Edward Elliott Family Collection, Gift of Douglas Dillon, 1986
Not on view
Dong Qichang initiated a revolution in painting through the study of ancient masters. Before Dong, studying paintings by past masters was considered an activity suitable only for students. Dong insisted that the study of old masters was a lifelong journey, one that enhanced an artist’s personal voice, rather than stifling it. His own highly original artistic output demonstrated that one could use the past to forge a path forward.
Inscription: Artist’s inscriptions and signatures
Leaf BB (3 columns in semi-cursive script, dated 1630):
These two landscapes embody the essence of Ni Yuanzhen’s [Ni Zan, 1306–1374] painting. Painted in the sixth lunar month of the gengwu year  while staying in Gusu [Suzhou].
Leaf D (3 columns in standard script):
Solitary Temple amid Streams and Mountains in imitation of Juran’s [active 10th c.] brushwork. Xuanzai
Leaf E (2 columns in standard script):
Lofty Scholar in a Mountain Retreat. Xuanzai
Leaf G (5 columns in standard script):
Smoke from chimneys merges into lingering mist, Revealing a glimpse of a pavilion by the pines. In the pavilion is a man who has attained tranquility, Reading the Vimalakirti sutra by himself. Xuanzai
炊煙連宿靄，隱隱見松亭。 亭中有靜者，單讀淨名經。 玄宰
Leaf H (2 columns in semi-cursive script, dated 1630):
On the ninth day of the ninth lunar month of the gengwu year  I painted these eight scenes. The seventy-six-year-old man.
Leaf HH (6 columns in semi-cursive script):
Since the fourth month of the dingchou year , when I started learning to paint, until the gengwu year , fifty-two years have passed. Although the quality of my painting has not been evaluated with certainty, the time I have spent is long, longer than any other painter. In ancient times, the Buddha preached the dharma for forty-nine years, yet still it was said that the Wheel of the Law had not been fully turned. How could I be any different? So there must people who think [definitive] Dong painting has yet to appear. Xuanzai
Dong Zuyuan 董祖原 (active early 17th c.) Nan Zuyuan zhencang 男祖原珍藏 [Leaf A, B, C, D, E, F, G, H]
Pan Yijun 潘奕隽 (1740–1830) Gu Wu Pan shi Sansong Tang shoucang jingji jinshi shuhua ji 古吳潘氏三松堂收藏經籍金石書畫記
Pan Zunqi 潘遵祁 (1808–1892) Zunqi zhencang 遵祁珍藏
Pao Chong 袌沖 ( active late 19th –early 20th c.) Pao Chong zhenshang 袌沖真賞
Unidentified Huang (Half seal) 黃 [Leaf A, B, C, D, E, F, G, H]
 Translations from Department records unless noted otherwise.  Translation from James Cahill, ed., The Restless Landscape: Chinese Painting of the Late Ming Period. University Art Museum, Berkeley, 1971, p. 165, cat. no. 36. Modified.
Artist: Dong Qichang (Chinese, 1555–1636)Date: 17th century, probably after 1625Medium: Album of eight paintings and eight calligraphies; ink, gold and color on gold-flecked paperAccession: 1989.372a–hOn view in:Not on view