Gathering Place for Ci Poets, for Xu Zeng, 1861-1897Horizontal handscroll, ink and color on paper, inscribed by the artist, with a dedication to Maisun (Xu Zeng, 1822-1903) and dated dingyou and signed Zheng Shan with an artist's seal Xuehu, a frontispiece in seal script calligraphy by Yi Nianzeng (1790-1861) dedicated to Maisun and signed Yi Nianzeng with a calligrapher's seal, mounted with four sheets of eleven calligraphic colophons by Huang Xieqing (1805-1864), Hu Yizan (1831-after 1897), Lin Shu (1852-1924) and Zhao Zhiqian (1829-1884), among others. 10 5/8 x 34 5/8in (27 x 88cm), the painting only 鄭珊 煮夢庵填詞圖 設色紙本 手卷 一八九七年作伊念曾題引首如冠九、蔣維翰、張修府、馮焯、胡義贊、陸阮、黃燮清、林紓、陳蛻、僧佛吒、趙之謙題跋Provenance/來源:Shanghai International Auction, 20 July 2003, lot 188上海國際商品拍賣有限公司，2003年7月20日，拍品編號188 Published/出版:Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-033, pp. 192-193戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-033，頁192-193Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, pp. 144-147Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁144-147 Exhibited/展覽:New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii August 30-October 28, 2007《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日For this horizontal hand scroll Zheng Shan depicted a garden mansion named Yu Yuan (Garden Yu), also known as Zhumeng'an in Hangzhou. At that time the owner of the estate was Xu Zeng (1824-1903), who used the courtesy name Yizhai and Maisun, and was a scholar and art collector who befriended many poets, artists, and scholars in Jiangnan. According to the title piece, inscription and colophons, Xu Zeng is the patron who commissioned the poems and painting. The eighth poem was written by Lin Shu dated Guangxu, xinchou (1901), and the last poem was by Zhao Zhiqian, who passed away in 1884. It is likely that Xu Zeng collected these poems over the years in the second half of the 19th century, and they were not mounted in sequence. In the inscription Zheng Shan mentioned that he met Xu Zeng in 1861. It is possible that Xu Zeng held a gathering in his garden in that year and started commissioning poems afterwards. However, the painting was not completed until Zheng Shan met him again in 1897. The unity of the texts and pictorial depiction of the patron's garden at last continues the traditional theme "literati gathering" in Chinese painting. For an in depth discussion on this scroll, see Janet Louise Carpenter's essay, 'A Yangzhou Poetic Gathering and Modern Chinese Painting: Zheng Shan (1810-after 1899)', in When Art Met History: A Symposium on the Richard Fabian Collection, 2021, pp.150-164. The paper was originally presented at the symposium at the Honolulu Art Academy in 2007 in conjunction with the exhibition New Songs on Ancient Tunes. 在本手卷中，鄭珊描繪了一座名為"榆園"的園林。該庭園在杭州也被稱為"煮夢盫"。庭園當時的主人為許增（1824-1903）。許氏字益齋，一字邁孫，為清末學者及收藏家，時江南一地之詩人、畫家、學者等多與其為友。考其引首及題跋，本手卷之詩畫實為應許增要求而作。卷內第八則跋文由林紓所撰，紀年為光緒辛丑（1901）；而最後一則跋文則出自去世於1884的趙之謙筆下。因此各題跋可能由許增在19世紀下半葉多年間陸續匯集而成，然並未按時間順序裝裱。在其題跋中，鄭珊提到他與許增分別於1861年。因此本卷所描繪的庭園雅聚可能就是於該年舉行，許增亦在之後開始為畫卷徵集題跋。然而，本卷直至鄭、許二人於1897年重逢時才完成。最終的詩畫合裱則終於使中國繪畫中傳統的"文人雅集"主題得以被完整呈現。關於該卷的深入討論，可參見Janet Louise Carpenter之論文〈一場揚州詩會與近代中國繪畫：鄭珊（1810－1899年後）〉，《史藝匯聚：費立哲神父珍藏中國書畫研討會論文集》，2021，頁150-164。原文發表於2007年夏威夷檀香山博物館與"古調新歌"特展配合舉行之研討會。