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Garden for Solitary Enjoyment

獨樂園

1515–52

Qiu Ying 仇英

(Chinese, 1494–1552)

China, Ming dynasty

(1368–1644)

Handscroll; ink and light color on silk

Painting: 28 x 518.5 cm (11 x 204 1/8 in.); Overall: 32 x 1290.2 cm (12 5/8 x 507 15/16 in.)

John L. Severance Fund 1978.67

Location

003 Special Exhibition Hall

Did you know?

Sima Guang completed his monumental survey of Chinese history, Zizhi tongjian, in the garden depicted in this painting.

Description

Garden of Solitary Enjoyment refers to a site built in 1073 by the statesman Sima Guang (1019–1086) after he had retired to Luoyang, Henan province. Every spring, visitors would flock to his garden. Each of its seven structures references a historic figure. Sima wrote: I channel streams [like Du Mu], to water flowers [like Bai Juyi], or trim bamboo [like Wang Huizhi]. . . . I know of no joy between heaven and earth that could take its place.

Qiu Ying’s painting, created after an 11th-century version of the same theme, must have appealed to garden owners of the Ming dynasty, since it became the template for numerous Suzhou workshop copies

Inscriptions

Inscription

Accompanying text of an essay together with seven poems of Sima Guang (1019–1086) and one poem of Su Shi (1037–1101) written by Wen Zhengming (1470–1559) in 1558.

Inscription

Colophon by Xiang Yukui 項禹揆 (c. late 1500s–1659): The painting of The Garden for Self-enjoyment on the right by Shih-chou, Mr. Qiu [Qiu Ying] is in the style of Li Lung-mien. Its mood is peaceful, as if meeting the ancient gentlemen face to face among the brushes and silk; it lifts one above the sordid bustle of life. Formerly, my late father handed me this scroll which had only the painting without the written essay. I considered asking a good calligrapher to write the essay to add to it but was afraid that the quality of the writing would not match the painting. Several years later, I saw at a friend's house this essay and poems (of Ssu-ma Kuang] written by Hengshan [Wen Zhengming], once owned by my grandfather; so I spared no expense to obtain it. I rejoiced at this and said: "The divine swords are finally united. How things are pre-destined!" Now my friend Chang Kung-chao's technique for mounting [painting and calligraphy] is excellent. Therefore by daring to take them out and join them together, I can preserve this beautiful story of singular reunion. Xiang Yukui recorded at Hai-yeh-t'ang [hall] two days before New Year's Eve in the jiasheng year of the Chongzhen era [1644]. trans. LYSL/HK/WKH

Inscription

2 colophons and 82 seals: 4 seals of Wen Zhengming 文徵明 (1470–1559); 59 seals of Xiang Yuanbian 項元汴 (1525–1590); 1 colophon, dated 1644, and 7 seals of Xiang Yukui 項禹揆 (c. late 1500s–1659); 1 colophon, dated 1880, and 2 seals of Weng Tonghe 翁同龢 (1830–1904); 2 seals of Ch'eng Chen-i (19th c.); 1 seal of Han Ch'ung (19th c.); 4 seals of Wan-go H. C. Weng 翁萬戈 (1918–2020); 3 seals unidentified.

Provenance

Xiang Yuanbian 項元汴 [1525–1590], Jiaxing, China, by descent to his grandson, Xiang Yukui ¹

by 1644

Xiang Yukui 項禹揆 [c. late 1500s–1659] ²

by 1880–1904

Weng Tonghe 翁同龢 [1830–1904], Beijing, China, by descent to his family ³

?–1978

(Wan-go H. C. Weng 翁萬戈 [1918–2020], Lyme, NH, sold to the Cleveland Museum of Art) ⁴

1978–

The Cleveland Museum of Art, Cleveland, OH

Provenance Footnotes

¹59 seals of Hsiang Yüan-pien [Xiang Yuanbian 項元汴].

²1 colophon dated 1644 and 7 seals by Hsiang Yü-k'uei [Xiang Yukui 項元汴].

³1 colophon, dated 1880, and 2 seals of Weng Tonghe.

⁴4 seals of Weng Wan-go

Citations

Weng, Wango H. C. Gardens in Chinese Art from Private and Museum Collections. New York: China Institute in America, 1968. Reproduced: cat. no. 6, figs. 6,8

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: cat. no. 166, pp. 206-209

Cunningham, Michael R., Stanislaw J. Czuma, Anne E. Wardwell, and J. Keith Wilson. Masterworks of Asian Art. Cleveland, OH: The Cleveland Museum of Art, 1998. Mentioned and Reproduced: pp. 90–91

Tanenbaum, Mary. Fishing on the Terrace: A Collection of Writings, edited by Heather Parks. [Redwood City, CA]: Stanford University Press, 2018. Reproduced: pp. 44-45

Whiteman, Stephen H. Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe. Seattle [Washington]: University of Washington Press, 2020. Mentioned and reproduced: pp. 202-203, fig. 6.6

Exhibition history

Gardens in Chinese Art from Private and Museum Collections. China House Gallery, New York, NY (March 21-May 26, 1968)

Eight Dynasties of Chinese Painting. The Cleveland Museum of Art, Cleveland, OH (February 11-March 29, 1981)

Main Asian Rotation (Gallery 122). The Cleveland Museum of Art, Cleveland, OH (March 27-June 25, 2001).

Year in Review: 1978. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).

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

Wu School Painting Series: The Art of Qiu Ying. Suzhou Museum, Suzhou, China (organizer) (November 10-December 20, 2015).

Where the Truth Lies: The Art of Qiu Ying. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 9-May 17, 2020) https://www.lacma.org/art/exhibition/where-truth-lies-art-qiu-ying.

China's Southern Paradise: Treasures from the Lower Yangzi Delta. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10, 2023-January 7, 2024).

Cite this page

{{cite web|title=Garden for Solitary Enjoyment|url=https://clevelandart.org/art/1978.67|author=Qiu Ying|year=1515–52|access-date=30 November 2023|publisher=Cleveland Museum of Art}}

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Garden for Solitary Enjoyment

Garden for Solitary Enjoyment

獨樂園

Qiu Ying 仇英

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Description

Inscription

Inscription

Inscription

Provenance Footnotes

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