Image: 35 3/4 × 16 3/4 in. (90.8 × 42.5 cm)
Overall with mounting: 76 5/8 × 22 3/4 in. (194.6 × 57.8 cm)
Overall with knobs: 76 5/8 × 26 1/8 in. (194.6 × 66.4 cm)
Ex coll.: C. C. Wang Family, Gift of Oscar L. Tang Family, 2008
Not on view
A native of Suzhou, Zhang Xun maintained a peripatetic existence, supporting himself through tutoring and painting. Contemporaries note that he was widely learned, good at literary compositions, and an excellent calligrapher; in painting, he followed tenth-century prototypes, painting bamboo in the outline drawing method and landscapes in the manner of Juran (active ca. 960–95).
Adhering strictly to tenth-century models, this landscape in the Juran mode is uncompromisingly austere and abstract. Written when Zhang was about fifty, the poem echoes the melancholy of the uninhabited landscape:
On the rocky [landscape] pine blossoms fall and bloom again. The mountain Ailanthus, useless [for its timber], has grown to full size. No cart has ever reached this woodcutter's path. Now with hair gray, I have passed fifty years in vain.
Inscription: Artist’s inscription and signature (3 columns in standard script)
石上松花落又開， 山樗無用亦成材。 蒲輪不到樵人徑， 白髮徒過五十來。 張遜
Zhang Xun siyin 張遜私印
Inscriptions on the Painting
1. Li Zuan 李纘 (active mid-14th century), 2 columns in standard script, undated:
層巒聚礬石，雲木中蔽芾。 自非僧巨然，孰識用筆意。 李纘
2. Ni Zan 倪瓚 (1306–1374), 4 columns in standard script, dated 1346: