Collection Online as of March 27, 2023

Chen Ruyan 陳汝言

(Chinese, c. 1331-bef 1371)

inscription by

Ni Zan 倪瓚

(Chinese, 1301–1374)

China, Yuan dynasty

(1271-1368)

Handscroll, ink and color on silk

Painting only: 33.4 x 97.3 cm (13 1/8 x 38 5/16 in.); height: 35 cm (13 3/4 in.)

Bequest of Mrs. A. Dean Perry 1997.95

Location

not on view

Description

This extraordinary painting reveals the intense desire by Yuan artists to capture and renew the flavor of past generations. The fantastic landscape is painted in the "blue and green" style associated with the Tang dynasty (618–907), a period of superb cultural achievement in China. Although the intense mineral pigments have faded with the passage of time, the artist's vision of an imaginary land remains intact for the modern viewer.

Inscriptions

Inscription

1 inscription, 3 colophons, and 37 seals: 1 inscription, dated 1371, by Ni Zan 倪瓚 (1301-1374); 17 seals of Xiang Yuanbian 項元汴 (1525-1590); 4 seals of Chu Chih-ch'ih (late Ming Dynasty); 1 seal of Liang Qingbiao 梁淸標 (1620-1691); 1 seal of Gao Shiqi 高士奇 (1645-1704); 4 seals of Lu Xinyuan 陸心源 (1834-1894); 1 colophon, dated 1908, and 5 seals of Jing Xian 景贒; 1 colophon, dated 1915, by Lung Yu; 1 colophon, dated 1932, and 2 seals of Wu Mei; 3 seals unidentified.

Inscription

仙山圖，陳君惟允所畫。秀潤清遠，深得趙榮祿筆意。其人已矣，今不可復得。辛亥十二月二日倪瓚

Inscription Translation

Inscription by Ni Zan: The picture of The Land of Immortals was painted by Chen Weiyun 陳惟允 [Chen Ruyan]. Its refinement, mellowness, and purity have succeeded profoundly in capturing the brush ideas of Zhao Mengfu 趙孟頫. Now the gentleman is no longer with us. One will never be able to acquire such a painting again. Ni Zan wrote this on the second day of the twelfth month of the xinhai year, the fourth year of Hongwu [1371].

Inscription

Colophon by Jing Xian 景贒: The preceding Land of Immortals is an authentic work of the Yuan master, Chen Weiyun 陳惟允. According to the Yu yi bian 寓意編 by Du Mu 都穆of the Ming Dynasty, the painting was seen at the home of Chen Mengxian 陳孟賢 [c. 1500], a hermit. It is also recorded in Yu yi lu 寓意錄 of the present [Qing] era. The dimensions and the seals are all correct. When the painting went into the possession of Liang Qingbiao 梁淸標, the silk was already quite dilapidated. The only thing now missing, however, is the one line of writing by Xiang Zijing 項子京 [Xiang Yuanbian 項元汴] who records the original price he paid, being fifteen taels of silver. This must have been cut off by the dealer, which nevertheless did no harm to a masterpiece such as this. Jing Xian recorded this in the second month of the maoshen year [1908].

Provenance

Xiang Yuanbian 項元汴 [1525-1590]

Liang Qingbiao 梁清標 [1620–1691]

?-1997

Mrs. A. Dean [Helen Wade Greene] Perry [1911-1996], Cleveland, OH, bequest to the Cleveland Museum of Art

1997-

The Cleveland Museum of Art, Cleveland, OH

Citations

Du, Mu 都穆. Yu yi bian [寓意編 = The Dwelling of Ideas; notes on painting and calligraphy]. Shanghai: Shanghai gu ji chu ban she, 1987. (Original text dated c. 1500s)

Wang, Keyu 汪砢玉 . Shan hu wang 珊瑚網. Chengdu: Cheng du gu ji shu dian, 1985. (Preface dated 1643) ch. 23, p. 1336

Wu, Qizhen 吴其貞. Shu hua ji = 書畫記. Shanghai: Shanghai ren min mei shu chu ban she, 1962. (Original text dated c. 1677) Mentioned: ch. 1, pp. 71-72

Bian, Yongyu 卞永譽. Shi gu tang shu hua hui kao: [shu kao 30 juan, hua kao 30 juan] = 式古堂書畫彙考: [書考30卷, 畫考30卷]. Shanghai: Jian gu shu she 鑑古書社, 1921. (Facsimile reproduction of the original Kangxi edition, dated 1682.) Mentioned: ch. 2, p. 94

Gu, Fu 顧復. Ping sheng zhuang guan 平生壯觀. Shanghai: Shanghai ren min mei shu chu ban she, 1962. (Preface dated 1692) ch. 9, p. 117

Du, Mu 都穆. Tie wang shan hu [鐵網珊瑚 = Corals in an Iron Net]. Taibei Shi: Guo li zhong yang tu shu guan, 1970. (Preface dated 1758.) Mentioned: ch. 5, p. 10 (a)

Li, Tiaoyuan 李調元. Zhu jia cang shu bu: 10 juan [諸家藏書簿: 10卷]. Taibei: Yi wen yin shu guan, 1965. (Preface dated 1778). ch. 8, p. 12

Ferguson, John C 福開森. Li dai zhu lu hua mu 歷代著錄畵目. Nanjing: Chin-ling University, Zhong guo wen hua yan jiu suo 金陵大學中國文化硏究所, 1933. III, 296(b)

Lee, Sherman E., and Wai-kam Ho. Chinese Art Under the Mongols: The Yüan Dynasty, 1279-1368. Cleveland, OH: Cleveland Museum of Art; [distributed by the Press of Case Western Reserve University], 1968. cat. no. 264

