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Landscape in early summer
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Description
Huang Qiuyuan, from Jiangxi province, retired from a career in banking and became a painter, although it was not until some years after his death that his work achieved recognition. The tight composition of this work, its lengthy inscription, and fibrous yellow paper are all typical features of his paintings.
The inscription is a poem probably composed by the artist: ‘The stone cliff is as blue as the sky, leading the broken clouds; green plants are hanging down like the snake-pattern seal script; there are households living in this remote Zhongnan mountain; who would like to find the hermit who lives in the forest near the spring?’
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Details
- Associated place
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Asia › China › Jiangxi province › Nanchang (place of creation)
- Date
- 1974
- Artist/maker
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Huang Qiuyuan (1914 - 1979) (artist)
- Material and technique
- ink and colour on paper
- Dimensions
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frame 177 x 84.9 x 2 cm (height x width x depth)
painting 132.8 x 68.3 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.
- EA1995.197
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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. 31 on p. 33, illus. p. 33 fig. 31
Past Exhibition
see (1)
Location
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- 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
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Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford
Huang Qiuyuan from Jiangxi devoted himself to painting only after retiring from a banking career, and it was not until some years after his death that his work achieved recognition. The tight composition of this work, its lengthy inscription and fibrous yellow paper are all typical features of his paintings.
© 2013 University of Oxford - Ashmolean Museum