Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of July 2026
FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
In his inscription Lan Yin states that he uses Mi Fu’s methods to depict this landscape. The ovoid "Mi" dots—Mi Fu’s brush idioms—are applied to give shape to the cloud-enveloped mountains and foreground tree grove for self expression. Engaging in the process of fang (imitation), he acquired the methods of various schools and masters to expand his technical range for creative transformations. Lan Yin developed his unique style and inspired major artists like Liu Du and Chen Hongshou.
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Landscape in the Style of Ancient Masters: after Gao Kegong
明 藍瑛 春江漁隱圖 軸|Hermit-Fisherman on a Spring River
Landscape in the Style of Ancient Masters: after Fang Congyi
Landscape in the Style of Ancient Masters: after Gao Shangsh
Landscape in the Style of Ancient Masters: after Wang Meng (
Landscape in the Style of Ancient Masters: Artist's commenta
Landscape in the Style of Ancient Masters: after Ni Zan (130
Landscape in the Style of Ancient Masters: Songxuezhai Lan Y
Zhong Li — 明 鍾禮 觀瀑圖 軸|Li Bai gazing at the waterfal
Fa Ruozhen — 清 法若真 雲山圖軸|Cloudy Mountains
Gao Tao (Chinese, 1100s) — Birds in a Grove in a Mountainous
Keison (Japanese, active late 15th to early 16th century) —
Guo Xi — Water Pavilion by Twin Pines
Wang Jianzhang (Chinese, active 1621–1662) — Solitary Colors
Kano Tansui Moritsune — 狩野探水守常筆 蓬莱山・瀟湘八景図|Mount Penglai with
Oguri Sotan — Landscape
Wang Hui|Unidentified artist — 清 (傳)王翬 雪景山水圖 軸|Snowscape
Lu Wenying (Chinese) — River Village in a Rainstorm
Tao Hong (Chinese, active c. 1610–1640) — Clouds Visiting a
Landscape