清 石濤 (朱若極) 山水圖 扇頁|Landscape

The work is a folded fan remounted as an album leaf, executed in ink and color on gold-flecked paper and dated 1699. It displays Shitao's characteristic moist brushwork, with layered ink washes modulating from deep blacks to diluted greys to articulate recession in the crags and mist. Textured strokes define the rocky forms while diluted washes model spatial depth.

The narrow, curved fan format constrains spatial illusion, compressing the layered peaks into a rhythmic frieze along the fan's arc.

The folding-fan landscape by Shitao (Zhu Ruoji) is recorded in the collection of the Metropolitan Museum of Art, where it is listed among the museum's holdings. Its precise accession number is not provided in the available documentation, and no exhibition record is cited in the sources consulted. The work is described as a landscape painting created in China in 1699, consistent with its genre and medium.

Created in 1699, this landscape fan leaf by Shitao (Zhu Ruoji) exemplifies the artist's rejection of rigid imitation in favor of expressive individualism during the early Qing dynasty. Executed in ink and color on gold-flecked paper, the composition features a compact arrangement where mountains rise dynamically from a misty void. Shitao employs rapid, uneven brushstrokes to define the rocky forms and vegetation, creating a sense of organic movement rather than static perfection.

The scene includes minimal yet distinct details: a few trees, a small bridge, and a solitary figure traversing the path, which anchors the vastness of the natural setting. This work reflects Shitao's theoretical stance that painting should convey the artist's unique perception of nature rather than replicate past masters. The use of gold-flecked paper adds a luminous quality that interacts with the ink washes, enhancing the atmospheric depth.

As a product of the 1690s, a period of significant artistic experimentation for the former prince-monk, this piece demonstrates his mature style where calligraphic freedom merges with landscape representation. It stands as a testament to his influence on the individualist school of the seventeenth century, prioritizing emotional resonance and spontaneous execution over formal convention.

Created at the close of the 17th century, this painting exemplifies Shitao's independent artistic vision. During an era when many painters adhered strictly to the conventions and styles of past masters, Shitao consciously forged his own path. His approach prioritized personal expression and a direct engagement with the subject, marking a significant departure from the more imitative practices common among his contemporaries.