清 惲壽平 倣宋元山水圖 冊 Landscapes in the Manner of Song and Yuan Masters
Yun Shouping (Chinese, 1633–1690)
Qing dynasty (1644–1911)
Album of ten paintings; ink and color on paper
10 5/8 x 15 5/8 in. (27 x 39.7 cm)
Edward Elliott Family Collection, Purchase, The Dillon Fund Gift, 1981
Not on view
Yun Shouping was a member of the close circle of artists that made up the early Qing Orthodox movement. A protege of the "Four Wangs," he gained their admiration for the sensitivity of his brush handling, which was said to have exceeded even that of his contemporary and close friend Wang Hui (1632–1717).
This landscape album, one of Yun's earliest dated works, rivals his elegant flower paintings in the exquisite delicacy of its brushwork and variety of its compositions. The individual leaves range from monumental landscape scenes in the manner of Wang Meng (ca. 1308–1385) to intimate studies of isolated trees and rocks in the style of Cao Zhibo (1272–1355). The finely modulated brush lines and spare compositions are deeply expressive of Yun's retiring and highly principled character.
Signature: (a) "Copy after the authentic version of Dwelling in the Summer Mountains by the Yellow Crane Mountain Woodgatherer [Wang Meng, ca. 1308-1385]"; two (round, square) red seals at upper left.
(b) "After viewing Zhu Zimin's [Zhu Derun; 1294-1365] small handscroll Pair of Trees, I used his method to make this Bamboo, Rock, and Wintry Grove"; two square red seals.
(c) "Zijiu's [Huang Gongwang; 1269-1354] Stone Cliff at the Heavenly Pond, copied by Shouping"; large red seal at right, lower corner; two square red seals along right side.
(d) "Looking at mountains after rain I used Minister Gao's [Gao Kegong; 1248-1310] method [to paint this]"; one square red seal at upper left.
(e) "Study after Cao Yunxi's [Cao Zhibo; 1272-1355] Reed-Covered Banks in Autumn Rain"; two red seals (round and square) at center left edge.
(f) "Hongguzi [Jing Hao; active 900-930] made many hundreds of sketches of ancient pines before he began to achieve their true likeness; I, too, am following this way to enlightenment"; two red square seals at left edge.
(g) "Beiyuan's [Dong Yuan; active 930s-60s] pale color method"; one red square seal at left.
(h) "Study after the lofty recluse Ni's [Ni Zan; 1306-1374] Picture of Tall Trees"; 2 square red seals at bottom right; 1 red square seal at upper left.
(i) "In the manner of the Master of the Plum Blossom Hermitage [Wu Zhen; 1280-1354]"; two red square seals lower left of blank sheet.
(j) "In the tenth month of the dingwei year  I passed on these ten leaves with small scenes of the Song and Yuan. [signed] Dongyuan ko, Shouping"; two artist's seals: "Shouping" (square, relief); "Dongyuan waishi" (square, intaglio).
Inscription: (k) two colophons: one square red seal (right); two square red seals (left).
(l) colophon left sheet; one square red seal
(m) seven colophons with various seals.
Marking: Fourteen collector's seals impressed on final page (j)
New York. The Metropolitan Museum of Art. "Text and Image: The Interaction of Painting, Poetry, and Calligraphy," January 23, 1999–August 16, 1999.
New York. The Metropolitan Museum of Art. "When the Manchus Ruled China: Painting under the Qing Dynasty (1644–1911)," February 2, 2002–August 18, 2002.
New York. The Metropolitan Museum of Art. "Chinese Painting, Masterpieces from the Permanent Collection," August 28, 2004–February 20, 2005.
New York. The Metropolitan Museum of Art. "Streams and Mountains without End: Landscape Traditions of China," August 26, 2017–January 6, 2019.