Who painted Paintings after Ancient Masters: A Lohan [after Guanxiu]?

Paintings after Ancient Masters: A Lohan [after Guanxiu] was painted by Chen Hongshou in 1625-01-01.

Where can I see Paintings after Ancient Masters: A Lohan [after Guanxiu]?

Paintings after Ancient Masters: A Lohan [after Guanxiu] is held by Cleveland Museum of Art.

What movement is Paintings after Ancient Masters: A Lohan [after Guanxiu]?

Paintings after Ancient Masters: A Lohan [after Guanxiu] is associated with Chinese Orthodox School.

Can I buy a print of Paintings after Ancient Masters: A Lohan [after Guanxiu]?

Museum-quality prints of Paintings after Ancient Masters: A Lohan [after Guanxiu] are available made-to-order from Artifact World Gallery.

Artwork

Paintings after Ancient Masters: A Lohan [after Guanxiu]

Chen Hongshou , 1625

Paintings after Ancient Masters: A Lohan [after Guanxiu] is an unspecified painting by the Chinese Orthodox School artist Chen Hongshou. It dates from 1625 and is held in the collection of the Cleveland Museum of Art.

About this work

History & Provenance

Its subject matter draws upon Buddhist iconography associated with the Lohan tradition, reflecting historical artistic practices in China.

The painting was created in 1625 in China by Chen Hongshou, depicting a Lohan figure after the style of Guanxiu. It entered the collection of the Cleveland Museum of Art, where it remains on view as part of their holdings.

The work is cataloged under accession number 1979.27.2.13 and is attributed to Chen Hongshou, who was active during the early Qing period. Its subject matter draws upon Buddhist iconography associated with the Lohan tradition, reflecting historical artistic practices in China.

The painting resides in the Cleveland Museum of Art in Cleveland, Ohio, where it is cataloged under the accession number 1979.27.2.13. It has been featured in exhibitions at the museum, including "Paintings after Ancient Masters," which highlighted works inspired by earlier Chinese artistic traditions.

Overview

Created in 1625 by the Qing‑dynasty painter Chen Hongshou, this work is a later rendition of a composition originally popularized by the 9th‑century master Guanxiu. The painting, now part of the Cleveland Museum of Art’s collection, portrays a solitary Buddhist monk, identified as a lohan, seated beneath a flowering tree, his gaze directed toward the blossoms.

Subject & Meaning

The figure, a bald, long‑bearded monk clad in a patterned robe, holds a staff and appears absorbed in contemplation of the surrounding flora. Such imagery aligns with traditional Buddhist iconography that links the lohan’s serene meditation with the transient beauty of nature, suggesting a harmony between spiritual insight and the natural world.

Technique & Style

Executed in a deliberately antiquarian manner, the painting employs muted pigments and soft, flowing lines that echo the aesthetic of earlier Chinese brushwork. The composition balances the central figure and tree against a subdued backdrop of rocks and additional plant forms, using restrained detail to emphasize the monk’s quiet presence.