Set of twelve hanging scrolls; ink and color on silk
Image: 81 1/2 x 18 ft. 5 3/4 in. (207 cm x 563.2 cm)
Overall with mounting: 94 1/4 x 19 ft. (239.4 x 579.1 cm)
Purchase, The Dillon Fund Gift, 1982
Not on view
Yuan Jiang thrived in the commercial world of his native Yangzhou. Catering to the vogue for large-scale hanging scrolls and multipaneled screen paintings as decoration in the ostentatious mansions of the city’s mercantile elite, Yuan specialized in intricate visions of palatial complexes set within sumptuous blue-and-green landscapes intended to evoke Tang and Song prototypes.
This screenlike set of scrolls depicts an eighth-century imperial retreat in the hills north of the Tang capital, Chang’an (present-day Xi’an). Destroyed by the end of the Tang dynasty (618–907), the Palace of Nine Perfections is remembered as one of the most splendid residences ever built, with grounds so vast that it was necessary to travel between halls by horseback.
Royal palaces have always been likened to Daoist paradises, and Yuan’s vision plays on this theme, with Qing-style palatial buildings set in a fantastic landscape that suggests the enchanted realm of the immortals. But Yuan may have had another model in mind. Executed just two years after the Kangxi emperor (r. 1662–1722) visited Yangzhou on his second southern inspection tour, the painting, which includes a regal entourage—with the emperor and his parasol-bearer prominently featured in the foreground—was undoubtedly also inspired by the ceremonial processions and lavish gardens created to celebrate the imperial visit. Combining legend and architectural fantasy with thinly veiled references to contemporary events, Yuan’s painting is a celebration of the grandiose materialistic lifestyle to which the high society of Yangzhou aspired.
Inscription: Artist’s inscription (2 columns in semi-cursive script)
Palace of Nine Perfections. An imitation of the ancient style by Yuan Jiang from Hanshang [Yangzhou] in the xiaoyang [Indian summer, or tenth] month of the xinwei year of the Kangxi reign era.
Yuan Jiang zhi yin 袁江之印 Wentao 文濤
[ Jeoung-kyu Lee , Tokyo, 1982; sold to MMA]
New York. The Metropolitan Museum of Art. "Peach Blossom Spring," November 21, 1983–June 3, 1984.
Zurich. Museum Rietberg. "The Mandate of Heaven: Emperors and Artists in China," April 2, 1996–July 7, 1996.
Museum für Asiatische Kunst, Staatliche Museen zu Berlin. "The Mandate of Heaven: Emperors and Artists in China," August 3, 1996–November 10, 1996.
New York. The Metropolitan Museum of Art. "The New Chinese Galleries: An Inaugural Installation," 1997.
New York. The Metropolitan Museum of Art. "The World of Scholars' Rocks: Gardens, Studios, and Paintings," February 1, 2000–August 20, 2000.
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. "Dreams of Yellow Mountain: Landscapes of Survival in Seventeenth-Century China," September 13, 2003–February 22, 2004.
New York. The Metropolitan Museum of Art. "The Douglas Dillon Legacy: Chinese Painting for the Metropolitan Museum," March 12, 2004–August 8, 2004.
New York. The Metropolitan Museum of Art. "The Four Seasons," January 28, 2006–August 13, 2006.
New York. The Metropolitan Museum of Art. "Chinese Gardens: Pavilions, Studios, Retreats," August 18, 2012–January 6, 2013.
London. Victoria and Albert Museum. "Masterpieces of Chinese Painting 700–1900," October 26, 2013–January 19, 2014.