隆

3. Song emperor Gaozong? 宋高宗 (r. 1127-1162), 1 column in standard script, undated:

Han Gan's Night-shining White

韓幹《照夜白》

4. Qing emperor Qianlong清帝乾隆 (r. 1736-1795), 4 columns in semi-cursive script, datable to 1747; 2 seals:

Who identified this celestial horse when it was mistakenly used to pull a cart?
It must be someone looking out of his window.
I am thinking of the dusty winds of northern China,
Where grasses are short, the livestock fat.

This poem was composed this autumn for a horse painting by Qiu Ying (ca. 1495-1552). Having acquired this painting by Han Gan, I feel Han's brush techniques are even more powerful. The mounting paper in front of the painting is admirably ancient, so I write my poem on it. [Qianlong] inscribed again on the third day of the twelfth month [of the bingyin year] (Jan. 13, 1747).[3] [Seals]: Ji xia yiqing, Qianlong chenhan

不知誰向車前識，應有人從窗内窺。
乍憶黃沙紫塞外，正當草淺獸肥時。

此今秋題仇英畫馬句也。頃得韓幹是圖，覺筆力更出一頭地，幅前紙質古潤可愛，因書於右。嘉平哉生明又識。 [印]：幾暇怡情、乾隆宸翰

5. Qing emperor Qianlong清帝乾隆 (r. 1736-1795), 6 columns in semi-cursive script, dated 1757; 2 seals:

Night-shining White was highly praised in ancient times.
Han Gan depicted this horse of the horses.
Loyal to its master,
The horse had braved bitter coldness in battlefields.
When the horse is quiet, don't irritate it.
A good horseman doesn't even put a saddle on it.
In the grazing lands of northern Hebei,
It needs an expert eye to distinguish a good horse.

Imperially inscribed in the spring of the dingchou year (1757), composed on the same rhyme scheme as the earlier poem. [Seals]: Bide, Lang run

古稱照夜白，馬裏泰山韓。
絲絡為誰老，沙場豈慮寒。
駿寧煩贈策，良識不迴鞍。
冀北羣原夥，由來伯樂難。
丁丑春月御題，疊前韻。 [印]：比德、朗潤

6. Xiang Ziyin 向子諲 (1085-1152), 2 columns in standard script, dated 1138:

In the wuwu year of the Shaoxing reign era (1138) Xiang Ziyin, style-named Xianglin, joined the viewing of this at the Ningxiang Ge Studio.

紹興戊午薌林向子諲同觀于凝香閣。

7. Wu Yue 吳說 (fl. 1115-1156), 2 columns in standard script, undated:

Objects which are authenticated with the cipher of the Southern Tang [Emperor Li Yu, r. 961-75] are mostly genuine. [Signed] Wu Yue, the man from Wu.

南唐押署所識物多真。吳人吳說

8. Wei Su 危素 (1303-1372), 6 columns in standard script, undated; 1 seal:

Night-shining White was the favorite of [the Tang emperor] Minghuang [i.e., Xuanzong, r. 712-756].
Its bone structure shows that it is a good horse.
Han Gan emphasized its spirit in his depiction,
And showed how it carried [Xuanzong] on his flight to Shu.
That famous painting is no longer extant;
This present scroll bears some characters written by the Southern Tang [emperor, Li Yu, r. 961-75].
This fine scroll is lucky enough to be preserved.
It will be treasured at an emperor's table side.

Han Gan's horse painting is of the divine class, so I have composed this poem for it. Recorded by Wei Su. [Seal]: Linchuan Wei Su

明皇自騎照夜白，駿骨權奇古難得。
韓侯貌取誇風神，蜀道艱關初避賊。
千年名畫世已無，卷端數字南唐書。
包桑之戒真良圖，後來君王置坐隅。
吳越□君□□得韓幹馬，神品也，為賦此。危素記。 [印]：臨川危素

9. Jie Hong 揭汯 (1304-1373), 8 columns in standard script, undated:

Han Gan is unequalled in horse painting.
He once painted [Emperor] Minghuang's Night-shining White.
The horse is as white as a snowy cloud,
And when the horse runs, its hooves are faster than a bird's wings.
It cannot bear to be chained to a post;
Its ambition is to run a thousand miles.
When [the Emperor] toured Mount Li after banquets,
His imperial court was surrounded by colorful banners.
But this happiness did not last;
The Emperor was forced to flee to Shu [Sichuan].
All these events are history,
But viewing the painting makes me sentimental.

