A Solitary Temple Amid Clearing Peaks
Overall (includes 1 1/2" hanging string): 88 × 22 1/2 inches (223.52 × 57.15 cm)
Chinese Landscape Painting, Cleveland Museum of Art, November 4-December 26, 1954.
Masterpieces of Asian Art in American Collections II, Asia House Gallery, New York, April 16-June 7, 1970.
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. 10.
Masterpieces of Early Chinese Painting and Calligraphy in American Collections, Shanghai Museum, October 16, 2012- January 17, 2013, no. 8.3.
Journey through Mountains and Rivers: Chinese Landscapes Ancient and Modern, The Nelson-Atkins Museum of Art, February 8, 2013- April 28, 2013.
Lin Xiongguan (d. 1971); 1939-1945?
Michelangelo Piacentini , d. 2005; 1945?-1947
Purchased from Michelangelo Piacentini by The Nelson-Atkins Museum of Art, Kansas City, MO, 1947.
Osvald Siren, The Chinese on the Art of Painting: Translations and Comments (Peking, 1936) 2nd. Ed., (New York:1963), pl. VII.
Sherman E. Lee, Chinese Landscape Painting. Exh. Cat.: Cleveland Museum of Art. Cleveland, (Cleveland: 1954) (2nd. Ed., rev. 1962), no. 11, 22-23, 144.
Ladies’ Home Journal (October, 1955), 11.
Hugo Munsterberg, The Landscape Painting of China and Japan, (Rutland, Vermont: 1955), 36, pl. 16.
Laurence Sickman and Alexander Soper, The Art and Architecture of China, The Pelican History of Art, edited by Nikolaus Pevsner (Harmondsworth, England: 1956) (3rd ed…, rev. 1968), 107, pl. 86.
Osvald Siren, Chinese Painting: Leading Masters and Principles (New York: 1956-1958), II: 199; III: pl. 42.
Rene Grousset, Chinese Art and Culture (New York: 1959), pl. 42.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 197.
James Cahill, Chinese Painting (Geneva: 1960), 30, 32.
F. MacKenzie, Chinese Art (London: 1961), pl. 38.
Horizon magazine, ed., Arts of China (New York: 1969): 144. 14 Masterpieces of Asian Art in American Collections II, Exh. cat.: Asia House Gallery, (New York: 1970), no. 36, 90-91.
Richard M. Barnhart, “The ‘Snowscape’ Attributed to Chugan, Archives of Asian Art XXIV (1970-1971), 6-22, fig. 5.
Terukazu Akiyama, et al., eds. Chugoku bijutsu [Chinese art in Western Collections], (Tokyo: 1972) vol I, Kaiga [Paintings] ed. By Kei Suzuki and Terukazu Akiyama, 1972. I: 217, pl. 2., 46-54.
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), 50.
Marc F. Wilson, “ The Chinese Painter and his Vision”, Apollo, special issue for the Asian art collection in the Nelson-Atkins Museum of Art, Vol. XCVII, no. 133 (March 1973):226-229, fig. 1.
Bamber Gascoigne, The Treasures and Dynasties of China (London: 1973), no. 123a.
Kei Suzuki, Ri To, Ba en, Ka kei [ Li Tang, Ma Yuan, Xia Gui] Suiboku bijutsu taikei [Complete collection of ink monochrome painting], vol. II ( Tokyo: 1974), 13,155, pl. 1.
Shen Shuyang, Yang huaguan shuhua mu [List of calligraphy and painting in the author’s collection]. N.d. [before 1873], (Taipei: 1974), 105.
Robert Maeda, “ Chieh-hua: Ruled Line Painting in China”, Ars Orientalis X, ( 1975), 131-132,pl. 6-7.
Roy McMullen, Mono Lisa, The Picture and the Myth (Boston: 1975), 179.
