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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Name: Gu Tianzhi Creator Nationality: Chinese Creator Role: Artist Gender: M Creator Name-CRT: Gu Tianzhi Title: Landscape in the Style of Huang Gongwang Title Type: Primary View: Detail Creation Start Date: 1649 Creation End Date: 1649 Creation Date: 1649 Object Type: Paintings Classification Term: Painting Materials and Techniques: handscroll, ink and color on paper Dimensions: Overall: 25.5cm x 717.5cm Inscriptions: Artist's inscription, signature, and 3 seals:[1 seal] P'ao-yin shan-fang.Wu Li-fu [the Yüan philosopher Wu Lai, 1297-1346] said: "If in the mind there are not ten thousand books or in the eyes are not the wondrous mountains and rivers of the world, then one is probably not capable of creative writing." I would say the same applies to painting. I have studied the Tao for ten years, as lonely as a secluded monk, I travelled only as far north as Chin-ling [Nanking] and as far south as Ch'ien-t'ang [Hangchou]. All the beautiful scenery in the world would not be enough to satisfy me. So when I finish this scroll, I'll pack up my brush to seek the mountains, travellling light and carefree as a wandering Buddhist monk,Recorded by Tung-lu in the chi-ch'ou year [1649]. fifteenth day of the tenth month. [2 seals] Ku yin T'ien-chih; Tung-lu. trans. LYSL/HK/WKH2 additional inscriptions, 5 colophons, and 15 additional seals: 1 inscription and 1 seal of Ku Ying-kuang (16th-17th c.); 1 inscription and 3 seals of Shan Hsün (17th c.?); 4 colophons and 8 seals of P'ei Ching-fu (1854-after 1924); 1 colophon of Hu Pi-ch'eng (19th-20th c.); 3 seals unidentified.Colophon by Shan Hsün:The Ku clan has been known in the world for its excellence in painting. After [Ku] K'ai-chih, the Taoist and Buddhist subjects by [Ku] Te-ch'ien, the figure paintings by [Ku] Pao-kuang and [Ku] Hung-chung, the flowers by [Ku] Ching-hsiu and [Ku] Yeh-wang, were all high peaks in the park of painting in their own times. As for specialists in landscape painting, Mr. Chi-yüan must be considered a true master of the present age. The Tung-lu brothers were deep-rooted in their family tradition, but each modified that tradition with their own innovations. This handscroll by Tung-lu is so somber and remote [in concept] and elegant and lustrous [in execution] that it has already gone beyond the limit of the "wondrous" class and entered the "untrammelled" category. If this painting is placed in the forest of art treasures of the Ku family, it may well be compared with the poetry of [Hsieh] Hsüan-hui [464-499, Southern Ch'i Dynasty], [the best] among the three Hsieh brothers. Tung-lu should treasure this for his own enjoyment. Don't let the rascal and bully swindle it away from you--as happened to [Wang Hsi-chih's] Preface to the Orchid Pavilion.On the day of cold stove [day before the Ch'ing-ming Festival], in the keng-yin year [1650], inscribed leisurely by Shan Hsün. trans. WKH AMICA Contributor: The Cleveland Museum of Art Owner Location: Cleveland, Ohio, USA ID Number: 1970.3 Credit Line: John L. Severance Fund Rights: http://www.clevelandart.org/museum/disclaim2.html Provenance: P'ei Ching-fu; Walter Hochstadter Style or Period: China, Ming dynasty (1368-1644) - Qing dynasty (1644-1912) Context: A sweeping vista of energized mountains, hills, small islands, sand bars, and rivers, this painting retains a simple coherence of ideas and images. Its inspiration comes from Huang Gongwang (1269-1354), the great master of the Yuan dynasty, whose famous Dwelling in the Fuchun Mountains has a similar structure, but is much more diverse and varied in its composition. Here, the basic elements of trees, rocks, and hills are repeated in differing scales at varying distances, contributing to the essential rhythm of the painting.Born in Huating (Shanghai), Gu Tianzhi inherited a tradition of painting that was molded under the guiding light of Dong Qichang (1555-1636), an eminent theoretician of the late Ming dynasty and the spokesman for the orthodox heritage that ruled Chinese painting for more than 300 years. AMICA ID: CMA_.1970.3 AMICA Library Year: 2003 Media Metadata Rights: AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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