[Signed] Jie Hong of Yuzhang [in Jiangxi Province]

韓幹畫馬世無敵，貌得明皇照夜白。
晴雲滿身雪作花，四蹄一動疾飛翼。
跳梁掣柱不受羈，雄心只欲千里馳。
瑤池宴罷幸驪山，霓旌前導鳳輦移。
愛隆日久生新恨，蜀道間關翠華遠。
當日倉皇不得隨，令人看畫增悲惋。
豫章揭汯

10. Zhang Jixian 張繼先 (unidentified[4]), 5 columns in standard script, undated:

Recognizing a fine horse is like recognizing a fine jade.
People today only depict horses skin deep;
Master Han [Gan] captured the spirit of a horse.
The horse is as majestic as a dragon.
The image of a good horse is indeed difficult to paint,
But in master Han's painting, the horse is true to life.
I know what a good horse is after viewing this painting.
Night-shining White is really a unique horse in history.

[Signed] Zhang Jixian, a foolish and inept man from Nanyang [in Henan province].

□□識馬如識玉。今人畫馬惟畫肉，韓侯寫馬只寫神。神駿如龍雙耳騄，渥洼龍種真難摹。韓侯寫真龍出圖，我今始識真龍圖。夜白夜白千古無，夜白夜白千古無。
南陽迂拙張繼先

11. Mo Shi'an 莫士安 (late 14th-early 15th c.), 15 columns in standard script, undated; 5 seals:

Emperor] Xuanzong [r. 712-756] loved horses;
He kept a huge number of them in his stable.
Among the horses, Night-shining White was the best.
Its body was snowy white and bore no dust.
No other horse could compete with it in appearance.
When its rider used the whip, it ran like lightening.
The Emperor was happy to see this horse,
But he forgot the difficulties of the country.
Banners held by the imperial guards seemed brighter
In the spring-time imperial garden
Where [the Emperor's concubine] Yuhuan [i.e., Yang Guifei] picked crabapple blossoms.
The Emperor and Yuhuan indulged themselves.
[Xuanzong] treasured Night-shining White just as he doted on his concubines,
So he ordered Cao Pa to paint a picture of the horse.
Too much favor made the horse lonely.
How could it stop galloping?
Beside the throne the horse stood in attendance.
It also carried the Emperor in his flight to Shu [Sichuan].
The Tang army was resentful of Yuhuan.
She was executed in Mawei Po [Sichuan] against the Emperor's will.
The roads of Shu were bad, so during his escape,
The emperor seldom rode his horse.
[Later], Han Gan painted another painting of the horse.
The speed of the horse was elegantly indicated.
The stars in the sky became less bright,
And the beauty [i.e., Yang Guifei] had been dead for a long time.
The spirit of the horse has not changed over the years.
Captured in the painting, its grace has been transmitted to later generations.

[Signed] Mo Shi'an from Wuxing [in Zhejiang Province] [Seals]: Zhongzhu Suo, Yinqiao yingsheng, Guilin sheng, Mo shi Shi'an, Weigong

天寶君王憐駿材，四十萬疋皆龍[馬某]。
空羣獨數照夜白，霜鬉雪鬣無氛埃。
一經拂拭真難比，鞍策銀光射秋水。
馳騁都忘國步艱，精神屢動天顔喜。
南苑霓旌三月新，玉環醉逐海棠塵。
驕嘶直過落花去，紅雨白雲迷好春。
時當妃子同愛惜，詔許將軍貌蹤跡。
愛惜恩多易寂寥，蹤跡年深豈蕭瑟。
白玉墀邊立仗雄，馬嵬坡下踏秋風。
六軍令發雲霄上，匹練香沉泥土中。
蜀道崎嶇龍失隊，載得君王赴西内。
皇帝移軍控馭稀，弟子入室臨摹類。
青絲絡腦黃金鏣，追風逸氣猶飄飄。
當時多少飽蒭豆，按舞却應豬龍妖。
天上房星芒色改，玉骨冰銷已千載。
畫靈不受秋壑羈，別向人間露光彩。
吳興莫士安 [印]：種竹所、螾竅蠅聲、桂林生、莫氏士安、惟恭

