Mountains and Mist-Filled Valleys
Mount: 14 1/4 x 21 1/2 inches (36.2 x 54.61 cm)
East Asian Landscape Painting, Dartmouth College, Hanover, New Hampshire, October 10-November 27, 1968.
The Compelling Image: Nature and Style in 17th-Century Chinese Painting, Fogg Art Museum, Harvard University, February 26-April 22, 1979.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 7 – April 5, 1981; The Asia Society, December 3, 1981 – February 28, 1982; Tokyo National Museum, October 4 – November 17, 1982, no. 214D.
The Life of a Patron: Zhou Lianggong and the Painters of Seventeenth-Century China, China Institute Gallery, October 19 – December 21, 1996.
Tides of Chaos, Fervor Within: Chinese Painters of the 17th Century Respond to Dynastic Upheaval, The Nelson-Atkins Museum of Art, September 23, 2004- February 2, 2008.
Masterpieces of Chinese Painting, Victoria and Albert Museum, London, October 26, 2013- January 19, 2014, no. 70.
Kozo Harada;
Purchased from Kozo Harada by The Nelson-Atkins Museum of Art, Kansas City, MO, 1960.
Torajiro Naito, Shincho shogafu [Painting and calligraphy of the Ch’ing dynasty] (Osaka: 1916), pl 27.
Kyo Hansen sansui (cho) [Landscape album by Kung Hsien] (Kyoto: 1919), collotype reproduction.
Shina Nanga taisei [Conspectus of Chinese paintings of the Southern School], sequel, vol. I (Tokyo: 1935-1937), pls. 62-71.
Aschwin Lippe, “Kung Hsien and the Nanking School, Part I”, Oriental Art, vol. 4 (1958), 159, no. 4.
Archives of the Chinese Art Society of America, vol. XV (New York: China Institute, 1961), 42, fig. 25.
Art In America, vol. 55, no. 2 (March-April, 1967), 110.
James Cahill, Fantastics and Eccentrics in Chinese Painting, Exh. cat.: no. 24, Asia House Gallery (New York: 1967), 54-55, 68-69, 73,116.
Art News (April, 1967), 36, pl. 1, D.
Aschwin Lippe, “Fantastic and Eccentrics in Chinese Painting”, Oriental Art, XIII, no. 2 (Summer 1967), 134.
Art in America, (March-April, 1967), (leaf no. 4).
Marc. F. Wilson, “Kung Hsien: Theorist and Technician in Painting” The Nelson Gallery and Atkins Museum Bulletin, no. 9 (May- July, 1969): 27-30, 42-44, pl. 8A, 8B, 8F, 8H, 8I, 8J.
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 71.
Terukazu Akiyama, et al. Eds. Chugoku bijutsu [Chinese Art in Western collections] Bol. II, kaiga, ed. By Kei Suzuki, and Teisuke Toda, (1973), 233, pl. 46.
James Cahill, Chugoku kaiga niokeru kiso to genso “(chu)” [Fantastics and Eccentrics in Chinese Painting], Kokka, no. 979 (1975), 2-21, 30 (pt. II), pl. 1, fig. 23.
Richard Vinograd, “Reminiscences of Ch’in-huai: Tao chi at the Nanking School”, Archives of Asian Art, vol. XXXI (New York, 1977-1978), 6-31, figs 26-28.
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), 279-281, no. 214, fig.214D.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 192.
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), 328.
Hongnam Kim, The Life of a Patron: Zhou Lianggong and the Painters of Seventeenth-Century China, China Institute Gallery, (New York: China Institute in America, 1996).
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), 369, fig. 264.
Zhang Hongxing, Masterpieces of Chinese Painting, Victoria and Albert Museum, (New York: V& A Publishing, 2013), 292-295, no. 70
