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section 1: Dwelling in the Fuchun Mountains after Huang Gongwang section 2: Dwelling in the Fuchun Mountains after Huang Gongwang section 3: Dwelling in the Fuchun Mountains after Huang Gongwang section 4: Dwelling in the Fuchun Mountains after Huang Gongwang section 5: Dwelling in the Fuchun Mountains after Huang Gongwang section 6: Dwelling in the Fuchun Mountains after Huang Gongwang section 7: Dwelling in the Fuchun Mountains after Huang Gongwang section 8: Dwelling in the Fuchun Mountains after Huang Gongwang section 9: Dwelling in the Fuchun Mountains after Huang Gongwang section 10: Dwelling in the Fuchun Mountains after Huang Gongwang section 11: Dwelling in the Fuchun Mountains after Huang Gongwang section 12: Dwelling in the Fuchun Mountains after Huang Gongwang section 13: Dwelling in the Fuchun Mountains after Huang Gongwang section 14: Dwelling in the Fuchun Mountains after Huang Gongwang section 15: Dwelling in the Fuchun Mountains after Huang Gongwang full image: Dwelling in the Fuchun Mountains after Huang Gongwang

Dwelling in the Fuchun Mountains after Huang Gongwang

Type
Handscroll
Maker(s)
Artist: Wang Hui (1632-1717), After Huang Gongwang (1269-1354)
Historical period(s)
Qing dynasty, 1672
Medium
Ink and color on paper
Dimension(s)
H x W (image): 38.4 x 743 cm (15 1/8 x 292 1/2 in)
Geography
China
Credit Line
Purchase — Charles Lang Freer Endowment
Collection
Freer Gallery of Art
Accession Number
F1950.19
Label
The Yuan dynasty painter Huang Gongwang (1269-1354) was venerated by literati artists during the Ming and Qing period. Huang Gongwang's most famous work, a long handscroll entitled Dwelling in the Fuchun Mountains, was frequently copied by later artists, particularly 17th century painters of the orthodox school. Wang Hui painted several scrolls based on Huang Gongwang's composition, and this one is especially important since it preserves the beginning section now lost from the original. Although Wang Hui followed closely the composition and motives of the Yuan painting, the smooth brushstrokes and neat dots are the special characteristics of the painter's style. According to the inscription by his teacher, Wang Shimin, this unsigned work can be dated to 1672.
Provenance
Provenance information is currently unavailable
On View Location
Currently not on view
Classification(s)
Painting
Keyword(s)
China, copy, Qing dynasty (1644 - 1911), WWII-era provenance
Collection(s) Area
Chinese Art
Web Resource(s)
Google Cultural Institute

Rights Statement
Copyright with museum






The Freer|Sackler is currently closed for renovations, updates, and gallery reinstallation. The popular exhibition Turquoise Mountain: Artists Transforming Afghanistan is still on view in the International Gallery. (Enter through the Ripley Center.) Please join us for our weekend-long reopening celebration on October 14 and 15, 2017.