This spare, enigmatic scene represents a revolutionary redirection in Chinese painting. Zhao Mengfu reduces his "painted" landscape to a set of calligraphic brush conventions, with the rocks executed in "flying-white" cursive and the pines outlined in unmodulated seal script. He thus rejects illusionistic representation and relies instead on expressive brush lines to imbue his imagery with personal meaning.
Zhao underscores his commitment to this new approach by adding a title to the right of his pines and writing a long inscription on top of the distant mountains at the left side of the composition, making it clear that his painting is not merely about landscape scenery.
Despite his adherence to this new style, Zhao chooses a traditionally significant subject. In Chinese art, pine trees have long been emblems of survival. By representing them here, Zhao may be referring to his own political survival under the Mongol occupation, as well as to the endurance of Chinese culture under foreign rule.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Outer wrapping
Section 1 of 8
Section 2 of 8
Section 3 of 8
Section 4 of 8
Section 5 of 8
Section 6 of 8
Section 7 of 8
Section 8 of 8
section 1, detail 2
section 1, detail 3
section 1, detail 1
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
元 趙孟頫 雙松平遠圖 卷
Title:Twin Pines, Level Distance
Artist:Zhao Mengfu (Chinese, 1254–1322)
Period:Yuan dynasty (1271–1368)
Date:ca. 1310
Culture:China
Medium:Handscroll; ink on paper
Dimensions:Image: 10 9/16 x 42 5/16 in. (26.8 x 107.5 cm) Overall with mounting: 10 15/16 x 25 ft. 7 11/16 in. (27.8 x 781.5 cm)
Classification:Paintings
Credit Line:Ex coll.: C. C. Wang Family, Gift of The Dillon Fund, 1973
Object Number:1973.120.5
Inscription: Artist’s inscriptions and signature
1. 2 columns in semi-cursive script, undated:
Zi’ang [Zhao Mengfu] playfully painted this Twin Pines, Level Distance.
子昂戲作雙松平遠。
2. 6 columns in semi-cursive script, undated:
Ever since my youth, after practicing calligraphy, I have toyed with some small paintings, but landscape is one subject that I have not been able to master. This is because I have not managed to see even one or two masterpieces by Wang Wei (701–761), the senior and junior general Li [i.e. Li Sixun (active 705–720) and Li Zhaodao (active mid-8th c.)], and Zheng Qian (active mid-8th c.) of the Tang period. As for works of the Five Dynasties masters, such as Jing Hao (active ca. 870–930), Guan Tong (active ca. 907–923), Dong Yuan (active 930s–960s), and Fan Kuan (ca. 960–ca. 1030), who succeeded one another [as leading masters], the “brush idea” [biyi] of all of them is absolutely different from the style of recent paintings. As for my own work, I dare not compare it with those of the ancient masters, but when I look at what recent painters have done, I daresay mine is a bit different. Since [Dong] Yeyun asked for a painting, I wrote this at the end, Mengfu.[1]
Zhao shi Zi’ang 趙氏子昂 Zhao Mengfu yin (partial) 趙孟頫印 [殘]
Colophons
1. Yang Zai 楊載 (1271–1323), 9 columns in standard script, undated:
As the tiny boat tries to advance upriver, Mighty mountain trees are suddenly swept into tumult. Swiftly heavy wind and rain pour through the night, Clapping waves against the sky – making the oars hard to control![2] My native home is a hut beside the great river, But for many years now I have lived away in the capital. Today it is as if a fishing pole had come into my hands, As I enjoy perusing this painting. Venerable Songxue [Zhao Mengfu] painted this landscape handscroll for Penal Associate Mr. Dong Yeyun. Composed by Yang Zai of Pucheng [in Fujian].[3] [Seals]: Zai, Zhonghong fu yin, Pucheng Yang shi
2. Tong Xuan 童軒 (1425–1498), 14 columns in semi-cursive script, undated:
The Twin Pines, Pure and Distant scroll, painted and inscribed with a colophon by the respectable Zhao Wenmin [Zhao Mengfu] of Wuxing [in Zhekiang], has been acquired by Academician Suxuan [Qian Ning, died ca. 1522], who appreciates it profoundly. Suxuan’s character and family background compare closely with Wenmin’s, so, respecting the man, he loves his painting. In the precious Yuan dynasty, Wenmin attained the position of Recipient of Edicts in the Hanlin Academy through his literary accomplishment. At the time, scholars and officials admired his superiority in a dozen things; his talents were certainly not limited to painting and calligraphy. However, as a descendant of the imperial family of the past Song dynasty, he served the Yuan ruler. I suspect that his fellow scholar-officials’ opinions of him resonated with the message of the poem “Reaching Old Age with the Husband” in the Odes of Yong. I wonder how Ban Gu (32–92) and Sima Qian (ca. 145–ca. 86 B.C.) would think of him. Inscribed by Tong Xuan of Poyang [in Jiangxi], Assistant Surveillance Commissioner of Yunnan. [Seals]: Shi’ang, Jinmen guli, Qingfeng Ting
