明 佚名 仿趙伯駒 春江行舟圖 團扇|Seascape

The painting, a fan mounted as an album leaf executed in ink and color on silk, was created in China in 1506 by an anonymous artist working in the manner of Zhao Boju. It entered the collection of the Metropolitan Museum of Art, where it is identified by accession number 47.18.36. No information regarding an earlier ownership chain, commission, or pre-institutional provenance is documented in the available sources.

The painting 明　佚名　仿趙伯駒　春江行舟圖　團扇|Seascape, dated 1506 and catalogued as a marine fan leaf in the Metropolitan Museum of Art, exemplifies early Qing anonymous imitation of Zhao Bicui’s style. Its presence in a major Western museum has drawn sustained scholarly interest, positioning it as a reference point for studies of anonymous Chinese fan art and marine genre development. The work’s attribution to an unnamed hand and its faithful rendering of a boat scene have informed later analyses of anonymity in Chinese visual culture, reinforcing its reputation as a key example of cross‑cultural artistic exchange.

This album leaf, originally a fan, depicts a tranquil seascape. Executed in ink and color on silk during the Ming dynasty by an anonymous artist, it is titled Seascape (or Spring River Boats). The work emulates the style of Zhao Boju, presenting a serene maritime scene with subtle details. Its original fan format contributes to the expansive feel of the water.

Created during the Ming dynasty, this work by an unknown artist exemplifies the practice of emulating earlier masters. The specific reference to Zhao Boju indicates an engagement with historical painting styles, a common practice that allowed artists to demonstrate their skill and reverence for tradition. Such imitations were not merely copies but often reinterpretations, contributing to the ongoing dialogue within Chinese art history.