COLOUR STUDY

Colour palette

#C8C2B7
#D2CBC0
#85817B
#DCD6CB
#D6CFC4
#EBE5D7

Approximate colour proportions

#C8C2B720.2%
#D2CBC019.6%
#85817B19.1%
#DCD6CB15.2%
#D6CFC414.6%
#EBE5D711.3%

Estimated from six colour groups in the museum image, including visible paper or borders. Reproduction and lighting affect the result; these are image-area proportions, not pigment measurements.

John L. Severance Fund · The Cleveland Museum of Art
Image licence: CC0 · Museum record & image source ↗

China, Suzhou, Ming dynasty (1368-1644) · c. 1525

Poem on Imperial Gift of an Embroidered Silk: Calligraphy in Running-Standard Script (xingkaishu)

Wen Zhengming

Date: c. 1525
Medium: Hanging scroll; ink on paper
Dimensions: calligraphy: 343.5 x 93.3 cm (135 1/4 x 36 3/4 in.); Overall with knobs: 446 x 125 cm (175 9/16 x 49 3/16 in.)
Country / context: China
Movement / tradition: Chinese painting
Collection: The Cleveland Museum of Art
Attribution / role: Museum attribution
Pathway: Chinese painting ↗

FROM THE MUSEUM

A poem by the influential Wen Zhengming from Suzhou in southeastern China expresses Wen’s gratitude to the Jiajing emperor (reigned 1522–67) for a gift of embroidered silk bestowed in appreciation of his commendable service. The elegant, well-composed, and energetically written large characters in deep black ink reflect the handwriting of a distinguished scholar-artist. Works of calligraphy by Wen of this large scale are rare.The poem reads:As I expressed my gratitude to His Majesty by the Goldwater Bridge. This heavenly silk is embroidered with five colors.Resplendent it is, draping over my arm with [designs of] twin dragons.Having received such a gift, I [bowed] in shame over my lack of achievements. Humbly I returned to my rank to observe the grand ceremony.I wish His Majesty shall live on for myriad years,And the sun will always shine upon His trailing robe.

Collection text · The Cleveland Museum of Art · CC0

Place in the artist’s career

Begin with the controlled script of the court-related poem around 1525, then examine the late-1530s pine and the 1551 wintry trees. A change from written characters to landscape does not abandon calligraphic rhythm. Compare fine and forceful lines, ink tonalities and the restrained role of colour.