An Qi 安岐 (1683–after 1742) An shi Yizhou shuhua zhi zhang 安氏儀周書畫之章 Chaoxian ren 朝鮮人 An Qi zhi yin 安岐之印 An Yizhou jia zhencang 安儀周家珍藏 Guxiang Shuwu 古香書屋
Qing emperor Qianlong 清帝乾隆 (r. 1736–1795) Qianlong yulan zhi bao 乾隆御覽之寳 Qianlong jianshang 乾隆鑑賞 Shiqu baoji 石渠寳笈 Yi zisun 宜子孫 Sanxi Tang jingjian xi 三希堂精鋻璽 Miao bu ke yan 妙不可言
Tan Jing 譚敬 (1911–1991) Tan shi Ou Zhai shuhua zhi zhang 譚氏區齋書畫之章 He An fu 和庵父 Tan Jing siyin 譚敬私印 Ou Zhai zhencang 區齋珍藏 Yue ren Tan Jing yin 粵人譚敬印 He An jianding zhenji 和庵鑑定真跡
Wang Jiqian 王季遷 (C. C. Wang, 1907–2003) Wang Jiqian shi shending zhenji 王季遷氏審定真跡 Jiqian xinshang 季遷心賞 Zhenze Wang shi Baowu Tang tushu ji 震澤王氏寶武堂圖書記 Wang Jiqian haiwai suojian mingji 王季遷海外所見名跡 Ceng gui Zhuli Guan 曾歸竹里館
Unidentified Liang Yong zhi yin 梁雝之印 Quanwu suqi 全無俗氣 Guanmian peiyu 冠冕珮玉 Chang yi zisun 長宜子孫 Qingbai zhenwan 清白珍玩 Chaofan juesu 超凡絕俗 Bu guoyan yin 誧過眼印 Zisun shi bao 子孫世保
[1] Translation from Shen C. Y. Fu et al., Traces of the Brush: Studies in Chinese Calligraphy. Exhibition catalogue. New Haven, CT: Yale University Press, 1977, cat. no. 13, p. 250. Modified. [2] Translation from Richard M. Barnhart, Along the Border of Heaven: Song and Yuan Paintings from the C. C. Wang Family Collection. Exhibition catalogue. New York: The Metropolitan Museum of Art, 1983, p. 120. [3] Translation by Maxwell K. Hearn.
Kuai Shoushu Chinese; Tan Jing Chinese; C. C. Wang Family New York (by 1949–1973: sold to MMA)
New York. The Metropolitan Museum of Art. "Song and Yuan Paintings: Exhibition of Newly Acquired Chinese Paintings," November 1, 1973–January 20, 1974.
London. British Museum. "Song and Yuan Paintings," November 7, 1975–January 4, 1976.
New Haven. Yale University Art Gallery. "Traces of the Brush: Studies in Chinese Calligraphy," April 6, 1977–June 27, 1977.
University Art Museum, University of California at Berkeley. "Traces of the Brush: Studies in Chinese Calligraphy," September 20, 1977–November 27, 1977.
Princeton University Art Museum. "Images of the Mind: Selections from the Edward L. Elliot Family and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University," April 15–June 17, 1984.
Shizuoka Prefectural Museum of Art. "Landscape Painting in the East and West," April 17, 1986–June 1, 1986.
Kobe City Museum. "Landscape Painting in the East and West," June 7, 1986–July 13, 1986.
New York. The Metropolitan Museum of Art. "Images of the Mind: Selections from the Edward L. Elliot Family and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University," September 18, 1987–January 10, 1988.
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 Artist as Collector: Masterpieces of Chinese Painting from the C.C.Wang Family Collection," September 2, 1999–January 9, 2000.
New York. The Metropolitan Museum of Art. "The World of Scholars' Rocks: Gardens, Studios, and Paintings," February 1–August 20, 2000.
New York. The Metropolitan Museum of Art. "A Millennium of Chinese Painting: Masterpieces from the Permanent Collection," September 8, 2001–January 13, 2002.
New York. The Metropolitan Museum of Art. "Cultivated Landscapes: Reflections of Nature in Chinese Painting with Selections from the Collection of Marie-Hélène and Guy Weill," September 10, 2002–February 9, 2003.
New York. The Metropolitan Museum of Art. "The Douglas Dillon Legacy: Chinese Painting for the Metropolitan Museum," March 12–August 8, 2004.
New York. The Metropolitan Museum of Art. "Anatomy of a Masterpiece: How to Read Chinese Paintings," March 1–August 10, 2008.
New York. The Metropolitan Museum of Art. "The World of Khubilai Khan: Chinese Art in the Yuan Dynasty," September 28, 2010–January 2, 2011.
New York. The Metropolitan Museum of Art. "Masterpieces of Chinese Painting from the Metropolitan Collection (Rotation Two)," May 7–October 11, 2016.
New York. The Metropolitan Museum of Art. "Making The Met, 1870–2020," August 29, 2020–January 3, 2021.