12. Chu Weishan 楚惟善 (active early 14th c.), 11 columns in standard script, dated 1320; 2 seals:
I have once read Shaoling's [i.e., Du Fu, 712-770] poem on viewing a horse painting by Cao Pa. In the poem is a sentence saying that [Cao Pa had] painted emperor Xuanzong's [horse] Night-shining White. So the original version of this painting was by Cao Pa. Cao Pa and Han Gan were both famous in the Tang dynasty for their horse paintings but [Han] Gan was a student of Cao Pa, so it would not be too surprising if he had copied this painting from his mentor. Viewers need not doubt this. [Du Fu also said that Han] Gan was good at depicting the flesh rather than the bone structure of a horse. This argument is supported by the present scroll. Alas! The horse is just a horse, but because of the emperor's favor, it was praised in poems and depicted in paintings, and its fame has lasted for hundreds of years. Also for this reason, the painting has been greatly treasured. [If the emperor went out of his palace], the imperial insignia and chariots preceded him, his retinue followed him. On a good day they might travel 50 li [about 16 miles]. Sometimes [the emperor] rode his horse. Words fail to describe such events [which, nonetheless, are vividly depicted in paintings]. Five days prior to the Qingming Festival [the first day of the fourth lunar month] in the gengshen year of the Yanyou reign era (May 9, 1320), inscribed by Chu Weishan, Baochen, from Dongjun [Zhaocheng, Shandong Province]. [Seals]: Chu shi Baochen, Weishan

嘗讀少陵"觀曹將軍畫馬"詩，有"曾貌先帝照夜白"之句，則是圖本出曹霸。然曹霸、韓幹俱以工畫馬名於唐，韓實霸之弟子，而霸固幹之師也。以弟子摹倣厥師，亦豈無是理歟？觀者勿以此為疑。第誦"幹惟畫肉不畫骨"，質諸是圖益驗。噫！馬微物也，以上所好，至使形於歌詩，見之圖畫，歷千百年使人寳其圖。不翅"金璧鵉車在前，屬車在後，吉行五十里，師行三十里，朕乘千里馬獨先安之？"以是圖參是詔，又有以知漢文之未易及也。時延祐庚申清明前五日，東郡楚惟善伯珤臣父跋。 [印]：楚氏寳臣、惟善

13. Gai Miao 蓋苗 (1290-1347), 6 columns in standard script, undated:

Celestial horses come from the west.
How can they be restrained by mundane hands?
[Han] Gan had a unique understanding of such horses,
And so he painted a picture of one.
Unrolling the scroll, I see the horse's spirit,
As it neighs against west winds.
The horse is not content to rest in its stable,
But strains to race against the setting sun.
Now I know the intention of the painter
And remember a similar ambition described in the immortal Po's [Su Shi, 1037-1101] poem.
A descendant of Xicun, Gai Miao

天馬來西極，豈受人間羈？
幹亦獨何心，筆諸圖畫為。
橫披覩神異，宛若迎風嘶。
睠此奮迅閑廐下，直恐勢與落日爭分馳。
廼知作者意在萬里外，童年記得坡仙詩。

西村後人蓋苗

14. Zheng Guigao 鄭桂高 (active mid-14th c.), 10 columns in semi-cursive script, dated 1340:

"[Cao Ba] once painted Emperor [Xuanzong's] favorite horse Night-shining White;
For three days, the Dragon Pool had lightening over it." This couplet [from Du Fu's (712-770) poem] describes this painting, although Shaoling [Du Fu] also criticized [Han] Gan for depicting the flesh of a horse while neglecting its bone structure. While this is genuine trace, studies may be carried further. Touching the scroll, I feel sentimental and compose the following quatrain:

One neigh can silence ten thousand horses.
This ancient paper vividly conveys his spirit.
If people could find a seal of [the official] Wang Ya [died 835] on the scroll,
They would have agreed this is a genuine painting handed down from the past.

Written by Zheng Guigao in the gengchen year of the Zhiyuan reign era (1340).

