Who painted 元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains?

元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains was painted by Yan Wengui in 14th century.

Where can I see 元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains?

元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains is held by Metropolitan Museum of Art.

What movement is 元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains?

元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains is associated with Yuan dynasty literati painting.

Artwork

元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains

Yan Wengui

元/明佚名舊傳燕文貴秋山蕭寺圖軸|Buddhist Temples amid Autumn Mountains is an ink painting by the Yuan dynasty literati painting artist Yan Wengui. It is held in the collection of the Metropolitan Museum of Art.

About this work

History & Provenance

While traditionally attributed to the artist Yan Wengui, the current cataloging identifies the creator as an anonymous painter from the Yuan or Ming period.

The work, titled Buddhist Temples amid Autumn Mountains, is dated to 1349 and originates from China. Although traditionally attributed to the Song dynasty painter Yan Wengui, current scholarship identifies the creator as an anonymous artist from the Yuan or Ming period. The piece is executed in ink and pale color on silk, depicting a landscape featuring a temple.

Its modern ownership history places it within the collection of the Metropolitan Museum of Art, where it is currently located. The work's attribution remains qualified as "old transmission" to Yan Wengui, reflecting its uncertain creation history despite the specific 1349 date associated with its inception.

The painting known as Buddhist Temples amid Autumn Mountains is held in the collection of the Metropolitan Museum of Art in New York. According to available records, the work dates to 1349 and is classified as a landscape painting depicting temples within an autumnal setting. While traditionally attributed to the artist Yan Wengui, the current cataloging identifies the creator as an anonymous painter from the Yuan or Ming period.

The object is maintained within the museum's permanent holdings, though specific accession numbers or detailed exhibition histories regarding past public displays are not provided in the current source documentation.

Context

Attributed to an anonymous Yuan‑Ming painter, the handscroll Buddhist Temples amid Autumn Mountains was created in 1349 in China. The work, rendered in ink and pale colour on silk, belongs to the landscape genre and portrays a temple within a mountainous setting. Its inclusion in the Metropolitan Museum of Art’s collection underscores its significance as a representative example of 14th‑century Buddhist‑themed landscape painting in Chinese art.

Scholarship situates the piece within the broader tradition of handscroll landscapes that combined devotional subject matter with refined compositional techniques.

Overview

This handscroll, titled Buddhist Temples amid Autumn Mountains, is an ink and pale color painting on silk, dating from the Yuan or Ming dynasty. It depicts a serene landscape of misty peaks, with small temples nestled among the rocky terrain. The composition subtly suggests the autumn season through the presence of sparse, bare trees, creating a tranquil and contemplative scene.

Subject & Meaning

The painting presents a vision of nature's enduring presence, featuring remote temples integrated into a vast mountainous environment. The absence of a known artist contributes to the work's intended effect of timelessness. This anonymity allows the viewer to experience the depicted scene as an eternal, undisturbed natural sanctuary, rather than the specific creation of an individual hand.

Technique & Style

Executed with ink and delicate washes of color on silk, the artwork employs a technique that allows the ink to diffuse, creating soft, atmospheric effects. This approach is particularly evident in the rendering of misty mountains, where the ink subtly blends to suggest depth and distance. Such characteristics are common in traditional Chinese landscape painting, emphasizing harmony and natural beauty.