Awaiting the Moon While Resting the Zither 《停琴待月图轴》

Pan Zhenyong (1852–1921)
Pan Zhenyong, courtesy name Chengbo and pseudonyms Yasheng, Yasheng, Dunsou, Shengfu, Binghu Waishi, among others, was a native of Xiushui, Zhejiang. From a young age, he studied painting and became a disciple of Dai Yiheng. Recognizing Pan’s greater talent in figure and lady paintings, Dai suggested he seek other mentors. Subsequently, Pan privately studied under Fei Danxu, mastering his style. At the time, Pan, along with Wu Youru and Sha Shanchun, was renowned as one of the “Three Masters of Figure Painting.” Pan Zhenyong also excelled in landscapes and bird-and-flower paintings, drawing inspiration from Wen Zhengming for landscapes and Yun Nantian for flowers and calligraphy. His younger brother, Pan Zhenjie, was also a skilled painter, with a style similar to Pan Zhenyong’s. The two brothers were collectively celebrated in Shanghai.

“Awaiting the Moon While Resting the Zither” (1908)
This painting exemplifies the style of Fei Danxu and bears a resemblance to that of Pan’s contemporary, Huang Shanshou. It serves as a quintessential example of pre-Haipai lady paintings, characterized by elegant brushwork that balances meticulous detail with expressive strokes. The light, graceful coloring vividly captures the gentle temperament of the depicted women.

蒲华（1832—1911），原名成，字作英，号胥山野史、种竹道人，浙江嘉兴人。他出身卑微，然自幼刻苦学习诗文书画，曾中秀才，只是生性淡泊名利，便舍弃功名而致力于绘画。晚年侨寓上海，与虚谷、吴昌硕、任伯年合称清末“海派四杰”。擅草书，工山水花卉，笔力雄健奔放，善用湿笔，水墨淋漓，很有气势。

此画为蒲华竹石的典型面目，他用腴润的湿笔写出，率意而又能凝重，体现了他深厚的笔墨功底。整幅作品毫无刻意安排之感，自然天成，气格不凡。款署：“子钊二兄大人雅鉴。戊子嘉平，蒲华。”款下钤“秀水蒲华作英”朱文方印。