COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1969.123
amicoid
CMA_.1969.123
AMICA ID
false
AMICA Library Year:
2002
aly
2002
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Gong Xian
crn
Gong Xian
Creator Name
false
Creator Nationality:
Chinese
crc
Chinese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
c. 1619 - 1689
cdt
c. 1619 - 1689
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Gong Xian
crt
Gong Xian
Creator Name-CRT
false
Title:
Landscape in the Style of Tung Yüan and Chü-jan
otn
Landscape in the Style of Tung Yüan and Chü-jan
Title
false
Title Type:
Former
ott
Former
Title Type
false
Title:
Landscape in the Style of Dong Yuan (active about 937-975) and Juran (active about 960-985)
otn
Landscape in the Style of Dong Yuan (active about 937-975) and Juran (active about 960-985)
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Detail
rid
Detail
View
false
Creation Date:
c. 1650
oct
c. 1650
Creation Date
false
Creation Start Date:
1645
ocs
1645
Creation Start Date
false
Creation End Date:
1655
oce
1655
Creation End Date
false
Materials and Techniques:
hanging scroll, ink with white on silk
omd
hanging scroll, ink with white on silk
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Dimensions:
Image: 216.4cm x 57.5cm, Overall: 288.2cm x 89.5cm
met
Image: 216.4cm x 57.5cm, Overall: 288.2cm x 89.5cm
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:
1969.123
ooa
1969.123
ID Number
false
Credit Line:
Andrew R. and Martha Holden Jennings Fund
ooc
Andrew R. and Martha Holden Jennings Fund
Credit Line
false
Inscriptions:
Artist's inscription, signature, and 4 seals: Among [early] painters, Tung Yüan and Chü-jan were the actual founders of the Southern school. Their paintings display neither any air of ferocity and aggressiveness nor any trace of stiff meticulousness. Painters of later periods may be known for their natural talents or praised for their observance of established traditions. Only Tung Yüan and Chü-jan came close to the Tao. However, those who indulge in showing off their talent will deviate from the tradition, while those who adhere to tradition will alienate themselves from the Tao. The supreme Tao is inexplicable in words. Some critics argue that the Tao is nothing more than the suppression of personal talent [individuality] and the submission to the laws [traditions]. Should we have brought this question up to Tung Yüan and Chü-jan, I am afraid even they would have no answer. Alas, how difficultly subtle! This painting, which is an old work of mine done twenty years ago, has been in the collection of the Wu family in Hsin-an [Anhui Province]. Mr. Wu Tsin-ming has valued it as a family treasure. He brought it to Chin-ling [Nanking] and asked me to write an inscription. Since I discussed painting [theories] with Tsin-ming and touched upon the subject [of the Tung-Chü tradition], I shall record what I said - not that I dare to claim that this painting is an imitation of Tung-Chü with any merit. At the end of winter of the keng-hsü year [1670]. Pan-mou chü-jen, Kung Hsien [2 seals] Kung Pan-ch'ien; Yeh-i Hsien. [seal, lower left corner] Kung Hsien. [seal above, undecipherable, but probably a seal of Kung Hsien].trans. WKH2 additional seals of Ch'eng Ch'i (20th c.).
oin
Artist's inscription, signature, and 4 seals: Among [early] painters, Tung Yüan and Chü-jan were the actual founders of the Southern school. Their paintings display neither any air of ferocity and aggressiveness nor any trace of stiff meticulousness. Painters of later periods may be known for their natural talents or praised for their observance of established traditions. Only Tung Yüan and Chü-jan came close to the Tao. However, those who indulge in showing off their talent will deviate from the tradition, while those who adhere to tradition will alienate themselves from the Tao. The supreme Tao is inexplicable in words. Some critics argue that the Tao is nothing more than the suppression of personal talent [individuality] and the submission to the laws [traditions]. Should we have brought this question up to Tung Yüan and Chü-jan, I am afraid even they would have no answer. Alas, how difficultly subtle! This painting, which is an old work of mine done twenty years ago, has been in the collection of the Wu family in Hsin-an [Anhui Province]. Mr. Wu Tsin-ming has valued it as a family treasure. He brought it to Chin-ling [Nanking] and asked me to write an inscription. Since I discussed painting [theories] with Tsin-ming and touched upon the subject [of the Tung-Chü tradition], I shall record what I said - not that I dare to claim that this painting is an imitation of Tung-Chü with any merit. At the end of winter of the keng-hsü year [1670]. Pan-mou chü-jen, Kung Hsien [2 seals] Kung Pan-ch'ien; Yeh-i Hsien. [seal, lower left corner] Kung Hsien. [seal above, undecipherable, but probably a seal of Kung Hsien].trans. WKH2 additional seals of Ch'eng Ch'i (20th c.).
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
Ch'eng Ch'i
opo
Ch'eng Ch'i
Provenance
false
Related Image Identifier Link:
CMA_.AM20021411.TIF
ril
CMA_.AM20021411.TIF
Related Image Identifier Link
false