Goepper, Roger, and Tseng Yu-ho. 1000 Jahre Chinesische Malerei (1000 Years of Chinese Painting). Exh. cat. Zurich: Kunsthaus Zürich, 1960, pp. 50–51, cat. no. 29.
Lee, Sherman E. A History of Far Eastern Art. Englewood Cliffs, N.J.: Prentice-Hall, [1964], p. 405, fig. 535.
Fong, Wen C., and Marilyn Fu. Sung and Yuan Paintings. Exh. cat. New York: The Metropolitan Museum of Art, 1973, pp. 100–101, cat. no. 14.
Suzuki Kei 鈴木敬, ed. Chûgoku kaiga sogo zuroku: Daiikan, Amerika-Kanada Hen 中國繪畫總合圖錄: 第一卷 アメリカ - カナダ 編 (Comprehensive illustrated catalog of Chinese paintings: vol. 1 American and Canadian collections) Tokyo: University of Tokyo Press, 1982, p. 4, cat. no. A1-013.
Barnhart, Richard M. Along the Border of Heaven: Sung and Yüan Paintings from the C. C. Wang Family Collection. New York: The Metropolitan Museum of Art, 1983, pp. 118–21; 182, fig. 53.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983, p. 261, fig. 46.
Fong, Wen C. et al. Images of the Mind: Selections from the Edward L. Elliott Family and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University. Exh. cat. Princeton, N.J.: Art Museum, Princeton University in association with Princeton University Press, 1984, p. 104, fig. 104.
The Metropolitan Museum of Art: Asia. New York: The Metropolitan Museum of Art, 1987, pp. 80–81, pl. 47.
Fu Xinian 傅熹年 et al, ed. Zhongguo meishu quanji: huihua bian 5: Yuan dai huihua 中國美術全集:繪畫編5:元代繪畫 (Compendium of the arts of China, painting section 5: paintings of the Yuan dynasty). 21 vols. Beijing: Wenwu chubanshe, 1989, vol. 5, pp. 36–37, fig. 25.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, 8th–14th Century. New York: The Metropolitan Museum of Art, 1992, pp. 436–42, pls. 101, 101a.
An Qi 安岐. Moyuan huiguan 墨緣彚觀 (Viewing records of works in ink). Preface dated 1742, juan 3 of the painting section. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Zhongguo shuhua quanshu, 10, vol. 10, Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 10, p. 376.
Gu Fu 顧復. Pingsheng zhuangguan 平生壯觀 (Magnificent things seen in my life). Preface dated 1692, juan 9. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. vol. 4, Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 4, p. 987.
Wu Sheng 吳升. Daguan lu 大觀錄 (Records from a grand view). Preface dated 1712, juan 11. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 8, pp. 470–71.
Wu Qizhen 吳其貞. Shuhua ji 書畫記 (On calligraphy and painting). Ca. 1677, juan 5. Reprinted in Zhongguo shuhua quanshu 中國書畫全書 (Compendium of classical publications on Chinese painting and calligraphy) Edited by Lu Fusheng 盧輔聖. Shanghai: Shanghai shuhua chubanshe, 1993–2000, vol. 8, p. 79.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed., New York: The Metropolitan Museum of Art, 1994, p. 113, fig. 46.
Yang Zhenguo 杨振国. Haiwai cang Zhongguo lidai ming hua: Liao, Jin, Xixia, Yuan 海外藏中国历代名画: 辽, 金, 西夏, 元 (Famous paintings of successive periods in overseas collections) Edited by Lin Shuzhong 林树中. vol. 4, Changsha: Hunan meishu chubanshe, 1998, pp. 118–20, 130, pls. 67, 72, 72a.
Hearn, Maxwell K., and Wen C. Fong. Along the Riverbank: Chinese Paintings from the C. C. Wang Family Collection. Exh. cat. New York: The Metropolitan Museum of Art, 1999, p. 111, fig. 74.
Hearn, Maxwell K. How to Read Chinese Paintings. Exh. cat. New York: The Metropolitan Museum of Art, 2008, pp. 78–83, cat. no. 17.
Ouyang Zhongshi et al. Chinese Calligraphy. New Haven: Yale University Press, 2008, pp. 24–25, fig. 33.
Xie Zhiliu 謝稚柳. Shuimo hua 水墨画 (Ink painting) Translated by Sarah Shay 謝小珮. Shanghai: Shanghai chuban gongzu, 2011, p. 22, cat. no. 1.13.
He Muwen 何慕文 (Hearn, Maxwell K.). Ruhe du Zhongguo hua: Daduhui Yishu Bowuguan cang Zhongguo shuhua jingpin daolan 如何读中国画 : 大都会艺术博物馆藏中国书画精品导览 (How to read Chinese paintings) Translated by Shi Jing 石静. Beijing: Beijing daxue chubanshe, 2015, pp. 78–83, cat. no. 17.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Asian art—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and most comprehensive in the world.