"曾貌先帝照夜白，龍池三日飛霹靂。"其此之謂歟。"幹惟畫骨（點去）肉不畫骨，"少陵固亦云尔。真迹收附良可攷，參之近印尤信。撫卷增慨之餘，惟（點去）為賦一絕云："一噴能瘖萬馬群，幾何年紙轉精神。可堪認得王涯印，信是流傳舊本真。"時至元庚辰，括人鄭桂高書。

15. Zeng Lu 曾魯 (1319-1372), 5 columns in standard script, undated; 3 seals:

Han Gan is number one in painting horses,
And he has depicted Night-shining White.
This valuable painting has passed down for seven-hundred years.
Formerly in the family collection of Jia [Jia Sidao, 1213-1275], [I have now] acquired it.
This noble horse refuses to be bridled;
A celestial steed, its hooves fly in the wind.
It should cross layers of ice
To enjoy the lush grasses and forests there.

[Signed] Zeng Lu from Nanfeng [in Jiangxi Province]. [Seals]: Zhuci Zhai, Qunyu Waishi, Zeng shi dezhi

韓幹畫馬誇第一，曾貌開元照夜白。
至寶流傳七百年，賈家舊物□家得。
君看此馬不受羈，夭矯勢欲凌風飛。
會當蹴踏曾冰去，豐草長林從所之。

南豐曾魯 [印]：屬辭齋、羣玉外史、曾氏得之

16. Lin Tangchen 林唐臣 (late 14th-early 15th c.), 11 columns in semi-cursive script, undated; 3 seals:

I have heard that Night-shining White was painted by Cao Ba.
His student Han Gan also painted the same subject.
Defying restraint, the horse wanted to prance and fly,
While lightening flashed over the Dragon Pool.
During the Kaiyuan [reign era of Emperor Xuanzong, 713-41] the empire was at peace.
The steed was well-fed, but it neighed and yearned for a long trip.
No one expected the flight to Jian Ge [in Sichuan].
The Emperor indulged himself in his palace.
In the candlelight of the Chenxiang Pavilion,
The spring snow luster of the horse was like a piece of silk.
It is difficult to depict such a horse,
But [Han] Gan was divinely inspired.
And this painting has passed down for seven hundred years.
A single sheet of paper reveals his superb techniques.
Do not show this painting lightly to every visitor,
Since vulgar eyes cannot appreciate its true value.

[Signed] Lin Tangchen from Boling [in Hebei Province]. [Seals]: Boling sheng, Meixue Zhai, Lin Tangchen Yuankai shi tushu yin

吾聞《照夜馬圖》出曹霸，弟子韓幹亦曾畫。
金羈怒掣欲飛舞，龍池霹靂驚變化。
想當開元無事時，飽秣長鳴思遠馳。
未論萬騎入劍閣，要與八駿遊瑤池。
沉香亭前秉燭夕，匹練春雪光相射。
畫工如山貌不得，幹也天機有真迹。
世運七易年七百，片紙蕭瑟留粉墨。
□君慎勿輕示客，俗眼多應按圖索，
千金駿骨無人識。
博陵林唐臣 [印]：博陵生、梅雪齋、林唐臣元愷氏圖書印

17. Xu Zunsheng 徐尊生 (active mid-14th c.), 8 columns in semi-cursive script, undated; 2 seals:

The celestial steed has a silky luster.
Being tethered, it cannot gallop.
Lifting its hooves, it neighs with a temper,
And almost tears its reins apart.
Don't you see the lush grasses in the prairie?
Herds of horses are washed clean in a river.
Their bodies do not bear a particle of dust,
And they have never been restrained.
Master Han [Gan] portrayed the true spirit of horses.
He seemed to understand the feeling of the animal.
Better to let the horse go as it likes.
When I am old, I would also like to live in a place I like.

[Signed] Xu Zunsheng from Yanling [in Zhejiang Province] [Seals]: Zunsheng, Xu Danian

天閑神驥匹練光，繫著柳上難騰驤。
揚騣仰首意鬱懣，險不迸斷青絲韁。
君不見沙苑春深草肥潔，羣浴滄波袞晴雪。
纎毫渾未惹塵泥，頃刻何曾受羈紲。
韓生筆到天機精，能通馬語知馬情。
不如縱靶任本性，老去甘與駑駘并。

嚴陵徐尊生 [印]：尊生、徐大年

18. Zhang Shimeng 章師孟 (dates unknown), 4 columns in semi-cursive script, undated; 1 seal:

During the Kaiyuan reign era (713-41) there were good horses, but this did not help prevent [An Lushan's] rebellion in the Tianbao reign era (742-755). During the Shaoxing reign era (1131-62), men viewed this painting of a good horse, but this was of no use in resisting the chaos [of the Jurchen invasion] during the Jingkang reign era (1126-27). The painting has survived, but the cultural setting has changed. [Signed] A former jinshi degree holder, Zhang Shimeng [Seal]: Zijia yisi

