倣趙伯駒山水圖 軸 Landscape in the Style of Zhao Boju (Fang Zhao Boju shanshui)
After Wang Hui (Chinese, 1632–1717)
Qing dynasty (1644–1911)
Hanging scroll; ink and color on paper
Image: 23 1/2 x 14 7/8 in. (59.7 x 37.8 cm)
Overall with mounting: 76 5/8 x 19 1/2 in. (194.6 x 49.5 cm)
Overall with knobs: 76 5/8 x 23 in. (194.6 x 58.4 cm)
Purchase, The Dillon Fund Gift, 1976
Not on view
This painting is Wang Hui’s second earliest extant work. Done barely two years into his apprenticeship under the preeminent master Wang Shimin (1592–1680), it shows an approach that differs entirely from that of his earliest known work of 1650 and reflects his exposure to the region’s great collections of ancient masters.
According to Wang’s inscription, the painting follows the style of Zhao Boju (died ca. 1162), a Southern Song academy painter known for his landscapes in the blue-and-green style. The calligraphic contour lines and texture dots of Wang’s interpretation, however, owe more to Wang Shimin than to the twelfth-century master.
One year before his death Wang added a second inscription:
This painting was done in my youth; suddenly, more than sixty years have gone by. Seeing it now I am ashamed of my first steps.
Signature: Artist's inscriptions, upper left: 1. "Imitating Zhao Qianli's (Zhao Bozhü) brushwork, midsummer in the year jiaqu (1654), Wumushanzhongren, Wang Hui". One seal: Wang Hui, (square, relief)
2. (upper center): "This painting is [a product of] my youthful brush; seeing it now, after lo these 60-odd years, I am ashamed of my slavish imitation. Fourth day of the Jiaping month [i.e. 12th] in the year Bingshen (1716), Wang Hui". Two seals: 1. Wang Hui Zhiyin (square, intaglio) 2. Shigu (square, intaglio)
Marking: One unidentified collector's seal (lower right): Ma-x-x zhenshangyin (tall rectangle, relief)
New York. The Metropolitan Museum of Art. "The Douglas Dillon Legacy: Chinese Painting for the Metropolitan Museum," March 12, 2004–August 8, 2004.