Art/ Collection/ Art Object

清 倣梅清 響山泛舟圖 軸
Boating beneath Echo Hill

After Mei Qing (Chinese, 1623–1697)
Qing dynasty (1644–1911)
datable to 1673
Hanging scroll; ink on paper
Image: 53 x 23 1/4 in. (134.6 x 59.1 cm) Overall with mounting: 113 1/2 x 32 1/4 in. (288.3 x 81.9 cm) Overall with knobs: 113 1/2 x 36 1/4 in. (288.3 x 92.1 cm)
Credit Line:
Gift of Cécile and Sandy Mactaggart, 2002
Accession Number:
Not on view
Mei Qing was born into a prominent family in Xuancheng, Anhui Province. Following the family tradition of scholarship, Mei passed the provincial (jüren) civil-service examination in 1654 and traveled to the capital to sit for the capital (jinshi) examination, which he took and failed four times, before giving up in 1667. Mei returned home and became involved in local scholarly pursuits and participated in a poetry and painting society to which the painter Shitao (1642–1707) also belonged.

This painting commemorates an outing that Mei and family members and friends made to Echo Hill (Xiangshan). Mei and some of the participants inscribed poems on the painting to further celebrate the occasion. Although the name of the recipient has been effaced, two seals belonging to Zheng Min (1633–1683), a noted painter from the Yellow Mountain region of Anhui, suggest that it may have been intended for him.

Throughout his career, Mei drew inspiration from actual topographic features. Here, he emphasizes Echo Hill’s precipitous cliff face overhanging the river. Although a relatively early work, the painting exhibits the hallmarks of Mei’s eccentric style: an unbalanced composition animated by the powerful thrusting shape of the cliff and an interest in contrasting ink tones and textures, as seen in the way the dry-brush contour lines of the landscape are set off by the delicate blades of grass and dark ink foliage dots.
Inscription: Artist’s inscription and signature (5 columns in semi-cursive script)

風留悲詞客,雲房定老禪。釣龍人不見,潭水但悠然 。


Artist’s seals


Other inscriptions on the painting

1. Shi Runzhang 施閏章 (1619–1683), 10 columns in semi-cursive script, dated 1673; 3 seals:

江山邀好客, 絲管醉浮槎。 紺壁崩雲所, 風潭老樹斜。
天清谿見石, 夏淺寺餘花。 回眺高齋上, 重懷小謝家。

癸丑四月六日,同學弟施閏章 [印]:一臥滄江、施閏章印、愚山

2. Shen Mi 沈泌 (active late 17th c.), 4 columns in standard script, undated; 3 seals:

溪水碧於染,蘭橈信午風。 釣臺還此地, 辭賦待群公。

姑山沈泌頓首。 [印]:髯沈、方鄴、囗表沈泌

3. Mei Xuan 梅鋗 (active late 17th c.), 3 columns in standard script, undated; 3 seals:


桐崖弟梅鋗 [印]:我愛其靜、梅鋗之印、尒止

4. Mei Geng 梅庚 (1639–after 1716), 3 columns in semi-cursive script, undated; 3 seals:


雪坪梅庚 [印]: 織雪、雪坪、耦長

Label strip

Unidentified artist, 1 column in semi-cursive script, undated (mounted on the outside of the mounting):



Qin Xiangye 秦緗業 (1813–1883), 4 columns in semi-cursive script, dated 1856; 1 seal (on mounting to right of painting):

宛陵梅遠公以畫松為王文簡所重。余嘗得其山水一冊,固不獨能為蒼官寫照也。同邑王君亮采出遠公《青谿泛舟圖》見示,施愚山、沈方鄴,及梅氏桐崖、雪坪均題詩於上,高情遠韻,千載如見。惜款識割去,天下多不曉,事人焚琴煮鶴,良可發嘆。亮采耆古成癖,既命工補綴完好,屬余跋之。噫!是圖猶駿骨耳,而亮采寶愛若此天下良馬,其將畫歸亮采哉!咸豐丙辰秦緗業將有西泠之行,倚裝書此。細玩文義,疑此圖為方鄴而作,然不敢附會。他日覓得諸公文集,猶當為亮采攷之。 [印]:澹如

Collector’s seals

Zheng Min 鄭旼 (1607–after 1683)
Cécile and Sandy A. Mactaggart , Edmunton, Alberta (until 2002; donated to MMA)
New York. The Metropolitan Museum of Art. "Traditional Scholarly Values at the End of the Qing Dynasty: The Collection of Weng Tonghe (1830–1904)," June 30, 1998–January 3, 1999.

New York. The Metropolitan Museum of Art. "When the Manchus Ruled China: Painting under the Qing Dynasty (1644–1911)," February 2, 2002–August 18, 2002.

New York. The Metropolitan Museum of Art. "Dreams of Yellow Mountain: Landscapes of Survival in Seventeenth-Century China," September 13, 2003–February 22, 2004.

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