signed Hanjiang nüshi Wang Zheng, with one seal of the artist, song xi

1. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, March 18- May 7, 1989; Mary and Leigh Block Gallery, Northwestern University, March 8-April 22, 1990; Arthur M. Sackler Museum, Harvard University, September 28-November 24, 1991; Spencer Museum of Art, University of Kansas, October 25-December 27, 1992; Columbus Museum of Art, Columbus, Ohio, April 18-June 20, 1993; Elvehjem Museum of Art, University of Wisconsin-Madison, January 29-March 20, 1994; Crocker Art Museum, California, October 30-December 31, 1997; Georgia Museum of Art, University of Georgia, January 31-March 28, 1999; Fleming Museum of Art, University of Vermont, October 3-December 10, 2000
2. Lyrical Traditions: Four Centuries of Chinese Paintings from the Papp Collection, The Frist Center for the Visual Arts, Nashville, June 22-October 7, 2007
3. Hidden Meanings of Love and Death in Chinese Painting: Selections from the Marilyn and Roy Papp Collection, Phoenix Art Museum, April 27-September 2, 2013

1. Kei Suzuki (compiled), Comprehensive Illustrated Catalog of Chinese Paintings (Vol. 4, Japanese Collections: Temples and Individuals), Japan: Tokyo University Press, 1983, pl. JP14-108, p. IV-268
2. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1989, cat. 21, pp. 72-73
3. Hidden Meanings of Love and Death in Chinese Painting: Selections from the Marilyn and Roy Papp Collection, Phoenix Art Museum, 2013, cat. 9, pp. 23, 86
4. Claudia Brown, Great Qing: Painting in China, 1644-1911, University of Washington Press, 2014, fig. 5.3, p. 131
5. Marsha Weidner et al., Views from Jade Terrace: Chinese Women Artists 1300-1912, Indianapolis Museum of Art, 1988, p. 184

- Silk bears tanned tone。 - Restoration of silk loss can be found.
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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