開元有良馬，而無濟於天寶之囏。紹興觀良馬圖，而無援於靖康之變。丹青顧存，文物復安在哉！吾於是而重感。前進士章師孟 [印]：自家意思

19. Shen Deqian 沈德潛 (1673-1769), 13 columns in semi-cursive script, undated; 2 seals:
When General Cao [Ba] painted a picture of Night-shining White,
Lightening flashed over the Dragon Pool for ten days.
His student Han Gan also did a painting [of the same subject];
His brush technique rivals that of his tutor.
Displaying braveness in fierce battles,
The horse could not endure bridle or bit.
Flesh underlain by bone--it possesses both grace and strength.
The horse expresses its power in its neigh.
Du Ling [Du Fu, 712-770] was playful when he made derogatory remarks.
Master Su [Su Shi, 1036-1101] repudiated [Du Fu's comments] when he viewed Han's painting.
The painting official [i.e., Han Gan] had keenly observed herds of horses.
He surpassed Chen Hong [active ca. 725-756] because he understood horses.
This scroll has been passed down for a thousand years.
It is a treasured item in the Imperial Collection.
Again returned to the Palace precincts, it is treasured like a one-foot-wide jade disk.
There are depictions for each of the ten horses of the [Tang] imperial household.
These celestial steeds came from the west.
Dragons in disguise,
These horses could gallop one thousand li a day.
But if they were not depicted by Han Gan,
Who else could depict their majestic poses?
This expert painter painted good horses.
Unrolling the scroll, I am amazed by the fine match.

Respectfully inscribed by the official Shen Deqian [Seals]: Yiduo hongyun, Chen Deqian yin

曹將軍貌照夜白，龍池十日飛霹靂。
弟子韓幹亦有圖，筆力幾與師相敵。
籋雲迣鳥氣無前，那肯低頭就羈靮？
肉中有骨藏丰稜，想像長鳴勢騰擲。
杜陵游戲作貶語，蘇子披圖重推激。
天閑萬匹皆臣師，氣敓陳閎欲陵轢。
此卷流傳已千載，歸之内府珍尺璧。
天家十駿有圖畫，月窟西來過重驛。
超驤俱是千里足，豈數當年好頭赤。
方今未逢韓幹手，誰為神龍狀英特。
良工良驥兩相須，展卷齎咨三太息。
臣沈德潛敬題。 [印]：一朵紅雲、臣德潛印

20. Ding Zhenduo 丁振鐸 (1842-1914) and Lu Runxiang 陸潤庠 (1841-1915), 1 column in standard script, dated 1910; 2 seals:

At the beginning of winter in the gengxu year of the Xuantong reign era [Nov. 7 or 8, 1910] Ding Zhenduo and Lu Runxiang respectfully viewed [this painting] together. [Seals]: Xunqing, Fengshi

宣統庚戌立冬日丁振鐸、陸潤庠同敬觀。 [印]：巡卿、鳳石

Label strip

Pu Ru 溥儒 (Pu Xinyu 溥心畬, 1896-1963), 2 columns in standard and semi-cursive scripts, undated (mounted on brocade cover):

唐韓幹《照夜白》真蹟神品，庚申十八日心畬居士題。

Collectors' seals

Li Junxi 李君錫 (active early 11th c.)
Li Junxi yin 李君錫印

Liu Cen 劉岑 (1087-1167) (?)
Shushan ?? 杼山□□
Yong bao yong zhi 永保用之

Jia Sidao 賈似道 (1213-1275)
Qiuhe zhenwan 秋壑珍玩
Sidao 似道

Chu Weishan 楚惟善 (active early 14th c.)
Chu shi Baochen 楚氏寳臣
Weishan 惟善

Xiang Yuanbian 項元汴 (1525-1590)
Xiang Molin fu miji zhi yin (twice) 項墨林父袐笈之印
Zijing fu yin (4 times) 子京父印
Molin zi (twice) 墨林子
Molin sheng (twice) 墨林生
Tui mi 退密
Molin 墨林

