Photo © President and Fellows of Harvard College
Identification and Creation
Object Number
Cho Hŭi-ryong, Korean (1789 - 1866)
Blossoming Plum
Work Type
hanging scroll, painting
mid-19th century
Creation Place: East Asia, Korea
Chosŏn dynasty, 1392-1910
Persistent Link
Physical Descriptions
Folding album leaf (from an album of sixteen leaves) mounted as a hanging scroll; ink on paper, with two rectangular, red, relief seals of the artist reading "Tok Hwa" and "Tae A"
painting proper: H. 28.1 x W. 41.1 cm (11 1/16 x 16 3/16 in.)
mounting, including cord and roller ends: H. 101 x W. 68 cm (39 3/4 x 26 3/4 in.)
Inscriptions and Marks
  • Signed: inscribed poem and artist's seals
[Kang Collection, New York (1999)] sold; to Harvard University Art Museums, 1999.
Acquisition and Rights
Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Acquired with a fund established by Ernest B. and Helen Pratt Dane for the purchase of Asian art and David A. Ellis Oriental Art Fund
Accession Year
Object Number
Asian and Mediterranean Art
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Because it blooms in February, before donning its leaves, the Chinese flowering plum (Prunus mume) is associated with winter and is regarded as a symbol of strength in the face of adversity; in addition, its blossoms symbolize feminine beauty, and its weathered trunk, the humble scholar. These various and noble associations made the plum an appealing subject for traditional literati painters in China, Korea, and Japan. This painting clearly depicts aged plum trees; smooth new shoots spring from rugged ancient branches, so that a variety of textures challenges the endless capabilities of brush and ink. In this painting, overlays of dense black ink suggest rough bark peeling from the massive old trunks.

Although this leaf is not signed, the seals at the beginning and end of the poem indicate that it was painted by Cho Hŭi-ryong, the foremost Korean painter of ink plum blossoms during the first half of the nineteenth century. Extremely fond of plum blossoms, he is said to have painted plum trees on all the walls of his studio. The poem on this album leaf translates as:

Fabricating iron into a pen,
Snapping a twig into a hairpin,
Old moss suddenly regains its spring freshness,
[And] vitality harmoniously follows.
An aged crane wearing snow
Flies amongst steep cliffs;
Sitting cross-legged, a lofty monk
Completely empties [his mind] of mortal thoughts.
Translated by Hsueh-man Shen
Exhibition History

A Decade of Collecting: Asian Acquisitions 1990-1999, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 03/11/2000 - 11/05/2000

Plum, Orchid, Chrysanthemum, and Bamboo: Botanical Motifs and Symbols in East Asian Painting, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 07/06/2002 - 01/05/2003

32Q: 3620 University Study Gallery, Harvard Art Museums, Cambridge, 09/01/2018 - 01/06/2019

Subjects and Contexts

Collection Highlights

Google Art Project

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at