COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1970.3
amicoid
CMA_.1970.3
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Gu Tianzhi
crn
Gu Tianzhi
Creator Name
false
Creator Nationality:
Chinese
crc
Chinese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Gu Tianzhi
crt
Gu Tianzhi
Creator Name-CRT
false
Title:
Landscape in the Style of Huang Gongwang
otn
Landscape in the Style of Huang Gongwang
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Detail
rid
Detail
View
false
Creation Date:
1649
oct
1649
Creation Date
false
Creation Start Date:
1649
ocs
1649
Creation Start Date
false
Creation End Date:
1649
oce
1649
Creation End Date
false
Materials and Techniques:
handscroll, ink and color on paper
omd
handscroll, ink and color on paper
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Style or Period:
China, Ming dynasty (1368-1644) - Qing dynasty (1644-1912)
std
China, Ming dynasty (1368-1644) - Qing dynasty (1644-1912)
Style or Period
false
Dimensions:
Overall: 25.5cm x 717.5cm
met
Overall: 25.5cm x 717.5cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1970.3
ooa
1970.3
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
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
oin
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
Inscriptions
false
Rights:
orl
<a href="http://www.clevelandart.org/museum/disclaim2.html"target="_new">http://www.clevelandart.org/museum/disclaim2.html</a>
Rights
false
Provenance:
P'ei Ching-fu; Walter Hochstadter
opo
P'ei Ching-fu; Walter Hochstadter
Provenance
false
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.
cxd
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.
Context
false
Related Image Identifier Link:
CMA_.1970.3det03.tif
ril
CMA_.1970.3det03.tif
Related Image Identifier Link
false