Richard M. Barnhart, Yoshitaka Iriya, and Yujiro Nakada, To Gen, Kyonen [Tung Yuan, Chu-jan] Bunjinga suihen [ Essence of Chinese and Japanese literati painting], vol. II. (Tokyo: 1977), 20-21, 133, pl. 14, 15.
Hiroshi Sofukawa, “Go-dai Hoku So shoki sansui-ga no ichi kosatsu” [An inquiry into Five Dynasties and early Northern Sung landscape painting], Toho gakuho, no. 419 ( Feb. 1977), 160, 163, fig. 15.
Lu Bro, Drawing. A Studio Guide. (New York: 1978), 41.
Maggie Keswick, The Chinese Garden (New York: 1978), 95, no. 87.
Michael Sullivan, Symbols of Eternity: The Art of Landscape Painting in China (Stanford: 1979), 61-63, pl. 34, 35.
William Watson, L’Art de L’Ancienne Chine [ The Art of Ancient China], L’ Art et les Grandes Civilisations. (Paris: 1979), 431, no. 463-466; and 333, pl. 145.
Janet Gaylord Moore, The Eastern Gate (Cleveland and New York: 1979), 50, 52, 66.
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Companion to World History, vol. 5 (London: Kestrel books)
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Kei Suzuki, History of Chinese Painting, vol. 1 (Tokyo: 1980), 148, no. 149; p.149, no. 150, 151.
Special Exhibition Chinese Paintings from Two American Museums (in Japanese). Catalog no. 9, Foreword by M.F. Wilson and S.E Lee (Tokyo National Museum, 1982), 31, 76.
Kojibutsu, no. 64, (Tokyo: October, 1982), 41. Howard Rogers, “Chinese Painting” ( 1), trans. Y. Shimizu, pp. 45-61/ Gems of Chinese Fine Arts, no. 15, color pl. 2, detail p. 3.
Yi yuan duo ying [Gems of Chinese Fine Art], no. 15, (1983), color plate 2, and enlarged detail, p. 3.
Alasdair Clayre, The Heart of the Dragon (London: 1984), 242.
Kei Suzuki, Chongguo huihua shi, trans. Wei Meiyue (Taipei: 1987), pl. 149-151.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 182.
Richard Barnhart, “Figures in Landscape”, Archives of Asian Art 42 (1989), fig. 8.
Jacques Maquet, The Aesthetic Experience (New Haven: Yale University Press, 1986), 136; also reprint (Taipei: Southern Materials Center, Inc.)
Martha Boles & Rochelle Newman, The Surface Plane (The Golden Relationship: Art, Math & Nature/ book two). (Bradford, Massachusetts: Pythagorean Press, 1992), xiv.
Wai-kam Ho & Dawn Ho Delbanco, “Tung Chi’i-ch’ang’s Transcendence of History and Art”, Wai-kam Ho, et al. The Century of Tung Chi’i-ch’ang 1555-1636 (Kansas City: The Nelson- Atkins Museum of Art, 1992), I: 26, fig. 9.
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), 314, Color plate 63.
Richard M. Barnhart, “The Five Dynasties (907 – 960) and the Song Period (960 – 1279)” in Three Thousand Years of Chinese Painting. (Yale University Press, 1997), 86-137, fig. 92.
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), 335, fig. 160.
Colin Mackenzie, with contributions by Ling-En Lu, Masterworks of Chinese art: the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 2011), 56-57.
Shanghai bo wu guan, Masterpieces of Early Chinese Painting and Calligraphy in American Collections, Shanghai Museum, (Beijing shi: Beijing da xue chu ban she, 2012), 160, no. 8.3.
Sobukawa Hiroshi, “Hokusō no den ri sei hitsu seiran shoji zu no denshō saikō.” Kurokawa kobunka kenkyūjo kiyō 15, (2016), 1-29.
Jonathan Hay, “Interventions: The Mediating Work of Art” Art Bulletin 89, 3(2007), 435-459, fig. 1.
