清 梅清 為澤翁倣各家山水圖 冊|Landscapes after Ancient Masters

Mei Qing’s album of twelve landscape paintings, created in 1693, has been part of the Metropolitan Museum of Art collection since its acquisition, a fact that signals sustained scholarly interest in the work. The album, which combines ink and color on paper and includes a leaf of calligraphy, exemplifies the Qing‑era practice of rendering mountain‑water scenes in the manner of earlier masters. Its dimensions of 24.8 cm by 29.8 cm and its classification as a landscape painting underscore its technical and aesthetic significance.

The presence of the album in a major museum highlights its role in preserving and transmitting the tradition of ancient master imitations within Chinese art.

Mei Qing, a Qing Dynasty artist from Anhui, created Landscapes after Ancient Masters in 1693. This album comprises twelve paintings rendered in ink and color on paper, accompanied by a single leaf of calligraphy. The work exemplifies his approach to landscape art, which synthesized the study of historical painting traditions with his direct observations of the natural world, particularly the distinctive scenery of the Yellow Mountain.

As a painter, calligrapher, and poet active during the Qing Dynasty, Mei Qing was rooted in the artistic traditions of his time. Hailing from Xuancheng, Anhui Province, he engaged deeply with the established conventions of landscape painting. Landscapes after Ancient Masters demonstrates his scholarly engagement with past masters, a common practice, yet it also reflects his personal interpretation and integration of real-world scenery, particularly from his extensive travels to the Yellow Mountain.