Autumn Mountains 秋山圖

Arts of Asia

Ming dynasty (1368–1644), early 16th century 明朝

Wen Zhengming 文徵明 (Chinese, 1470-1559)

The eminent scholar-painter Wen Zhengming mastered disciplined but unassertive brushwork to create subtly powerful and often poignant compositions. Ascending a steep mountain path, a man with a walking staff is the solitary inhabitant of this landscape; desolate huts and clustered groves of thin trees are his only neighbors. Horizontal strokes accent the densely layered and partially shadowed mountain contours – an intriguing blend or representational form and surface texture.

A poetic colophon by Shao Bao (1460-1527) is inscribed after the painting:
In the Dao of painting, spring mountains are admired,
But one can sympathize even more with autumn mountains.
High winds overwhelm strong trees,
Heavy rains - one can really see the springs.
Tallow and plum trees are thin,
Maple groves and apricot [trees] fade and groan.
Yet when winter follows this,
The pine and cypress are just as before.”
(translation by Stephen Little)

Status: Currently Off View
Department: Arts of Asia

Artist: Wen Zhengming
Title: Autumn Mountains 秋山圖
Place: China (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1510–1550
Medium: Handscroll; ink on gold-flecked paper
Inscriptions: Exterior Label (玉池) by Luo Zhenyu 羅振玉. Frontispiece (引首) by Xu Lin 徐霖：Autumn Mountains (秋山), Signature：䫇仙. Seals: 徐氏子仁，麓雲樓書畫記，蓉峰之印，劉氏寒碧莊印. Inscription on Painting: 秋山圖為子仰作, 徵明. Seals:文徵明印，停雲生. Collectors' Seals: 蓉峰鑑賞, □□鑑定, 吴邑刘恕审定, □□□□, 劉氏寒碧莊印，惕庵所得名蹟，蓉峰審定，廷俞珍藏，王遂菴曾觀, 向叔平生長物，何長庚鑑賞書畫之章
Dimensions: 31.8 × 120.8 cm (12 9/16 × 47 9/16 in.)
Credit Line: Kate S. Buckingham Endowment Fund
Reference Number: 1948.103
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/62536/manifest.json

Jason C. Kuo, Word as Image: The Art of Chinese Seal Engraving [Exh. Cat.] (New York: China Institute, 1992), pl. 5, no. 54.
Louise Yuhas, “Lu Chih and the Literati Tradition: Paintings in the Style of Ni Tsan.” Ars Orientalis, vol. 13 (1982), p. 32-33, fig.6.
Richard Edwards, The art of Wen Cheng-ming, 1470-1559 [Exh. Cat.] (Ann Arbor: University of Michigan, 1976), no. 14.
Jack Sewell, Ming-Ch’ing Dynasties [Exh. cat.[ (AIC,1964), p. (10)
Alberto Giugannio, La Pittura cinese. (Rome, 1959), vol. II, p. 327.
Osvald Sirén, Chinese Painting: Leading Masters and Principles. 7 vols. (New York: Ronald Press, 1956-58), vol. VII, Annotated Lists, p. 263.
Jean-Pierre Dubosc, Mostra d’arte cinese: Settimo centenario d Marco Polo, (Exhibition of Chinese art: 700th anniversary of Marco Polo). (Venice, Palazzo Ducale, 1954), no. 808.

Kuo, Jason C.. Word as Image: The Art of Chinese Engraving. Exh. Cat. : China House Gallery Chica Institute in America. New York City, 1992, Pl. 5 (No. 54).
Edwards. Richard. The Art of Wen Cheng-ming(1470-1559). Exh. Cat.:The University of Michigan Museum of Art, Ann Arbor, 1976), cat.XIV.
Ming-Ch’ing Dynasties A.D. 1368-1644, 1644-1912. Exh. Cat. : The Art Institute of Chicago, no pagination.
Dubosc, Jean-Pierre. Mostra d’arte cinese: Sttimo centenario d Marco Polo [Exhibition of Chinese art: 700 anniverary of Mardo Polo]. Exh. Cat.: Palazzo Ducale. Venice, 1954, cat, no. 808.
The Art Institute of Chicago : Ming (1368-1644) Ching (1644-1921) dynasties Exhibition 1964

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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