\"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":1232,"depicted":[],"titles":[{"title":"Quatrain on Autumn","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"1998-75 b","inscribed":"Artist’s seals: \r\n1. “Yang xsing zhi zhang” square yang (left, middle)\r\na. Some read this seal as “Yang Mei zhi chang” (see colophons) or “Yang wa zhi zhang.” b. See Chiang Chao-shen article on Yang Meizi (see below).\r\n2. Kun trigram (3 broken bars), square relief seal (left, bottom) (suggests a feminine aspect, i.e., a female artist). Yang Meizi is known to have used this seal.\r\n\r\nCollectors' seals:\r\n“Ming Anguo wan” oval yin (left, top) [this seal appears on many Song fans including a Ma Yuan fan in the Lam collection and on a Liang Kai scroll (Yiyuan duo yin, 34). \r\nWu Yuanhui (1834-1865): “Liquan shending” square yin (right, top)\r\n“Nanhai Wu Yuanhui baowan” square yang (right, 2nd from bottom)\r\n“Wu shi shengxianglou cang” square yin (right, 2nd from top) [the location of these 3 seals is identical to Wu’s seals on the Gaozong fan in this album, AMPU 1998-75a]\r\nUnknown – “[ ] [ ] shending” vertical rectangular yin (right, bottom)\r\n“Jian yanfu (?) an” square yang (on border under right corner of Yang calligraphy)\r\n\r\nColophons: \r\n\r\nFar right: Luo Tianchi (b. 1805, jinshi degree, 1826), Signed, undated; damaged in (?); his opinion as to the identity of the artist is unclear.\r\n\r\nNear left: Chen Qikun (t. Tangqi; jinshi degree, 1826; native of Canton), undated. Signed “Tangqi.” \r\nSeal: square yang (under colophon) attributes calligraphy to Yang Meizi.\r\n\r\nFar left: Wu Yuanhui (1834-1865), signed “Liquan” \r\nSeals: “Wu Yuanhui” square half yang, half yin (upper); “Nanxuezhai yin” square yin (lower); “Liquan shending” square yin (on border under left corner of Yang calligraphy), attributes calligraphy to Yang Meizi.\r\n\r\nTop: Pan Shicheng (zhuren degree, 1832), (the character “pan” is missing the water radical to its left due to damage). Signed. \r\nSeals: “Shicheng,” square yang (left); “Hai shan xian guan zhuren,” vertical rectangular yang; (right): “Hai shan xian guan zhuren,\" vertical rectangular yang (right), attributes calligraphy to emperor Gaozong. [Nakata and Fu, Masterpieces, vol. 2 p. ii, give his dates as 1829-68. This seems unlikely if he received his degree in 1832].","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\r\nEmpress Yang, the consort of Emperor Ningzong (r. 1195–1224), was one of the few women to achieve fame in calligraphy, an art, like most others in imperial China, dominated by men. The empress’s quatrain refers to the Double Ninth Festival (Zhongyang jie 重陽節) the ninth day of the ninth lunar month, on which revelers traditionally ascended hills or high towers to enjoy distant views:\r\nOn festival days of the four seasons people busily hurry;\r\nFrom this one knows we are living in a happy domain.\r\nThe ninth day approaches, yet beside the fence it is lonely;\r\nOnly when the chrysanthemums blossom will the Zhongyang