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About the Artwork
On an autumn day in Beijing, Tao Cheng had a gathering with a group of scholar-officials and created two paintings in a spontaneous, casual style. The first depicts chrysanthemums, slender bamboo stalks, and a rock in monochrome ink. Tao applied light colors for the second painting that depicts cabbage. Tao deliberately placed the images on the first sections of the paper so that his honorable guests could add their poetic inscriptions inspired by his imagery. In the first section to the right, all seven poetic inscriptions refer to the beloved poet and recluse Tao Qian (also called Tao Yuanming, AD 365–427) who was particularly known for his profound love for chrysanthemum flowers. Most of the inscriptions in the second section express sympathy for the poor, since cabbage is the main ingredient in their humble food. Taken together, the poems and paintings allude to the life and responsibilities of the scholar-official: the importance of both an upright character and a concern for the poor citizens in order to achieve good government.
Inscriptions
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.); 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.; 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, 365-427 CE].) 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 BCE].) 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.; 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.; 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 [303–361 CE], 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]. (translated by HK/LYSL/WKH)
Provenance
Zhang Heng 張珩 [1915–1963] Xu Bangda 徐邦達 [1911–2012] (Walter Hochstadter [1914–2007], New York, NY) Severance A. [1895–1985] and Greta [Marguerite Steckerl] Millikin [1903–1989], Cleveland, OH ?–1960: Mr. and Mrs. Courtney Burton, given to the Cleveland Museum of Art 1960–: The Cleveland Museum of Art, Cleveland, OH
Exhibition history
1000 Jahre Chinesische Malerei. Haus der Kunst, Munich, Mùnich, Germany (organizer) (October 16-December 13, 1959). Year in Review - Nineteen Hundred Sixty. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961). Chinese Art. Smith College Museum of Art, Northampton, MA (organizer) (January 8-26, 1962). 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). Asian Autumn: Masterpieces from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992). Chinese Gallery 240a Rotation – August 2016. The Cleveland Museum of Art (organizer) (August 1, 2016-February 6, 2017).
Quick Overview
- Artist
- Tao Cheng (Chinese, active c. 1471–after 1502)
- Date
- c. 1486 or before
- Medium
- handscroll; ink and slight color on paper
- Dimensions
- Overall: 28.6 x 253.7 cm (11 1/4 x 99 7/8 in.)
- Type
- Painting
- Classification
- Painting
- Department
- Chinese Art
- Credit line
- Anonymous Gift
- Accession no.
- 1960.40
Data retrieved from the Cleveland Museum of Art on October 8, 2026. The museum may have updated its record since.
Open-access museum record · AT-00009411
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