COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1968.195
amicoid
CMA_.1968.195
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Du Qiong
crn
Du Qiong
Creator Name
false
Creator Nationality:
Chinese
crc
Chinese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1396 - 1474
cdt
1396 - 1474
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Du Qiong
crt
Du Qiong
Creator Name-CRT
false
Title:
Mt. T'ai-po in the Style of Wang Meng
otn
Mt. T'ai-po in the Style of Wang Meng
Title
false
Title Type:
Former
ott
Former
Title Type
false
Title:
Mt. Taibo in the Style of Wang Meng
otn
Mt. Taibo in the Style of Wang Meng
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1442
oct
1442
Creation Date
false
Creation Start Date:
1442
ocs
1442
Creation Start Date
false
Creation End Date:
1442
oce
1442
Creation End Date
false
Materials and Techniques:
handscroll, ink and light color on paper
omd
handscroll, ink and light color on paper
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Style or Period:
China, Ming dynasty (1368-1644)
std
China, Ming dynasty (1368-1644)
Style or Period
false
Dimensions:
Overall: 29.8cm x 591.8cm
met
Overall: 29.8cm x 591.8cm
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:
1968.195
ooa
1968.195
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Inscriptions:
Artist's inscription, signature, and 11 seals: [1 seal] Tung-yüan chai.Huang-ho-shan-ch'iao [Wang Meng] painted a painted called T'ai-po Mountain. Its brushwork is superior and admirable, which is very close to Yu-ch'en [Wang Wei, 699-759]. The cleverness of its composition, the maple groves and rustic temples, the inaccessible ravines and autumnal plateaus, the periolous peaks and strange rocks, etc., all seem to be so natural. The paper is only a little over eight feet, but the landscape has the range of a thousand miles. Once you open and note the contents, it is as if one were roaming among the mountain peaks enveloped in mist and clouds, and forgot the dusty world. When I first saw this, I was so mixed with excitement and joy that I could not take my hands off the painting. So I put it on the table, and tried my best to imitate it, forgetting sleeping and eating for about three months before it was completed. Although I do not dare to tread in the footsteps of Huang-ho shan ch'iao, I took great pains to capture his spirit in composition and colors. I do not know whether it would pass the judgment of the experts.On the fifteenth day of the fifth month, the seventh year of the Cheng-t'ung year [1442], inscribed by Tung-yüan, Tu Chiung. [2 seals] Yung-chia; Ching-chieh ming-men. [8 seals on painting] Tung-yüan chai; Ching-chieh ming-men; Yung-chia; Tu Ch'iung yin; Tung-yüan (repeated 5 times). trans. WKH/LYSL3 colophons and 7 additional seals: 1 colophon and 2 seals of Chou Ting (1401-1487); 1 colophon and 2 seals of Wu K'uan (1435-1504); 1 colophon, dated 1655, and 2 seals of Lan Ying (1585-after 1664).
oin
Artist's inscription, signature, and 11 seals: [1 seal] Tung-yüan chai.Huang-ho-shan-ch'iao [Wang Meng] painted a painted called T'ai-po Mountain. Its brushwork is superior and admirable, which is very close to Yu-ch'en [Wang Wei, 699-759]. The cleverness of its composition, the maple groves and rustic temples, the inaccessible ravines and autumnal plateaus, the periolous peaks and strange rocks, etc., all seem to be so natural. The paper is only a little over eight feet, but the landscape has the range of a thousand miles. Once you open and note the contents, it is as if one were roaming among the mountain peaks enveloped in mist and clouds, and forgot the dusty world. When I first saw this, I was so mixed with excitement and joy that I could not take my hands off the painting. So I put it on the table, and tried my best to imitate it, forgetting sleeping and eating for about three months before it was completed. Although I do not dare to tread in the footsteps of Huang-ho shan ch'iao, I took great pains to capture his spirit in composition and colors. I do not know whether it would pass the judgment of the experts.On the fifteenth day of the fifth month, the seventh year of the Cheng-t'ung year [1442], inscribed by Tung-yüan, Tu Chiung. [2 seals] Yung-chia; Ching-chieh ming-men. [8 seals on painting] Tung-yüan chai; Ching-chieh ming-men; Yung-chia; Tu Ch'iung yin; Tung-yüan (repeated 5 times). trans. WKH/LYSL3 colophons and 7 additional seals: 1 colophon and 2 seals of Chou Ting (1401-1487); 1 colophon and 2 seals of Wu K'uan (1435-1504); 1 colophon, dated 1655, and 2 seals of Lan Ying (1585-after 1664).
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:
Mrs. Angela Tseng
opo
Mrs. Angela Tseng
Provenance
false
Context:
When a Chinese painter "imitated" a painting by a past master, the intention was never to produce an exact copy. Du Qiong, the Ming painter from Suzhou, is a case in point. The painting style of this handscroll is actually closer to that of Huang Gongwang (1269?1354; see photo 1) than to the style of Wang Meng (about 1301?1385; see photo 2). Both masters were active during the previous dynasty and are among the so-called Four Great Masters of the Yuan dynasty (1279?1368). In this painting, the interplay of styles, including Du Qiong's own, contribute to an inner dimension that is more than visual.Mt. Taibo is located in the province of Zhejiang and is known for its scenic beauty. In this scroll, however, it is not depicted literally. The image is an ideal representation of mountains in southeastern China.
cxd
When a Chinese painter "imitated" a painting by a past master, the intention was never to produce an exact copy. Du Qiong, the Ming painter from Suzhou, is a case in point. The painting style of this handscroll is actually closer to that of Huang Gongwang (1269?1354; see photo 1) than to the style of Wang Meng (about 1301?1385; see photo 2). Both masters were active during the previous dynasty and are among the so-called Four Great Masters of the Yuan dynasty (1279?1368). In this painting, the interplay of styles, including Du Qiong's own, contribute to an inner dimension that is more than visual.Mt. Taibo is located in the province of Zhejiang and is known for its scenic beauty. In this scroll, however, it is not depicted literally. The image is an ideal representation of mountains in southeastern China.
Context
false
Related Image Identifier Link:
CMA_.1968.195.tif
ril
CMA_.1968.195.tif
Related Image Identifier Link
false