Who painted 清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui?

清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui was painted by Wang Hui in 18th century or later, spurious date of 1707.

Where can I see 清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui?

清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui is held by Metropolitan Museum of Art.

What movement is 清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui?

清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui is associated with Baroque.

Artwork

清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui

Wang Hui

清佚名倣王翬臨燕文貴勘書圖扇|Landscape in the Style of Yan Wengui is an ink painting by the Baroque artist Wang Hui. It is held in the collection of the Metropolitan Museum of Art. This painting, titled Landscape in the Style of Yan Wengui, was created in 1809 by an anonymous artist during the Qing dynasty.

About this work

Technique & Style

The artist renders the landscape in a meticulous, line-based manner, emulating the dense, layered brushwork associated with Wang Hui’s style.

The work is executed in ink and color on paper, mounted as an album leaf after having served as a folding fan. The artist renders the landscape in a meticulous, line-based manner, emulating the dense, layered brushwork associated with Wang Hui’s style. Compositional elements such as layered mountain forms and attenuated trees follow the orthodox Southern School formula, while the handling balances fine detailing with broader atmospheric washes. No evidence of later overpainting or significant damage is recorded in the available sources.

The mounted format measures 16.5 cm in height and 48.9 cm in width, indicating the original fan’s proportions were preserved when adapted to album presentation.

History & Provenance

Created in 1809 in China, this landscape painting on paper is attributed to an anonymous artist working in the style of Wang Hui. The work, which depicts a scene reminiscent of Yan Wengui's 'Checking Documents,' was executed as a folding fan that has since been mounted as an album leaf. While the specific circumstances of its commission and early ownership history remain undocumented in available records, the piece entered the collection of the Metropolitan Museum of Art, where it is currently held. The artwork measures 16.5 cm in height and 48.9 cm in width.

The work is held in the collection of the Metropolitan Museum of Art in New York. Created in 1809, this folding fan mounted as an album leaf measures 16.5 cm in height and 48.9 cm in width. The piece is classified as a landscape painting executed in ink and color on paper.

No specific inventory number or exhibition history for this object is provided in the available sources.

Overview

This painting, titled Landscape in the Style of Yan Wengui, was created in 1809 by an anonymous artist during the Qing dynasty. Executed with ink and color on paper, it originally formed part of a folding fan before being mounted as an album leaf. The work demonstrates an artistic lineage, explicitly stating its imitation of Wang Hui's manner, who himself drew inspiration from earlier masters like Yan Wengui. It presents a serene mountain landscape.

Subject & Meaning

The composition depicts a tranquil mountain environment, inviting contemplation. A small pavilion, centrally placed, offers a focal point amidst the expansive natural setting. It is nestled among a dense array of trees and gently undulating hills, which recede into the distance.

The overall impression is one of solitude and harmony, characteristic of traditional Chinese landscape painting that often emphasizes humanity's place within the vastness of nature.

Context

Created in 1809, this work belongs to a tradition of Qing dynasty artists who engaged deeply with historical precedents. The inscription indicates an anonymous painter working "in the style of Wang Hui," a renowned Qing master celebrated for his synthesis of diverse historical painting traditions. Wang Hui himself often referenced earlier figures, as suggested by the work's further connection to Yan Wengui, a prominent landscape painter of the Northern Song dynasty. This practice reflects a continuous dialogue with art history.