Chrysanthemums and Cabbage

c. 1486 or before

Tao Cheng

Tao Cheng (Chinese, active c. 1471–after 1502)

Chinese Art

Chrysanthemums and Cabbage, c. 1486 or before. Tao Cheng (Chinese, active c. 1471–after 1502). Handscroll, ink and slight color on paper; overall: 28.6 x 253.7 cm (11 1/4 x 99 7/8 in.). The Cleveland Museum of Art, Anonymous Gift 1960.40 Eminent calligrapher Wang Wenzhi 王文治 was only 27 sui when he wrote the title in 1756.

Original Source

Maker/Artist: Tao Cheng
Classification: Painting
Formatted Medium: handscroll, ink and slight color on paper
Medium: handscroll, ink, slight, color, paper
Dimensions: Overall: 28.6 x 253.7 cm (11 1/4 x 99 7/8 in.)
Inscribed: Inscription: Artist's seal at beginning of painting: Yun hu 雲湖. Title by Wang Wenzhi 王文治 (1730–1802), date 1756. 2 seals of Wang Wenzhi 王文治 (1730-1802); 3 seals of Ku Yün (n. d.) Inscription: Section A (Chrysanthemums): 1 poem and 1 seal of Zhang Yuanzhen 張元禎 (1437–1507) - Jinshi, 1461; 1 poems and 3 seals of Ni Yue 倪岳 (1444–1501) - Jinshi, 1464; 1 poems and 2 seals of Zhao Xiang 趙祥 (life dates unknown) - Jinshi, 1469; 1 poems and 1 seals of Wu Xixian 吳希賢 (1437–1489) - Jinshi, 1464; 1 poems and 1 seals of Lü Chang 呂㦂 (1449–1511) - Juren, 1471; 1 poems and 3 seals of Fu Han 傅瀚 (1435–1502) - Jinshi, 1464; 1 poems and 1 seals of Feng Jue 馮珏 (life dates unknown) - Jinshi, 1478. Inscription: Chrysanthemums section, poem 1, by Zhang Yuanzhen 張元禎 (1437–1507): Several bushes of chrysanthemums grow in front of the Five-Willow Cottage,/ The yellow ones are really yellow and the white ones white./ This affable and decent fellow, young in years and unsophisticated,/ Has snapped one of the branches to dip in ink. (The Five-Willows Cottage was the home of the poet Tao Qian 陶潛 (Tao Yuanming 陶淵明, AD 365-427).) Chrysanthemums section, poem 2, by Ni Yue 倪岳 (1444–1501): Where at the Eastern Fence can you grieve for the Soul of the Xiang River?/ A man of upright character is mourned within the traces of ink./ White jade with a slight flaw would be a grievance forever,/ Later men should understand why even the roots of the flowers are washed. (Eastern Fence refers again to the poet Tao Qian 陶潛, while the Soul of the Hsiang River refers to the poet Qu Yuan 屈原 (c. 340–278 BC).) Chrysanthemums section, poem 3, by Zhao Xiang 趙祥 (life dates unknown): A clump of chrysanthemum grows in front of the bamboo pavilion,/ The winds of many autumns have blown since we parted beyond the river./ Straining wine through the official's cap of Tao [Qian] to prolong autumn's pleasures,/ The mists and clouds of ten thousand miles belong to the intoxicated. Chrysanthemums section, poem 4, by Wu Xixian 吳希賢 (1437–1489): It is a different spring if mulberry is planted during the latter part of the year,/ The dust of the world originally did not drop on clothing./ Who spills out ink under the Eastern Fence/ And paints so freely this portrait of chrysanthemums for the venerable Sir Tao? Chrysanthemums section, poem 5, by Lü Chang 呂㦂 (1449–1511): This full tray of ink for painting [flowers] at the Eastern Fence;/ Their whiteness or yellowness is not essential in capturing their beauty./ I don't have to go to Jiangnan to see them myself./ At my old house grow two or three branches. Chrysanthemums section, poem 6, by Fu Han 傅瀚 (1435–1502): Who daubed autumn flowers with ink/ As if they were dark dew on a branch tip only vaguely seen at evening?/ After the lazy clouds disperse, no one paints;/ A certain unconventionality pervades this painting. Chrysanthemums section, poem 7, by Feng Jue 馮珏 (life dates unknown): To satisfy his hunger, [the chrysanthemums] have at times entered the poetry of Qu Yuan;/ Taking up the wine cup, it felt close to Tao Qian./ [With them I am like] a lonely root sustained by deep water/ Or an old man to whose hair the color of youth returns. Inscription: Section B (Cabbage): 1 poem and 1 seal of Cai Qi 蔡圻 (life dates unknown) - degree information not known; 1 poems and 3 seals of Ni Yue 倪岳 (1444–1501) - Jinshi, 1464; 1 poem and 3 seals of Jiao Fang 焦芳 (1436–1517) - Jinshi, 1464; 1 poem and 3 seals of Li Dongyang 李東陽 (1447–1516) - Jinshi, 1464; 1 poems and 1 seals of Wu Xixian, signed “Xixian” 吳希賢 - Jinshi, 1464; 