Traveling Among Streams and Mountains
Image (Frontispiece with calligraphy): 15 1/8 × 42 1/2 inches (38.42 × 107.95 cm)
Mount (front silk mount (qiangeshui)): 15 1/4 × 5 7/8 inches (38.74 × 14.92 cm)
Mount (Back silk mount (hougeshui)): 15 1/4 × 5 7/8 inches (38.74 × 14.92 cm)
Eight Dynasties of Chinese Painting, The Nelson-Atkins Museum of Art, November 7,1980- January 4,1981;The Cleveland Museum of Art, February 7, 1981- April 5,1981;The Asia Society, December 3, 1981- February 28, 1982; Tokyo National Museum, October 4, 1982- November 17, 1982. No. 27.
Expressions of Brush and Ink: Literati and Chan (Zen) Painting in China and Japan, The Nelson-Atkins Museum of Art, January 13, 2010- August 1, 2010.
The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, Metropolitan Museum of Art, September 20, 2010- January 2, 2011. Cat. No.299.
The painter’s signature (not visible in the displayed section) reads: “Leftover Person from Remote Antiquity.” When this scroll was painted, North China was under foreign domination, and the use of this alias suggests that the artist was a dissident who felt out of tune with his own time. The painting may thus represent the artist’s nostalgic vision of a harmonious never-never land in which he could find a spiritual sanctuary.
M. F. Chen;
Purchased from M. F. Chen by The Nelson-Atkins Museum of Art, Kansas City, MO, 1974.
Shiqu baoji [Catalogue of painting and calligraphy in the Imperial Collection/ Compiled by Zhang Zhao et al.; commissioned by the Qianlong emperor 1744, completed 1745. Facsimile reprinted (Shanghai: 1918), Ch. 14, Yangxindian, 32a-33a.
Pian Yongyu, Shigutang shuhua huikao[ Notes and records on calligraphy and paintings],1682. Facsimile reprint of the original Kangxi edition. (Shanghai: 1921) Hua, ch. 11, 7a, b.
J.D. Chen, Jin gui lun hua [Essays on paintings in the King Kuei collection] (Hong Kong: 1956), pl. 1; vol. II, no. 5.
J.D. Chen, Jin gui lun hua pin shi [Notes and comments on paintings in the Jin gui collections], 2 vols. (Hong Kong: 1956), vol. I, 38, 42.
Susan Bush, “Clearing After Snow in the Min Mountains and Chin Landscape painting”, Oriental Art, n.s., XI, no. 3 ( Autumn, 1965), 168, 170-172, fig. 11.
Nelson-Atkins Gallery Bulletin, vol. V, no. 3, (February 1976): 48.
Richard M. Barnhart, Yoshitaka Iriya, Yujiro Nakada, To Gen, Kyonen [ Tung Yuan; Chu-jan], Bunjinga suihen [ Essence of Chinese and Japanese literati painting], vol. II ( Tokyo: 1977), 51,69, 138, 145, fig. 22.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 44-47, no.25.
“Handscroll Landscape Paintings…”, Oriental Art Magazine, vol. 39, No. 3 ( Autumn , 1993),20-27, fig. 3.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 317.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 347, fig. 196.
James C.Y. Watt, The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, Metropolitan Museum of Art (New York: Yale University Press, 2010), 210-211. Fig.299.
