Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art

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View of mountains

  • Description

    There is a long inscription on this painting, which reads: ‘Landscape painting was a great achievement of the Northern and Southern Song [dynasties, AD 960-1279]. Landscapes in the Northern Song show their ‘bone’, when those in the Southern Song show their spirit. These landscape paintings show the mountains and rivers as they naturally appear, but are also a representation of the culture of the time. Dong Qichang [1555-1636] said when Mi Fu [1051-1107] painted the mountains in Nanxu, Li Tang [1066-1150] painted the mountains in the central area, and Ma Yuan [c.1160-1225] and Xia Gui [active 1195-1224] painted the mountains in Qiantang, the inspiration they got from mountains and rivers cannot be compared [to each other].

    My home is in the mountains of Jieyang, but I travel north and south, and see mountains on my way; I see them and feel them, so both the northern and the southern mountains are included in my mind. Occasionally my spirit comes and I paint, but I cannot visit the landscape I painted; I memorize them, dream of them, and think of them countless times. I feel that the best and happiest thing is when people praise the landscapes that I paint.'

  • Details

    Associated place
    Asia Taiwan (place of creation)
    Date
    1973
    Song Dynasty (AD 960 - 1279)
    Artist/maker
    Shiwan shanren (1897 - 1996) (artist)
    Associated people
    Dong Qichang (1555 - 1636) (named on object)
    Material and technique
    ink and colour on paper
    Dimensions
    frame 86.5 x 132.5 x 2.5 cm (height x width x depth)
    mount 83 x 129 cm sight size (height x width)
    painting 59 x 84 cm (height x width)
    Material index
    Technique index
    Object type index
    No. of items
    1
    Credit line
    Presented in honour of the forthcoming 70th birthdays of Jose Mauricio and Angelita Trinidad Reyes, 1995.
    Accession no.
    EA1995.244
  • Further reading

    Oxford: Ashmolean Museum, 24 September-1 December 1996, Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford, Vainker, Shelagh (Oxford: Ashmolean Museum, 1996), no. 80 on p. 62, p. 9, illus. p. 62 fig. 80

Past Exhibition

see (1)

Location

    • currently in research collection

Objects are sometimes moved to a different location. Our object location data is usually updated on a monthly basis. Contact the Jameel Study Centre if you are planning to visit the museum to see a particular object on display, or would like to arrange an appointment to see an object in our reserve collections.

 

Publications online

  • Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford by Shelagh Vainker

    Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford

    The long inscription refers to the great Northern Song (960-1127) calligraphers and the late Ming painting theorist Dong Qichang (1555-1636), and indicates that this is a landscape in Sichuan province. The darkness and contours of the hills are reminiscent of the paintings of Gong Xian (1619-89), while the short repeated vertical and horizontal brushstrokes reinforced the formulaic aspects of the painting.

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