This is the caption of image number 1Wen Zhengming (1470-1559), Ming dynasty (1368-1644)
Dated 1534, handing scroll, ink on paper, 136.1 × 26.8 cm

Best known by his courtesy name Zhengming rather than his original name Bi, Wen Zhengming was a native of Changzhou (today's Suzhou, Jiangsu Province). He started reading poetry and literary classics at a very early age and developed exceptional interest in calligraphy and painting. His calligraphy followed the style of Li Yingzhen (1431-1439), his essay writing took inspiration from Wu Kuan (1435-1504) and his painting was modeled on Shen Zhou (1427-1509). Wen's efforts at a bureaucratic career were ill-fated as he failed ten times the civil service recruitment examination. His last try at the age of fifty-three was twenty-seven years after his first failure. The following year, at the age of fifty-four, he was finally recommended and appointed to a post in the Hanlin Academy. He stayed for three years before retiring at the age of fifty-seven, and then returned home immersing himself in calligraphy and painting. 

 

  The painting depicts two thatched cottages situated in shade at the foot of a verdant mountain. The owner of the house sits cross-legged, accompanied by books and teapots, while a young page is brewing water next door. According to the inscription, the time is three days before the "Grain Rain Festival" (guyu, the sixth solar term) when Tianchi, Huqiu and other places in Suzhou were holding various gatherings for tasting tea. An unexpected illness prevented the artist from joining the activities. Instead, his friends brought him some superior tea to taste, which occasioned this painting. He tasted and evaluated the tea, enjoying the leisure of a peaceful life. Suddenly he recalled the poem Miscellaneous Chants of Tea: Tea Sets (Chazhong zayong:chaju) of Pi Rixiu (791-864) and Ten Chants on Tea Sets (He chaju shiyong) of Lu Guimeng (act. ca. 9th c.). Both were poets of the Tang dynasty. Cherishing their delicate sentiments, Wen versified the circumstance and mood into ten poems. The painting is fully composed. It's vertical format with inscriptions displayed in the upper half and imagery in the lower half draws viewers to deep reverie. The brush strokes are exquisite and dynamic, the ink wash is pale yet delicate. The painting has an elegant scholarly style. (Editor:admin)