Geng Zhaozhong 耿昭忠 (1640-1686)
Xingong jianding zhencang 信公鑑定珍藏
Geng Zhaozhong Xingong shi yizi Zailiang biehao Changbaishan Zhang shoucang shuhua yinji 耿昭忠信公氏一字在良別號長白山長收藏書畫印記
Bangu Xuan (shuhua yin) [half seal] 半古軒（書畫印）[半印]

An Qi 安岐 (1683-after 1742)
An Yizhou jia zhencang 安儀周家珍藏
Yizhou jianshang 儀周鑑賞
Chaoxian ren 朝鮮人
An Qi zhi yin 安岐之印
Xinshang 心賞
Yizhou zhencang 儀周珍藏
Siyuan Tang 思原堂
Lucun 麓村

Gui Lai歸來 (active mid-17th c.)[5]
Xizhi (6 times) 希之
Gui (4 times) 歸
Gui Lai yin 歸來印

Qing emperor Qianlong清帝乾隆 (r. 1736-1795)
Neifu shuhua zhi bao (5 times) 内府書畫之寳
Yushang (8 times) 御賞
Jigu youwen zhi xi (5 times) 稽古右文之璽
Chunhua Xuan 淳化軒
Qianlong chenhan 乾隆宸翰
Qianlong chenhan 乾隆宸翰
Xintian Zhuren 信天主人
Shiqu baoji 石渠寶笈
Chunhua Xuan tushu zhenmibao 淳化軒圖書珍袐寳
Shiqu dingjian 石渠定鑑
Baoji chongbian 寶笈重編
Qianlong yulan zhi bao 乾隆御覽之寳
Chengguan 澂觀
Qianlong jianshang 乾隆鑑賞
Sanxi Tang jingjian xi 三希堂精鑑璽
Yi Zisun 宜子孫
Guxi tianzi 古稀天子
Shou 壽
Bazheng maonian zhi bao 八徴耄念之寳
Shu fang run 漱芳潤
Qianlong 乾隆
Ji xia yiqing 幾暇怡情
Bide 比德
Langrun 朗潤
Xiebi liu yun zao 擕筆流雲藻

Yixin, Prince Gong恭親王奕訢 (1833-1898)
Huang liuzi 皇六子
Gong Qinwang zhang 恭親王章
Zhengyi Shuwu zhencang tushu 正誼書屋珍藏圖書

Zaiying載瀅 (1861-1909)
Beile Zaiying 貝勒載瀅
Jize Tang zhencang yin 繼澤堂珍藏印

Pu Ru 溥儒 (Pu Xinyu 溥心畬, 1896-1963)
Jiu wangsun 舊王孫
Pu Ru jianding shuhua jiacang yin 溥儒鑑定書畫家藏印
Xinyu zhencang 心畬珍藏
Xinyu 心畬
Xinyu jianding shuhua zengcang yin 心畬鑑定書畫珍藏印
Xishan Bieshu 西山別墅
Xishan Yishi 西山逸士
Xishan Yishi Xinyu jianshang 西山逸士心畬鑑賞
Xingxin Zhai 省心齋
Xingxin Zhai tushu yin 省心齋圖書印

Jin Cheng 金城 (1878-1926)
Gongbo pingsheng zhenshang 鞏伯平生真賞
Wuxing Jin Cheng jianding Song Yuan zhenji zhi yin 吳興金城鑑定宋元真蹟之印
Gongbei 拱北

Jin Kaifan 金開藩 (1895-1946)
Jin Yinhu cang 金蔭湖藏
Jin Kaifan zhencang shuhua zhi yin 金開藩珍藏書畫之印

Li Xuanti李宣倜 (1888?-1961)
Xuanti shending 宣倜審定
Li Shikan jianshang zhang 李釋戡鑑賞章
Ti 倜
Li Shikan 李釋堪
Li Xuanti yin 李宣倜印
Shikan ceng guan 釋龕曾觀
Shikan xinshang 釋戡心賞
Li Xuanti Shikan fu 李宣倜釋戡父
Wubian hua'an (twice) 無邊華盦
San shi 散釋
Ajia Jushi 阿迦居士

Kawai Senro河井荃廬 (1871-1945)
Yinchao 蟫巢
Xinye Jushi (twice) 心野居士
Hanjiong Tuo (twice) 憨冏陀

Unidentified seals
Tang shi tushu (?) 湯氏圖書 (?)
Henan Wen shi zhi bao 河南文氏之寳
Zhimei 芝眉
? ? jianding (twice) □□鑑定

Illegible: 2 (black)

[1] Translations from Department records.

