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明 董其昌 倣倪瓚山水圖 軸
Landscape with Trees in the Manner of Ni Zan (1301–1374)

Artist:
Dong Qichang (Chinese, 1555–1636)
Period:
Ming dynasty (1368–1644)
Date:
ca. 1622–25
Culture:
China
Medium:
Hanging scroll; ink on paper
Dimensions:
Image: 45 1/2 x 18 in. (115.6 x 45.7 cm) Overall with mounting: 94 7/8 x 27 1/2 in. (241 x 69.9 cm) Overall with knobs: 94 7/8 x 31 1/2 in. (241 x 80 cm)
Classification:
Paintings
Credit Line:
Bequest of John M. Crawford Jr., 1988
Accession Number:
1989.363.99
Not on view
Dong Qichang revived the tenets of the scholar-painter: to follow the ancient models and to apply the principles of calligraphy to painting. In proposing a "great synthesis" of all ancient landscape idioms, Dong turned landscape forms into calligraphic abstractions. The most desirable element in painting, according to Dong, was brushwork rather than representation: "If one considers the wonders of brush and ink, real landscape can never equal painting."

This painting is an interpretation of the Yuan master Ni Zan's (1306–1374) art. Dong Qichang regarded Ni's painting as a calligraphic abstraction of the tenth-century master Dong Yuan's style and used Dong Yuan's "hemp-fiber" texture strokes to re-create Ni Zan's brush landscape idiom.
Inscription: Artist's inscription and signature (2 columns in semi-cursive script)

擬倪高士筆意。玄宰

Artist’s seals

董其昌印
宮詹學士

Label strip

Song Xuefan 宋雪帆 (1802–1874), 2 columns in semi-cursive script, dated 1868:

董文敏倣倪高士畫。戊辰秋購於博古齋,王夢樓前輩跋,宋雪帆珍藏。

Colophons

1. Chen Jiru 陳繼儒 (1558–1639), 5 columns in semi-cursive script; 2 seals:

子久、叔明、梅道人與雲林皆從董北苑筆,而倪翁虛和蕭淡,酷類其人。余嘗列倪畫於三子首座,玄宰以開此論,今此幅可謂莊子之郭象矣,眉公題。
[印]:眉公、一腐儒

2. Wang Wenzhi 王文治 (1730–1802), 3 columns in semi-cursive script, dated 1786; 2 seals:

此香光仿倪迂之作,而筆端具有癡翁勝場,蓋癡翁與迂翁同師北苑,臨濟兒孫正不妨旁參洞下也。此幅為香雨大兄所藏。丙午春日觀於納書楹,因記。文治 [印]:夢樓、王禹卿氏

Collector's seals

Gu Luofu 顧洛阜 (John M. Crawford, Jr., 1913–1988)
顧洛阜
漢光閣
漢光閣主顧洛阜鑑藏中國古代書畫之章
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