Landscape (after Li Cheng)
Maker
Lan Ying
(Chinese, 1585 -ca. 1664)
AfterAfter a work by
Li Cheng
(Chinese, 919 - 967)
Datecirca 1630 - 1650
MediumHanging scroll, ink and color on silk
DimensionsPanel: 62 1/16 × 19 1/4 in. (157.6 × 48.9 cm)
Credit LinePurchase, Anonymous Gift
Object number1974.83
Terms
- Ming
- Qing
Object TypePaintings
On View
Not on viewIn the colophon, located in the upper right corner, Lan Ying evokes the name of the Southern Song artist Li Cheng (919—967), a monumental figure in the annals of Chinese art. The inscription reads:
Respectfully painted for De Fu, after Li Cheng, in the Liufang Pavilion.
[signed] The Butterfly Daoist Lan Ying
While the gnarled trees, stratified rocks, and round, choppy brushstrokes are all trademarks of Li Cheng’s style, Lan Ying did not simply copy Li Cheng but rather creatively re-interpreted his work for a Ming audience.
The recipient of the painting, De Fu, might be the minor author Zhang Xicong, who is remembered for his collections of writings, Yuanshanji (Cloud Mountain Record). This personal reference, which adds a level of intimacy to the composition, together with the relaxed, unpolished manner of painting suggests that this may have been a gift rather than a formal commission.
It is interesting to note that Lan Ying’s work had an arguable greater impact among Japanese collectors, connoisseurs, and artists, especially 18th century Japanese literati, or Nanga painters, than it did in China.
Respectfully painted for De Fu, after Li Cheng, in the Liufang Pavilion.
[signed] The Butterfly Daoist Lan Ying
While the gnarled trees, stratified rocks, and round, choppy brushstrokes are all trademarks of Li Cheng’s style, Lan Ying did not simply copy Li Cheng but rather creatively re-interpreted his work for a Ming audience.
The recipient of the painting, De Fu, might be the minor author Zhang Xicong, who is remembered for his collections of writings, Yuanshanji (Cloud Mountain Record). This personal reference, which adds a level of intimacy to the composition, together with the relaxed, unpolished manner of painting suggests that this may have been a gift rather than a formal commission.
It is interesting to note that Lan Ying’s work had an arguable greater impact among Japanese collectors, connoisseurs, and artists, especially 18th century Japanese literati, or Nanga painters, than it did in China.
