id: 149791 accession number: 1980.10 share license status: CC0 url: https://clevelandart.org/art/1980.10 updated: 2019-11-26 09:00:11.255000 Mt. Qingbian, 1617. Dong Qichang (Chinese, 1555-1636). Hanging scroll, ink on paper; painting: 225 x 67.6 cm (88 9/16 x 26 5/8 in.); overall: 355 x 92.7 cm (139 3/4 x 36 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1980.10 title: Mt. Qingbian title in original language: series: series in original language: creation date: 1617 creation date earliest: 1617 creation date latest: 1617 current location: creditline: Leonard C. Hanna, Jr. Fund copyright: --- culture: China, Ming dynasty (1368-1644) technique: hanging scroll, ink on paper department: Chinese Art collection: ASIAN - Hanging scroll type: Painting find spot: catalogue raisonne: --- CREATORS * Dong Qichang (Chinese, 1555-1636) - artist --- measurements: Painting: 225 x 67.6 cm (88 9/16 x 26 5/8 in.); Overall: 355 x 92.7 cm (139 3/4 x 36 1/2 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Artist's 2 inscriptions, signatures, and 2 seals: A painting of the Ch'ing-pien Mountains in the manner of Pei-yuan [Tung Yuan]. In the summer of the ting-ssu year [1617], on the last day of the fifth month, [I] send this to my senior, Chang Shen-ch'i. Tung Hsuan-tsai [seals] Chih-chih-kao jih-chiang-kuan; Tung yin Ch'i-ch'ang. Second inscription: Piling irons for ten thousand feet guard the purple sky; Where puppies are seen on top of clouds, villages and marketplaces lie. In the splendor of autumn, where is the most worthy spot to spend the day? Amid the rustling sounds of mountain streams, with a volume in hand, meditating on the Way [Tao]. Inscribed by Ch'i-ch'ang. trans. WKH/LYSL 4 additional seals: 3 of Li Yun (n.d.); 1 of Weng Wan-go (20th c.). Two inscriptions by artist at top: inscription with date, signature and two seals at upper right; poem and signature of artist at upper left. translation: remark: --- CURRENT EXHIBITIONS title: Eight Dynasties of Chinese Painting opening date: 1981-02-10T05:00:00 Eight Dynasties of Chinese Painting. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 10-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982); The Asia Society Museum, New York, NY (December 3, 1982-February 28, 1983). title: Year in Review: 1980 opening date: 1981-06-23T04:00:00 Year in Review: 1980. The Cleveland Museum of Art (June 23-July 19, 1981). title: Mountains, Rocks, and Water: Landscape Painting in Asia opening date: 1987-10-02T04:00:00 Mountains, Rocks, and Water: Landscape Painting in Asia. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 2-December 13, 1987). title: Highlights of Asian Paintings from The Cleveland Museum of Art opening date: 1998-02-21T00:00:00 Highlights of Asian Paintings from The Cleveland Museum of Art. Nara National Museum (organizer) (February 21-March 29, 1998); Suntory Museum of Art (April 28-June 21, 1998). title: Honoring Sherman Lee opening date: 2009-06-28T00:00:00 Honoring Sherman Lee. The Cleveland Museum of Art (organizer) (June 28-August 30, 2009). title: Rhythms of Abstraction: The Landscape Duets of Arnold Chang and Michael Cherney opening date: 2015-07-12T00:00:00 Rhythms of Abstraction: The Landscape Duets of Arnold Chang and Michael Cherney. The Cleveland Museum of Art (organizer) (July 12, 2015-February 7, 2016). --- LEGACY EXHIBITIONS * 1000 Jahre. Haus der Kunst, Munich, Germany (October 16-December 13, 1959). * Fantastics and Eccentrics. Asia House Gallery, New York, NY, (March 23-May 28, 1967). * The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting. Fogg Art Museum, Cambridge, Massachusetts (1979). * Main Asian Rotation (Gallery 119). The Cleveland Museum of Art, Cleveland, OH (March 12, 2003-July 16, 2003). --- PROVENANCE --- fun fact: digital description: wall description: Dong Qichang radically transforms the landscape composition into a purely abstract design. He organizes the mountain forms to achieve an overall sense of structure, activating the flow of energy (qi) and the momentum of force (shi) throughout the pictorial design. In his art, brush and ink assume life independent of the depicted forms, so that the painting can be appreciated for “the sheer marvels of brush and ink.” --- RELATED WORKS --- CITATIONS Li, Chu-tsing. "The Great Tradition in Chinese Painting." Asia Vol. 4, No. 4 (November/December 1981): pp. 32-37 and 42-43. page number: Reproduced: p. 34 url: Museu de Arte de Macau. Nan zong bei dou: Dong Qichang shu hua xue shu yan tao hui lun wen ji. Beijing: Gu gong chu ban she, 2015. page number: Mentioned: p. 398 url: Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, 2015. page number: Reproduced: pp. 308-313 url: Shanghai bo wu guan. Dan qing bao fa: Dong Qichang shu hua yi shu te ji. Shanghai : Shanghai shu hua chu ban she, 2018. page number: Mentioned and reproduced: P. vol. 2, P. 138-139 url: Giuffrida, Noelle. Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America. Oakland, California: University of California Press, 2018. page number: Reproduced: p. 171, fig. 98 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1980.10/1980.10_web.jpg print: https://openaccess-cdn.clevelandart.org/1980.10/1980.10_print.jpg full: https://openaccess-cdn.clevelandart.org/1980.10/1980.10_full.tif