[2] Translations from Department records.

[3] The term "zaishengming" in the dating of this inscription refers to the third day of the month. Our gratitude to James C. Y. Watt for this reference. It appeared as early as in the chapter of "Wu Cheng" of Shangshu (The Classic of History), said to be compiled originally by Confucius (551-479 B.C.).

[4] The 30th-generation "Celestial Master" of the Zhengyi sect of Daoism was named Zhang Jixian (1092-1126) with the same Chinese characters. But he may not be the writer of this colophon because it appears after the one by Jie Hong (1304-1373) and, therefore, should post-date it.

[5] On Gui Xizhi's identity, see Wu Guohao, "Wan Ming wenren de shufa shenghuo" (Ph.D. dissertation, Zhongguo Wenhua Daxue, Taipei, 2008), p. 265.

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Han Gan | Night-Shining White | China | Tang dynasty (618-907) | The Metropolitan Museum of Art

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Inscription: No Artist's inscription, signature, or seal Other inscriptions[1] 1. Southern Tang emperor Li Yu南唐後主李煜 (r. 961-975), signed with a cipher, 1 column in standard script, undated: Night-Shining White painted by Han Gan, [signed with a cipher]

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This basin with lotus decoration bowl is a bowl that has some lotuses, leaves, and stems carved into it. This was made using porcelain that was also made in China. This was used as a bowl to put food in, which progressed how food was eaten forever.

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Basin with Lotus Decoration | China | Northern Song dynasty (960–1127) | The Metropolitan Museum of Art

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The incense holder is a cylinder that stands on three legs with smooth lines. it would usually be found in a study. it would hold something that would produce a scent in the room. this relates to some people who would have porcelain vases in their house with something that would produce a scent.

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Incense holder with flower motif - Google Arts & Culture

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The incense holder is cylindrical and stands on three legs. The lid is carved with a latticework design. The lines of the incense holder are smooth and the…

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Ella Mead - People would set out a vase or bottle with flowers and offer it to Buddha. They would then coat the vase or bottle with white slip-after to look sleeker and put together.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

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The silver box stores things like how the clay vase holds food or water. This could have been used to hold anything jewelry, food, water, money, and more. This is significant because this is another type of storage for things.

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Persian-styled Silver Box - Unknown - Google Arts & Culture

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This oval shaped silver box is uncovered in the “foot box” of the Nanyue King. The design and craftsmanship were distinctive of the ancient Persians. Arche…

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The "Mou" was used for cooking, they would hang it on a line above a fire and boil things in it for meals. The creator of the "Mou" is unknown.

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Bronze”Mou”, Iron Hooks,Bronze”Fu Zeng” - Unknown - Google Arts & Culture

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Many cooking utensils are excavated in the tomb of the Nanyue king.A Mou is used for boiling. They are hanged on hooks together with the tripods. A Fu Zeng…

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The shell cup was created with the characters zhi ji san bei jui. It was used for drinking. This shell cup is not the same as it is today but we use it for the same idea. We have cups that are used for drinking.

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Song dynasty conch shell cup with inscription - Google Arts & Culture

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This cup is engraved with the characters zhi ji san bei jiu (true friends have three cups of wine), and with a decorative pattern.

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This bronze mirror with paintings is how they used mirrors back then to see how they looked but today we use lear mirrors instead of ones with paintings.

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Bronze Mirror with Paintings - Unknown - Google Arts & Culture

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Among the four bronze mirrors unearthed from the tomb, rust remove treatment is only done on this one. It has a diameter of 41cm. It is the largest bronze…

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I chose this vase because we just learned about how porcelain was used to keep rice, water, spices and flowers inside. This vase was actually used to give flowers to Buddha. This connects with the religion unit we learned about. They offered the flowers to Buddha to show respect.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

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The bowl has a brown glaze with a white rim, this was a practice called Heritori. The white edges were used to represent the edges of flower petals. This bowl was used to ritually drink tea. Drinking tea was a very important part of the Song dynasty.

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This is a bowl with a brown glazed body and a white rim. The white accent color imitates the gold and silver accents used in other bowls. The phrase fulun (cover wheel) comes from Japan, where the glazing practice is called heritori. The primary meaning of heritori is decorating the edge, which is called fulun in Chinese. The secondary meaning of heritori refers to the edges of flower petals that are a different color than the rest of the flower.

