Lady Xuanwen Giving Instruction on the Rites of Zhou

1638

Chen Hongshou

Chen Hongshou (Chinese, 1598/99–1652)

Chinese Art

Lady Xuanwen Giving Instruction on the Rites of Zhou, 1638. Chen Hongshou (Chinese, 1598/99–1652). Hanging scroll, ink and color on silk; image: 172.8 x 55.7 cm (68 1/16 x 21 15/16 in.); overall: 293.9 x 71 cm (115 11/16 x 27 15/16 in.); with knobs: 293.9 x 79 cm (115 11/16 x 31 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1961.89

Original Source

Maker/Artist: Chen Hongshou
Classification: Painting
Formatted Medium: hanging scroll, ink and color on silk
Medium: hanging, scroll, ink, color, silk
Dimensions: Image: 172.8 x 55.7 cm (68 1/16 x 21 15/16 in.); Overall: 293.9 x 71 cm (115 11/16 x 27 15/16 in.); with knobs: 293.9 x 79 cm (115 11/16 x 31 1/8 in.)
Inscribed: Inscription: 宣文君者韋逞母宋氏也。父授以周官音義，曰：吾家世學傳周官。傳業相繼。此又周公所製，經紀〔典〕誥百官品物備於此矣。女可受之。君諷誦不輟。石帝徙山東。君乃推鹿車，背負父所授書到冀州。逞時年少。晝則採樵，夜則教逞。逞遂學成名立。仕符堅為太常。堅常幸其太學，問博士經典。乃憫禮樂遺缺。時博士盧壺對曰：廢學既久，書傳零落。比年綴撰，正經粗集。惟周官、禮經，未有其師。竊見太常韋逞母宋氏世學家，女傳其父業。得周官音義。今年八十。視聽無闕。非此母無可傳授後生。于是就宋氏家立講堂，置生員百二十人。隔絳紗縵而授業焉。拜宋氏爵，號為宣文君。賜侍婢十人。周官學後行于世。崇禎戊寅八月二日，為綬姑六旬之辰。綬弟自成為姑偦。偕姑季女駱密、外孫楹、楠、楩、橒、楞、棅、孫女惠、漉酒上壽，屬綬圖寫，所以頌祝者。綬思宋母尚五胡之時，經藉屬之婦人；今太平有象，而秉杖名義者，獨綬姑爾。敬寫此圖，且厚望于弟紹焉。猶子洪綬九頓首。 Translation: Artist's inscription and signature: Lady Xuanwen is Wei Cheng’s mother, nee Song. Her father transmitted to her the text, Zhou guan ying yi [The phonetics and meanings of the Rites of Zhou], and told her thus: “It is our family’s tradition to uphold and continue the Zhou guan from one generation to the next. In addition, this text was written by the Duke of Zhou; it contains classics, annals, laws, titles, all officials and numerous things. It is your duty to receive it.” Lady [Xuanwen] studied and recited the book without cease. Emperor Shi [Shi Fu 石虎, 295–349] moved his capital to Shandong. As a consequence, Lady followed suit by pushing a deer cart while carrying the manuscript from her father on her back. Wei Cheng at the time was a mere child. Consequently Lady gathered firewood during the day and taught Wei Cheng at nights. It came to pass that Wei Cheng became erudite, gained fame, and served as chamberlain for ceremonials under Fu Jian. Fu Jian often visited the National University. While raising questions about the [current state of] classics to those erudites, he lamented the losses of such texts regarding rites and music. One of those erudites, Lu Hu, responded: “Such matters have been laid waste for some time. Their transmissions were in fragments. In successive years, we have compiled a rough compendium of all classics. The only missing piece is Zhou guan, for which we do not have an instructor. Now it comes to my attention that Madam Song, the mother of Wei Cheng, the chamberlain for ceremonials, is from a family of scholars; she [is a rarity] of a woman who carried on her father’s learning and is well versed in Zhou guan ying yi. She now is in her eightieth year, and is deficient in neither seeing nor hearing. Except for her, there is no one who could take on this duty for instructing the young.” As a result, it was decided to erect a lecture hall in Madame Song’s mansion, while recruiting and placing under her care a total of 120 younger scholars. By setting up a red gauze curtain [separating herself from her students], she began the instruction. On this second day of the eighth month, the year of wuyin of the Chongzhen era [1638], is the birthday of my aunt. My cousin Zicheng is her son-in-law. He, together with my aunt’s second daughter, Luomi, also the maternal grandsons Ying, Nan, Bian, Yun, Leng, Bing, and granddaughter Hui, poured wine to honor the birthday lady. In addition, it was their request that I should make a painting to celebrate the occasion. I have thought that Madame Song lived during the time when the Five Barbarian Tribes were holding sway and the classics were being assigned to women. Now is the time of peace; it is rare to see women [wise enough to] uphold correctness in titles and ranks, except for my aunt. Thereupon, I respectfully painted this picture, while also placing my earnest anticipation for [great deeds] from my cousin and his offspring. Your nephew, Hongshou, bows his head nine times.
Departments: Chinese Art
Accession Number: 1961.89
Credit Line: Mr. and Mrs. William H. Marlatt Fund
Exhibitions: Year in Review (1961), Fantastics and Eccentrics in Chinese Painting, Highlights of Asian Paintings from The Cleveland Museum of Art, Fantastics and Eccentrics in Chinese Painting. Asia House Gallery, New York, NY (March 23-May 28, 1967); Los Angeles County Museum of Art (June 20-August 13, 1967); and M. H. De Young Memorial Museum, San Francisco, CA (September 15-November 5, 1967)., 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); The Asia Society Museum, New York, NY (December 3, 1982-February 28, 1983)., Main Asian Rotation (Gallery 119). The Cleveland Museum of Art, Cleveland, OH (July 16-October 28, 2003)., Main Asian Rotation (Gallery 242). The Cleveland Museum of Art, Cleveland, OH (November 21, 2013-July 28, 2014).
Rights Statement: CC0