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Additional Views

Feb 25, 2010

Feb 26, 2010

Twelve Views of Tiger Hill

虎丘十二景圖

after 1490

Part of a set. See all set records

Shen Zhou 沈周

(Chinese, 1427–1509)

China, Ming dynasty

(1368–1644)

Album of twelve leaves; ink or ink and slight color on paper

Overall: 36.5 x 49.9 cm (14 3/8 x 19 5/8 in.)

Leonard C. Hanna, Jr. Fund 1964.371

Location

not on view

Description

Views of Tiger Hill depicts a historic site a few miles northwest of Suzhou. The scenes simulate a visit from arriving by boat at the foot of the mountain to climbing to Cloudy Cliff Monastery. Representations of the artist’s mature style, Shen Zhou included views in subtle colors in the suite of monochrome scenes.

A Suzhou native, Shen Zhou was supported by family wealth and rejected an official career in favor of life as a retired scholar. Turning to painting in midlife, he is regarded as the founder of the Wu School of painting, with its center in Suzhou.

Inscriptions

Inscription

[印] 启南; 石田

Inscription Translation

Artist's seals: Qi'nan (1 on each leaf); Shitian (1 on fourth and twelfth leaves).

Inscription

1 colophon and 1 seal of Yao Yuanzhi 姚元之 (1776-1852). The brushwork of this album is aged and powerful. It is so vigorous that it gives you a feeling of the mist and clouds when looking at it. It could not be done by any other than the old master, Shen Zhou. Formerly the album was in the collection of Hu Zhishou's 胡之壽 family. After many changes of hands, it came finally into the possession of Ligeng 笠耕, the Keeper of the Imperial Stable [that is, Binliang 斌良, Manchurian poet-calligrapher, later the Imperial Resident in Lhasa, Tibet, 1784-1847]. Not long ago, when its former owner Zhishou came to visit me and found the album in my study, he sighed in nostalgia and told me that there were originally an inscription and colophons in the album which are now lost. Song Luo 宋犖 [zi 牧仲, 1634-1713] once had a poem by Shen Shitian on the painting of Tiger Hill. [The poem is missing from the album.] It must be a poem written for this album. However, according to Song's own title, the poem was composed after the rhymes and meter of the original poem on the album. Now there is no poem whatsoever in the frontispiece or at the end of the album. Is this what Zhishou meant - that the original colophons and inscriptions are missing? Ligeng, the Keeper of the Imperial Stable, has asked me for a colophon. The album has been left on my desk since last year. How time has passed! On the first day of the jiashen year 甲申 [1824], I returned from the Court Audience. The plum trees in the pots have started to blossom with their first fragrance. How much has this added to my enjoyment of the painting! I therefore write down a few words for your criticism. [signed] the Student of the Grass Leaf Pavilion, Yao Yuanzhi.

Inscription

3 seals of Hou Shigong 侯士恭 [late 19th–early 20th century]. (1 each on the colophon, seventh, and eleventh leaves).

Provenance

Hu Zhishou 胡之壽 [late 18th–mid 19th century]

Binliang 斌良 [1784–1847]

Hou Shigong 侯士恭 [late 19th–early 20th century]

Richard B. Hobart [1885-1963], Cambridge, MA. Owner of four leaves B = 2, E = 5, F = 6, J = 10.

?-1964

(Walter Hochstadter [1914–2007], New York, NY, sold to the Cleveland Museum of Art)

1964-

The Cleveland Museum of Art, Cleveland, OH

Citations

Lee, Sherman E. Chinese Landscape Painting. Cleveland, OH: The Cleveland Museum of Art, 1954. cat. no. 51: leaves B (1964.371.2), E (.5), F (.6), and J (.10)

Sirén, Osvald. Chinese Painting: Leading Masters and Principles. New York: Ronald Press, 1956. Mentioned: VII, 299

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. Reproduced: p. 263 archive.org

Lee, Sherman E. “Literati and Professionals: Four Ming Painters.” The Bulletin of the Cleveland Museum of Art, vol. 53, no. 1, 1966, pp. 2–25. Reproduced: p. 47, figs. 4-15 www.jstor.org

Goepper, Roger. Kunst und Kunsthandwerk Ostasiens; ein Handbuch für Sammler und Liebhaber. München: Keyser, 1968. Reproduced: pl. 97

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 263 archive.org

Froncek, Thomas, and Hugh Honour. The Horizon Book of the Arts of China. New York: American Heritage Pub. Co., 1969. Reproduced: p. 323 (G)

Lee, Sherman Emery, and James Robinson. The Colors of Ink: Chinese Paintings and Related Ceramics from the Cleveland Museum of Art. New York: Asia Society; distributed by New York Graphic Society, 1974. Mentioned and Reproduced: cat. nos. 26 (B), 27 (E)

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 349 archive.org

Hironobu Kohara 古原宏伸, Richard Edwards, and Takeo Hibino 日比野丈夫. Shin Shū, Bun Chōmei [沈周文徴明 = Shen Zhou, Wen Zhengming]. Tōkyō: Chūō Kōronsha, 1978. Reproduced: p. 162, pls. 38 (J), 39 (B), 40 (G), 41 (D)

Cahill, James. Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580. New York: Weatherhill, 1978. Reproduced: pp. 91-92, pls. 39 (G), 40 (B)

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. Mentioned and Reproduced: pp. 187–190, cat. no. 155

Dong, Shouqi 董寿琪, and Yi Xueling 衣学领. Suzhou yuan lin shan shui hua xuan 苏州园林山水画选. Shanghai: Shanghai san lian shu dian, 2007. p. 115

Clunas, Craig. Art in China. Oxford: Oxford University Press, 2009. Reproduced: p. 156, fig. 81

Zhang, Hongxing, Lizhong Ling, Masaaki Itakura, Charles Mason, Shane McCausland, Camille Schmitt, Clarissa Von Spee, and Roderick Whitfield. Masterpieces of Chinese Painting, 700-1900. London: V & A Publishing, 2013. Mentioned and Reproduced: cat. no. 57, pp. 250–251

Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 2015. Reproduced: pp. 245-251

Giuffrida, Noelle. Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America. Oakland, California: University of California Press, 2018. Reproduced: p. 160, fig. 89

Karlsson, Kim. "Wanderlust: Painting "Famous Mountains and Unexcelled Places." In Longing for Nature: Reading Landscapes in Chinese Art. Kim Karlsson, and Alexandra von Przychowski, 146–203. Zürich: Museum Rietberg; Berlin: Hatje Cantz Verlag, 2020. Mentioned and reproduced: p. 151

Exhibition history

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).

Masterpieces of Chinese Painting 700 - 1900. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 26, 2013-January 19, 2014). (1964.371.7 only)

Year in Review (1964). The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).

The Colors of Ink. Asia House Galleries (January 10-March 3, 1974); The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-May 12, 1974).

Visions of Landscape: East and West. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).

Asian Autumn: Masterpieces from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992).

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{{cite web|title=Twelve Views of Tiger Hill|url=https://clevelandart.org/art/1964.371|author=Shen Zhou|year=after 1490|access-date=04 December 2023|publisher=Cleveland Museum of Art}}

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Twelve Views of Tiger Hill

Twelve Views of Tiger Hill

虎丘十二景圖

Shen Zhou 沈周

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