Wu Changshi (1844-1927)Immortal Peaches Hanging scroll, ink and color on paper, inscribed poetically and signed Fouweng, with an artist's seal Laofou . 58 7/8 x 16in (149.5 x 40.6cm) 吳昌碩 桃實圖 設色紙本 立軸 Published/出版: Erickson, Britta Lee, and Craig L. Yee. Modern Ink: the Art of Wu Changshi , Berkeley, 2018, p.72-73 Erickson, Britta Lee, and Craig L. Yee. Modern Ink: the Art of Wu Changshi , 伯克利, 2018年, 頁72-73 Toda, Teisuke and Hiromitsu Ogawap. prehensive Illustrated Catalogue of Chinese Paintings , Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-84, p.201 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，A50-84，頁201 Reynolds, Christopher L. L. and Craig L. Yee. Bitter Iron and Old Stone: The Flower and Landscape Paintings of Wu Changshi , Beijing, 2011, Liangyou Huayi Reynolds, Christopher L. L. and Craig L. Yee. Bitter Iron and Old Stone: The Flower and Landscape Paintings of Wu Changshi , 北京，2011年, 良友華藝 Little, 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.312-313 Little, 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312-313 Andrews, Julia Frances, Michael Knight, and Pauline Yao. Between the Thunder and the Rain: Chinese Paintings from the Opium War Through the Cultural Revolution, 1840-1979 , San Francisco: Echo Rock Ventures, in association with the Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, 2000, p.158 Andrews, Julia Frances, Michael Knight, and Pauline Yao,《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，李鐘文亞洲藝術文化中心，舊金山，加州，2000年，頁158 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 Between the Thunder and the Rain , Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture, San Francisco, California, October 25, 2000-January 14, 2001 《風雲際會：從鴉片戰爭到「文革」（1840-1979）的中國繪畫》，亞洲藝術博物館，舊金山，加州，2000年10月25日至2001年1月14日 Peaches are symbolic of longevity and immortality in Chinese art, and one of the earliest references dates to the Warring States Period (475-221 BCE) with the story of Sun Bin, a scholar who traveled a great distance from his home to study with Master Guiguzi, a specialist of the Art of War. Twelve years into his study, Sun Bin returned home to visit his mother on her 80th birthday, bearing a peach as gift from Guiguzi. When Sun Bin's mother ate the peach, the age disappeared from her face and she was youthful once again. Thereafter peaches, or in this case image of peaches became popular as gifts to an elderly friend or relative. In his depiction of the immortal peaches, Wu Changshi uses dense, multi-layered color, the washes of red and green expressing the seasonal aspect of the ripening fr