Artwork
Album of Calligraphy and Paintings
Album of Calligraphy and Paintings is an unspecified painting by the Chinese Orthodox School artist Bian Shoumin. It dates from 1726 and is held in the collection of the Cleveland Museum of Art.
About this work
History & Provenance
The Album of Calligraphy and Paintings by Bian Shoumin, created in 1726, is held in the collection of the Cleveland Museum of Art in Cleveland.
The Album of Calligraphy and Paintings was created by Bian Shoumin in 1726, a date attributed to the work itself and corroborated by its inception record of 1726-01-01. It was produced in China, where Bian Shoumin was active during his lifetime. The album is now held in the collection of the Cleveland Museum of Art, where it is catalogued under the accession designation 1999.260.i, indicating that it entered the museum's holdings in 1999.
No information about an earlier ownership chain, commissioner, or intermediate custodians is available in the provided sources.
The Album of Calligraphy and Paintings by Bian Shoumin, created in 1726, is held in the collection of the Cleveland Museum of Art in Cleveland. The work is cataloged under the accession number 1999.260.i. No specific exhibition history is provided in the available sources.
Overview
Album of Calligraphy and Paintings, executed by the Qing‑dynasty artist Bian Shoumin in 1726, is a paper work in the collection of the Cleveland Museum of Art. The composition presents three birds settled among tall reeds beside a tranquil water surface, set against a faintly rendered landscape of distant hills and a pale sky.
Subject & Meaning
The three avian figures, rendered in stark black and white with a touch of red on their beaks, suggest a moment of repose after foraging. Their placement among reeds and water evokes themes of harmony with nature and the quiet contemplation prized in literati painting.
Technique & Style
Bian employs a restrained ink wash, allowing much of the paper to remain untouched. The birds are delineated with precise brushstrokes, while the background is suggested through soft, almost watercolor‑like washes that hint at mountains and sky without detailed rendering.
Context
The work exemplifies the literati tradition of integrating calligraphy, painting, and poetry. Bian Shoumin, known for his bird-and-flower subjects, often favored minimal composition, allowing the brush’s spontaneity to convey the essence of the scene rather than elaborate detail.
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