COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1953.126
amicoid
CMA_.1953.126
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Nationality:
Chinese
crc
Chinese
Creator Nationality
false
Creator Dates/Places:
China
cdt
China
Creator Dates/Places
false
Creator Name-CRT:
China, early Jin dynasty
crt
China, early Jin dynasty
Creator Name-CRT
false
Title:
Streams and Mountains Without End
otn
Streams and Mountains Without End
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Detail
rid
Detail
View
false
Creation Date:
c. 1127-1150
oct
c. 1127-1150
Creation Date
false
Creation Start Date:
1127
ocs
1127
Creation Start Date
false
Creation End Date:
1150
oce
1150
Creation End Date
false
Materials and Techniques:
handscroll, ink and light color on silk
omd
handscroll, ink and light color on silk
Materials and Techniques
false
Dimensions:
Image: 35.1cm x 213cm, Overall: 35.1cm x 1103.78cm
met
Image: 35.1cm x 213cm, Overall: 35.1cm x 1103.78cm
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:
1953.126
ooa
1953.126
ID Number
false
Credit Line:
Gift of the Hanna Fund
ooc
Gift of the Hanna Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
The narrow horizontal format of the handscroll was one of the first to emerge in Chinese painting. Viewed section by section as they were unrolled, handscrolls lend themselves to sequential subjects such as narrative illustrations. When used for landscapes, they engender a sense of forward progress consonant with journeys through mountains and rivers. In many early examples like this famous scroll, ranges of hills run parallel to the picture plane, frequently removed from the viewer by a band of water coursing along the lower edge of the picture. The serial method of viewing handscrolls helps to explain the structure of this important painting, characterized by distinct mountain clumps framed at beginning and end by passages with misty valleys and low hills. Across the surface, paths and fortuitously placed boats provide means for forward progress linking populated spatial pockets marked by buildings that invite rest and repose. Framing the pockets and screening recession into deep space, high mountainsare amassed by superimposed forms of similar shape and design. Softening jagged mountains and easing transitions from one segment to the next, foliage appears at various scales, from recognizable trees in the foreground to soft, blurred dots in the distance. The authorship of this scroll continues to elude Chinese art historians. Combining elements drawn from a number of painters active in the tenth and eleventh centuries, the painting cannot predate the late Northern Song. In view of its eclecticism andthe miniaturization of its forms, it is possible that it was painted in northern China following the Tartar conquest that forced the removal of the Song capital to Hangzhou in the south. In this respect, it is noteworthy that the earliest surviving inscriptions added at the end of the scroll were written by government officials in the late Jin dynasty. K.W.
cxd
The narrow horizontal format of the handscroll was one of the first to emerge in Chinese painting. Viewed section by section as they were unrolled, handscrolls lend themselves to sequential subjects such as narrative illustrations. When used for landscapes, they engender a sense of forward progress consonant with journeys through mountains and rivers. In many early examples like this famous scroll, ranges of hills run parallel to the picture plane, frequently removed from the viewer by a band of water coursing along the lower edge of the picture. The serial method of viewing handscrolls helps to explain the structure of this important painting, characterized by distinct mountain clumps framed at beginning and end by passages with misty valleys and low hills. Across the surface, paths and fortuitously placed boats provide means for forward progress linking populated spatial pockets marked by buildings that invite rest and repose. Framing the pockets and screening recession into deep space, high mountainsare amassed by superimposed forms of similar shape and design. Softening jagged mountains and easing transitions from one segment to the next, foliage appears at various scales, from recognizable trees in the foreground to soft, blurred dots in the distance. The authorship of this scroll continues to elude Chinese art historians. Combining elements drawn from a number of painters active in the tenth and eleventh centuries, the painting cannot predate the late Northern Song. In view of its eclecticism andthe miniaturization of its forms, it is possible that it was painted in northern China following the Tartar conquest that forced the removal of the Song capital to Hangzhou in the south. In this respect, it is noteworthy that the earliest surviving inscriptions added at the end of the scroll were written by government officials in the late Jin dynasty. K.W.
Context
false
Related Image Identifier Link:
CMA_.1953.126det06.tif
ril
CMA_.1953.126det06.tif
Related Image Identifier Link
false