清 諸家 名家書畫 冊|Album of painting and calligraphy for Maoshu

Created in 1673 in China, this album comprises fourteen leaves featuring landscape paintings and facing calligraphic pages executed in ink and color on paper. The work is attributed to various artists rather than a single creator. While the specific circumstances of its commission or the identity of the recipient named Maoshu are not detailed in the available records, the piece's inception is firmly dated to the seventeenth century.

The album eventually entered the collection of the Metropolitan Museum of Art, where it is currently housed and classified as a painting. The physical format consists of alternating leaves of visual art and text, characteristic of scholarly albums from the Qing dynasty period.

The album of painting and calligraphy for Maoshu is part of the Metropolitan Museum of Art's collection; the museum lists it as held in its department of Asian art, though no specific accession or inventory number is provided in the documentation. The work, dated 1673 and comprising fourteen paintings with accompanying calligraphy, was created in China and falls under the landscape genre. The available records do not note any documented exhibition history for this piece.

The album, compiled in 1673 by various artists and featuring fourteen landscape paintings paired with calligraphic inscriptions, is held in the Metropolitan Museum of Art, reflecting its recognized significance as an important example of Qing painting. Its inclusion in a major museum collection underscores its lasting impact on the understanding of early modern Chinese art.

Created in 1673, the Album of Painting and Calligraphy for Maoshu is a collaborative work by various Chinese artists active between 1666 and 1680. The album consists of fourteen leaves, each featuring a small landscape painting executed in ink and light color on paper, paired with a facing page of calligraphy in black ink. The compositions depict varied scenic views, often accompanied by poetic inscriptions that complement the visual imagery.

The brushwork is characterized by its delicacy and the color palette by its softness, reflecting the aesthetic preferences of the period. This album represents a significant example of late seventeenth-century collaborative art-making in China, where multiple artists contributed to a single volume, likely as a gift or commemorative piece for an individual named Maoshu. The work illustrates the integration of painting and calligraphy, a hallmark of Chinese literati art, and demonstrates the diverse styles and techniques employed by the participating artists within a unified format.

This collaborative album emerged from a group of Chinese artists working between 1666 and 1680. Such collective projects were a common practice, bringing together diverse artistic talents within a single volume. The dedication to 'Maoshu' indicates the album was likely a commissioned piece or a significant gift, tailored to a specific individual's appreciation for art and literature.