Additional Items

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

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Ganzhou kiln white rim bowl - Google Arts & Culture

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This is a bowl with a brown glazed body and a white rim. The white accent color imitates the gold and silver accents used in other bowls. The phrase fulun ...

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The Meiping Vase was used to hold a branch from a plum tree. It connects to what we've learned because people in the Tang and Song dynasties used vases to store things. It saved space and helped plants like rice last longer

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Meiping Vase with Carved Floral Sprays - Google Arts & Culture

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This magnificent plum vase (*meiping*) derives its name from being used to hold a branch from a flowering plum tree. Vases of this shape with a round shoul…

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The "Old Trees, Level Distance" illustrates the image of older government officials retiring and walking to their house. This is an example of Chinese artwork in ca. 1080, where culture and nature were combined to make beautiful artwork. There is also block printing in the top right corner, which was a key invention during this time.

By: Donovan Bellore

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Guo Xi | Old Trees, Level Distance | China | Northern Song dynasty (960–1127) | The Metropolitan Museum of Art

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Inscription: No artist’s inscription, signature, or seal

Label strip

Unidentified artist, 1 column in standard script, undated:

Old Trees, Level Distance by Guo Xi

郭熙《樹色平遠》

Colophons[1]

1

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This vase is what they used to put their rice and spices in to keep them fresh. This helped them to keep their food good for longer. Now we have fridges to do that for us and its much easier.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

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This white vase connects to the Chinese storing their spices in cool, dark places. This paved the way for better storage methods.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

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The altar vase is a globular shape with two animal headed handles. It is made of bronze.

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This lamp shows how people used to use light. People would stick a torch in the opening on top of the lamp.

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Bronze Lamp - Unknown - Google Arts & Culture

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Two lamps made of bronze are found in the mausoleum. The lamps have three protruding nails to hold wicks. They bear an inscription which indicates their we…

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This vase imitates the Neolithic Square Jade vases. These vases were used to store food and store it for longer period of time. This plays a role in their daily lives by helping to save food rather than having to throw it out more frequently. -Grace Papandrea

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This vase imitates the shape of a tube of jade called a cong which was carved by people of the Liangzhu culture in the Neolithic period. The mouth of the v…

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The Porcelain bowl connects to their use of Porcelain in many different ways. It helped make a start to conserving foods and keeping things for longer. It helped us today make better ways to store things.

# data[].attributes.attachment_link.readable_text
This is a bowl with a brown glazed body and a white rim. The white accent color imitates the gold and silver accents used in other bowls. The phrase fulun (cover wheel) comes from Japan, where the glazing practice is called heritori. The primary meaning of heritori is decorating the edge, which is called fulun in Chinese. The secondary meaning of heritori refers to the edges of flower petals that are a different color than the rest of the flower.

Additional Items

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
Ganzhou kiln white rim bowl - Google Arts & Culture

# data[].attributes.attachment_link.description
This is a bowl with a brown glazed body and a white rim. The white accent color imitates the gold and silver accents used in other bowls. The phrase fulun ...

# data[].attributes.body
Corinne Agostinelli - This is a vase influenced by Zen Buddhism. This connects to what we learned when the culture used porcelain vases to store food because they didn't have fridges. They would also add flowers and offer it to people and decorate it to make it look better.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

# data[].attributes.body
This vase was influenced by Zen Buddhism and was made to put flowers in it or store food. This connects to what we learned because some people created things with clay for storing food.

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In the Song dynasty, it was common to put flowers in bottles and vases in order to make an offering to Buddha. In the homes of literary families, flower ar…

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This bowl was approximately made 960-1279, it has handles molted with porcelain its body is glazed and the base is unglazed.

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This jade box can be used to store stuff, just like the vase holds water and acts like a fridge for food so it does not go spoiled as fast.

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Jade Box - Unknown - Google Arts & Culture

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This jade box is carved out of a piece of greenish jade. The lid and the box are linked together. The patterns on the lid have three main groups. The jade…

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This vase imitates the shape of a tube of jade called a cong which was carved by people of the Liangzhu culture in the Neolithic period. The mouth of the vase is small, the body is square, and the foot is round. The four sides of the body of the vase have sectional grooves in an alternating pattern, which suggest the complementarity of heaven and earth. Convex and concave parts corresponding to the grooves on the outer surface can be seen on the inside of the vase.