\"The checklist of the John B. Elliott Bequest,\" Record of the Princeton University Art Museum 61 (2002): p. 49-99.
","citation":"\"The checklist of the John B. Elliott Bequest,\" Record of the Princeton University Art Museum 61 (2002): p. 49-99.
, p. 74","date":2002,"id":3025,"uri":"https://www.jstor.org/stable/3774767"}],"nowebuse":"False","periods":[{"id":12557,"period":"Southern Song dynasty","alphasort":"Southern Song","begindate":1127,"enddate":1279,"displayperiod":"Southern Song dynasty, 1127–1279","displaydate":"1127–1279"}],"department":"Asian Art","attribute_groups":[{"id":2199319,"term":"Asian Art","termtype":"Collecting Area"},{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1000-1500","dateend":1187,"depicted":[],"titles":[{"title":"Quatrain on an Autumn Fan","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"1998-75 a","inscribed":"Seals: Artist’s - (1) damaged yang seal (left, top)\r\nCollectors’ – (6) Wu Yuanhui (19th century)\r\n“Liquan shending” square yin (right, top)\r\n“Wu shi Shengxianglou cang” square yin (right, 2nd from top)\r\n\"Na-hai [Nanhai?] Wu Yuanhui baowan” square yang (right, 3rd from top)\r\nUnknown – “Xiu jin shending” square yin (right, bottom), Wu’s seal? Square yang(left, bottom)\r\nColophons: Left: Chen Qikun (t. Tangxi; jinshi degree, 1826; native of Canton), signed “Tangxi” undated. Seal “Chen Qikun yin” square yin (below signature)\r\nRight: Luo Tianchi (b. 1805, jinshi degree, 1826), signed “Shenghu”, undated","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\r\nChinese emperors participated in the art of calligraphy as collectors, critics, and artists. For Emperor Gaozong, calligraphy provided aesthetic enjoyment and helped validate his reign. After his father, Emperor Huizong (r. 1100–26), and elder brother, Emperor Qinzong (r. 1126–27), were taken captive by invaders from the north, Gaozong fled south and established a new capital in modern day Hangzhou. Seeking to remove doubts about his right to rule, Gaozong positioned himself as protector of China’s cultural heritage through the patronage and production of works of art. Among the many calligraphic projects he initiated the most intimate were fans inscribed with poems made as gifts for his inner circle, such as this fan, whose quatrain is of Gaozong’s own composition: \r\nDownstairs, who is burning nighttime incense?\r\nJade pipes, in sad resentment, sound in the early chill.\r\nFacing the wind, a guest sings of an autumn fan. \r\nAs she bows to the moon, no one sees her evening makeup.","remarks":"The Art of Calligraphy in Asia Rotation April 2017"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":" –1998 John B. Elliott (Princeton, NJ), by bequest to the Princeton University Art Museum, 1998.