For a hundred years [I have been] a person with no attachments

Jiun employed a brush loaded with black ink, applying each stroke in a single, unmediated motion. The resulting characters are uneven, with rough edges that suggest spontaneity and vigor. The composition’s stark contrast between ink and the pale paper, together with the decorative woven‑patterned borders, underscores a minimalist aesthetic while retaining a tactile, hand‑crafted quality.

The painting was produced in 1792 and has remained in private or institutional hands before entering the Metropolitan Museum of Art’s collection. The museum acquired the piece as part of its Asian art holdings, though specific acquisition details are not publicly recorded.

During the late Qing dynasty, calligraphic works often served both as literary expression and as visual art. Jiun’s choice of a solitary, declarative phrase aligns with contemporary trends that valued personal introspection and the display of brush mastery. The work’s format, a tall, narrow sheet, was typical for hanging scrolls used in scholarly or devotional spaces.