1 poems and 3 seals of Fu Han 傅瀚 (1435–1502) - Jinshi, 1464; 1 poems and 1 seals of Lü Chang 呂㦂 (1449–1511) - Juren, 1471; 1 poems and 2 seals of Zhao Xiang 趙祥 (life dates unknown) - Jinshi, 1469; 1 poems and 1 seals of Feng Jue 馮珏 (life dates unknown) - Jinshi, 1478. Inscription: Cabbage section, poem 1, by Cai Qi 蔡圻 (life dates unknown): The ink splashes are fresh from a frosty brush dipped in pond water;/ I can visualize that time when Yunhu 雲湖 [Tao Cheng] first showed his talents./ I lament the places where I scribbled before,/ Who would open them to inscribe a poem? (The first line is an allusion to the famous Jin dynasty calligrapher Wang Xizhi 王羲之 (AD 303-361), who practiced calligraphy so diligently at the edge of a pond that the water turned black with ink.) Cabbage section, poem 2, by Ni Yue 倪岳 (1444–1501): After rain the vegetables begin to grow;/ How are the colors of the masses lately!/ Once you get used to them, the tastiest parts are the ends of the roots;/ I don't know if they can be used for "seasoning soup." ("Seasoning soup" is an allusion to the statesmanship of a chief minister.) Cabbage section, poem 3, by Jiao Fang 焦芳 (1436–1517): This crop of purple stalks and green leaves is late and irregular;/ Now the rainy season is over for the Eastern Garden./ All the nobles nowadays dine on meat;/ Who of them knows the flavor of this [cabbage]. Cabbage section, poem 4, by Li Dongyang 李東陽 (1447–1516): It's always helped the honest man to sober up after drinks./ I intend to go to the deepest part of the stream-crossed garden/ To refresh myself in the fragrance and dew of evening. Cabbage section, poem 5, by Wu Xixian 吳希賢 (1437–1489): After rain, the white silk is filled with fragrant vegetables;/ How many times this happens in Mr. Tao's paintings./ On whom will you depend to present a memorial to the ruler?/ Don't let this color emerge on the faces of the people. (The last line is meant as a warning to officials: the color of the vegetables (green) may be pleasing in itself, but when it emerges on the faces of the starving poor, it signifies a badly governed world.) Cabbage section, poem 6, by Fu Han 傅瀚 (1435–1502): For twenty years I have feasted on the excellent mutton of an official;/ Yet I talk and dream about the garden and its vegetables./ Do not merely say it is good to chew the root of the cabbage--/ You must taste to understand what poverty is. Cabbage section, poem 7, by Lu Chang 呂㦂 (1449–1511): The capital is never a place for an apprentice in the "garden of scholarship."/ Who would write about gardens and vegetables on an examination paper?/ I've walked throughout the country in spring;/ Make sure the people don't show this color. Cabbage section, poem 8, by Zhao Xiang 趙祥 (life dates unknown): After a wash of rain, the spring garden is still in order;/ The flavor [of the cabbage] is more suitable with a small drink and the hum of a tune./ The rich and powerful in their mansions consume dish after dish of meat;/ Vegetarian food is known only by the scholars. Cabbage section, poem 9, by Feng Jue 馮珏 (life dates unknown): A new cabbage is nourished with dew;/ It takes a long time to grow and mature./ The business of "seasoning the soup" is your responsibility;/ Better command the gardener to take care [of the cabbages]. trans. HK/LYSL/WKH
Departments: Chinese Art
Accession Number: 1960.40
Credit Line: Anonymous Gift
Exhibitions: 1000 Jahre Chinesische Malerei, Year in Review - Nineteen Hundred Sixty, Chinese Art, The Colors of Ink, Asian Autumn: Masterpieces from the Collection, Chinese Gallery 240a Rotation – August 2016, Chiao-yü-pu. [Jiao yu bu di er ci quan guo mei shu zhan lan hui zhuan ji 敎育部第二次全國美術展覽會專集 = A special collection of the second National Exhibition of Chinese Art under the auspices of the Ministry of Education]. Nanking Art Gallery, Nanjing, China (April 1-23, 1937)., Chinese Paintings. The Cleveland Museum of Art, Cleveland, OH (July 19-August 7, 1960)., Chinese Art: An Exhibition of Paintings, Jades, Bronzes and Ceramics: Being a Contribution Made by Smith College Museum of Art to the College Interim Session, 1962. Northampton, MA (1962)., 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).
Rights Statement: CC0