明 藍瑛 仿宋元山水圖 冊 紙本 Landscapes after Song and Yuan masters
Lan Ying (Chinese, 1585–1664)
Ming dynasty (1368–1644)
Album of twelve leaves; ink and color on paper
12 7/16 x 9 3/4 in. (31.6 x 24.8 cm)
The Sackler Fund, 1970
Not on view
Lan Ying was a breaker of boundaries. Dong Qichang and his cohort, the leading tastemakers of Lan’s day, tended to look down upon painters who relied on virtuoso skill and flashy brushwork, preferring directness and simplicity. Lan, a prolific and consummately skilled professional artist, nevertheless won over these men, transcending his professional status and gaining provisional entry into the class of “scholar-painters,” through a combination of ability and sheer force of will. Lan adopted Dong Qichang’s practice of making oldmasters albums, and this is one of his finest. Here, Lan marries his eye for dramatic composition to an uncharacteristic restraint in brushwork, avoiding strong, angular forms that would have raised eyebrows among literati critics.
Inscription: Artist's inscriptions and signatures
Leaf A (1 column in semi-cursive script, dated 1642):
Leaf B (1 column in semi-cursive script):
Leaf C (3 columns in semi-cursive script):
In the manner of Zhao Lingrang (active ca. 1070– after 1100). Presented to the venerable Eryou [Jiang Shaoshu, active mid-17th c.] for his instruction. Lan Ying
Leaf D (3 columns in semi-cursive script, dated 1642):
Leaf E (4 columns in semi-cursive script):
Leaf F (2 columns in semi-cursive script):
Leaf G (5 columns in semi-cursive script):
觀大癡 《江山勝覽》 卷法，似二酉先生鋻定。瑛
Leaf H (2 columns in standard and semi-cursive scripts, dated 1642): 壬午春二月蜨叟藍瑛畫。
Leaf I (2 columns in semi-cursive script):
Leaf J (3 columns in clerical script and 1 column in semi-cursive script): 黃鶴山樵畫。藍瑛
Leaf K (1 column in semi-cursive script, dated 1642):
Leaf L (2 columns in semi-cursive script, dated 1642):
Ying 瑛 (Leaf A, B, I, L) Ying, Tianshu 瑛, 田叔 (Leaf C, D, G, H, J, K) Lan Ying 藍瑛 (Leaf E, F,) Tianshu shi田叔氏 (Leaf E, F, L)
[ Richard B. Hobart , Cambridge, MA, until d. 1963 (posthumous sale at Parke-Bernet, New York, lot 273, sold to MMA)
University Art Museum, University of California at Berkeley. "The Restless Landscape: Chinese Painting of the Late Ming Period," November 9, 1971–January 2, 1972.
Princeton University. "Studies in Connoisseurship: Chinese Painting from the Arthur M. Sackler Collection in NY and Princeton," December 8, 1973–February 3, 1974.
Cleveland Museum of Art. "Studies in Connoisseurship: Chinese Painting from the Arthur M. Sackler Collection in NY and Princeton," July 10, 1974–September 2, 1974.
Los Angeles County Museum of Art. "Studies in Connoisseurship: Chinese Painting from the Arthur M. Sackler Collection in NY and Princeton," September 15, 1974–November 3, 1974.
University of Edinburgh, Scotland. "Edinburgh Festival," August 1, 1984–September 15, 1984.
New York. China House Gallery. "Kernels of Energy, Bones of Earth," October 23, 1985–January 29, 1986.
Cambridge. Fitzwilliam Museum. "Chinese Paintings from the Arthur M. Sackler Collection," April 15, 1986–June 29, 1986.
New York. China Institute in America. "The Life of a Patron: Zhou Lianggong and the Painters of 17th Century China," October 19, 1996–December 21, 1996.
New York. The Metropolitan Museum of Art. "Art of the Brush: Chinese Painting and Calligraphy," March 12, 2005–August 14, 2005.
New York. The Metropolitan Museum of Art. "The Art of the Chinese Album," September 6, 2014–March 29, 2015.