王正 （活躍於17世紀晚期至18世紀早期）

款識：棠上白頭翁自語，石間雞唱雜泉聲。邗江女史王正并題。鈐印：枀卥

一、《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九八九年三月十八日—五月七日；西北大學瑪麗和利布洛克藝術博物館，一九九〇年三月八日—四月廿二日；哈佛大學阿瑟 · 赛克勒藝術博物館，一九九一年九月廿八日—十一月廿四日；堪薩斯大學史賓賽藝術博物館，一九九二年十月廿五日—十二月廿七日；俄亥俄州哥倫布藝術博物館，一九九三年四月十八日—六月二十日；威斯康辛大學艾維翰藝術博物館，一九九四年一月廿九日—三月二十日；加利福尼亞州克羅克藝術博物館，一九九七年十月三十日—十二月卅一日；喬治亞大學喬治亞藝術博物館，一九九九年一月卅一日—三月廿八日；佛蒙特大學弗萊明藝術博物館，二〇〇〇年十月三日—十二月十日
二、《詞意流傳—跨越四百年的中國繪畫》，納什維爾弗里斯視覺藝術中心，二〇〇七年六月廿二日—十月七日
三、《中國繪畫中愛與死之隱義—羅伊與瑪麗蓮 · 派普夫婦珍藏精選》，鳳凰城藝術博物館，二〇一三年四月廿七日—九月二日

一、鈴木敬（編），《中國繪畫總合圖錄》（第四卷：日本偏II—寺院·個人），東京大學出版會，一九八三年，圖版JP-108，第IV-268頁
二、《筆墨與傳承：羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九八九年，圖錄編號21、第72—73頁
三、《中國繪畫中愛與死之隱義—羅伊與瑪麗蓮 · 派普夫婦珍藏精選》，鳳凰城藝術博物館，二〇一三年，圖錄編號9，第23、86頁
四、布歌廸，《大清—一六四四至一九一一年間的中國繪畫》，華盛頓大學出版社，二〇一四年，圖版5.3，第131頁

著錄
魏瑪莎 等，《翠臺遠望—一三〇〇至一九一二年間的中國女性畫家》，印第安納波利斯藝術博物館，一九八八年，第184頁

- Silk bears tanned tone。 - Restoration of silk loss can be found.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Artist's inscription:
In the crab apple white-headed starlings talk among themselves;
Among the rocks the pheasant calls out while the free-flowing river sounds.
- Translation courtesy of Howard Rogers

'Wang Zheng's awareness of court-sponsored painting during her stay in Beijing may account for the academic character - based ultimately on Northern Song models - which sets her works apart from that of most literary women of the period. Still, we may not have to look so far to explain her revival of Song bird-and-flower painting, for the approach aligns her work with the conservative architectural and landscape paintings of Li Yin and Yuan Jiang, both active in her native city Yangzhou in the late seventeen and early eighteenth century. She may also have been familiar with bird-and-flower paintings by Zhe School artists or those by Sun Ti (Active 17th Century) or Lan Ying, who had patrons in Yangzhou. A flower and rock composition by Lan Tao (the painting, dated 1679, is in the Hashimoto collection and is illustrated in Chugoku no Kaiga, pl. 9), descendant and follower of Lan Ying, compares closely to Wang's in the treatment of the rocks and tree trunk as well as the heavily colored flowers. Wang's composition, however, retains a full spatial setting whereas Lan's tree and rock exist in a single plane.'
- Heritage of the Brush, p. 72