Vinograd, Richard. “Some Landscapes Related to the Blue-and-Green Manner from the Early Yüan Period.” Artibus Asiae, vol. 41, no. 2/3, 1979, pp. 101–131. Reproduced: fig. 18 www.jstor.org

Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980. Reproduced: cat. no. 114, pp. 139-140

Lee, Sherman E., and Wai-kam Ho. The Nature and Significance of the Collection of Liang Ch'ing-Piao. Taipei, Taiwan: Chung-hua ming-kuo, 1981. Mentioned: p. 139, cat. no. 98

Suzuki, Kei 鈴木敬. Chūgoku kaiga sōgō zuroku [中國繪畫總合圖錄 = Comprehensive Illustrated Catalog of Chinese Paintings], 第 1卷. アメリカ·カナダ篇 [= vol. 1 American and Canadian collections]. Tōkyō: Tōkyō Daigaku Shuppankai, 1982. Reproduced: #A23-015, p. I-287

Neils, Jenifer. “The Twain Shall Meet.” The Bulletin of the Cleveland Museum of Art, vol. 72, no. 6, 1985, pp. 326–359. Mentioned: no. 24, p. 357 www.jstor.org

Little, Stephen. Realm of the Immortals: Daoism in the Arts of China : the Cleveland Museum of Art, February 10-April 10, 1988. Cleveland, OH: The Cleveland Museum of Art in cooperation with Indiana University Press, 1988. Reproduced: cat. no. 5, pp. 31-32

Wilson, J. Keith. "The Fine Art of Drinking: The Chinese Silversmith Zhu Bishan and His Sculptural Cups." The Bulletin of the Cleveland Museum of Art 81, no. 10 (1994): 380-401. Reproduced: p. 393; Mentioned: p. 392, 401 www.jstor.org

Barnhart, Richard M., Xin Yang, Chongzheng Nie, James Cahill, Shaojun Lang, and Hung Wu. Three Thousand Years of Chinese Painting. New Haven: Yale University Press; Beijing: Foreign Languages Press,1997. Reproduced: p. 185, cat. no. 170

Tōyō kaiga no seika: tokubetsuten: Kurīvurando Bijutsukan no korekushon kara [東洋絵画の精華 : 特别展 : クリーヴラント美術館のコレクションから = Highlights of Asian painting from the Cleveland Museum of Art]. Nara, Japan: Nara National Museum, 1998. Reproduced: pp. 54-55, cat. no. 31

Laing, Ellen Johnston. "Daoist Qi, Clouds and Mist in Later Chinese Painting." Orientations, vol. 29, no.4 (April 1998): pp. 32-39. Reproduced; p. 38, fig. 11

Hasebe, Gakuji 長谷部楽爾, et al. Sōji: shinpin to yobareta yakimono [宋磁 : 神品とよばれたやきもの = Song ceramics]. Japan: Asahi Shinbunsha, 1999. Reproduced: p. 48, cat. no. 11

Little, Stephen and Shawn Eichman. Taoism and the Arts of China. Chicago: Art Institute of Chicago, 2000. Reproduced: pp. 368-369, fig. 144

Scott, Susan Clare. "Sacred Earth: Daoism as a Preserver of Environment in Chinese Landscape Painting From the Song Through the Qing Dynasties". East-West Connections: Review of Asian Studies (6), no. 1, 2006. Reproduced: p. 83, fig. 3

Laozi 老子 and James Legge, translator. Tao Te Ching 道德经. New York: Metro Books, 2008. Reproduced: Fig. 82

Mai, Shuwei 麥書瑋. "陳汝言«仙山圖» 之探討" [Discussion on Chen Ruyan's " Mountains of the Immortals"]. Yi yi fen zi 議藝份子, vol. 15 (September 2010), pp. 33-45. Mentioned: pp. 33-45

Watt, James C. Y., Maxwell K. Hearn, and others. The World of Khubilai Khan: Chinese Art in the Yuan Dynasty. New York: Metropolitan Museum of Art, 2010. Reproduced: fig. 181, pp. 154-155

Walker, Nathaniel Robert. “Reforming the Way: The Palace and the Village in Daoist Paradise.” Utopian Studies, vol. 24, no. 1, 2013, pp. 6–22. Reproduced: fig.3, p. 11 www.jstor.org

Chou, Ju-hsi and Anita Chung. Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art. Cleveland, OH: The Cleveland Museum of Art, 2015. Reproduced: pp. 201-203, fig. 1

Lee, Sherman E., and Wai-kam Ho. The Nature and Significance of the Collection of Liang Ch'ing-Piao. Taipei, Taiwan: Chung-hua ming-kuo, 1960. 139

Exhibition history

Chinese Art Under the Mongols: The Yüan Dynasty, 1279-1368. The Cleveland Museum of Art, Cleveland, OH (October 1-November 24, 1968).

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).

Visions of Landscape: East and West. The Cleveland Museum of Art (organizer) (February 17-March 21, 1982).

The Twain Shall Meet. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 30, 1985-January 5, 1986).

Realm of the Immortals: Daoism in the Arts of China. The Cleveland Museum of Art, Cleveland, OH (February 10-April 10, 1988).

The Fragrance of Ink: Chinese and Japanese Paintings from the Collection of Mrs. A. Dean Perry. The Cleveland Museum of Art, Cleveland, OH (April 19-August 3, 1997).

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).

Taoism and the Arts of China. The Art Institute of Chicago, Chicago, IL (organizer) (November 11, 2000-January 7, 2001); Asian Art Museum of San Francisco, San Francisco, CA (February 21-May 13, 2001).

The World of Kubilai Khan: Chinese Art in the Yuan Dynasty. The Metropolitan Museum of Art, New York, NY (organizer) (September 20, 2010-January 2, 2011).