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
This leaf presents a rising promontory in the near distance, whose base is hidden by a dense grove of barren, autumnal trees. A gentle incline emerges from the lower right, with a small path leading to its summit, where a gentleman is sheltered from the wind by two pines. This promontory resembles Guangming Ding 光明頂 (Summit of the Bright and Luminous), the second tallest peak in Huangshan 黃山 (Mt. Huang or Yellow Mountain), the scenic area that inspired much of Mei Qing’s artistic production. Instead of looking down on the “Sea of Clouds,” though, as one who scales Huangshan’s peak would, this gentleman is looking out at two boats on an actual sea.
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Landscapes in Various Styles after Old Masters
Landscapes in Various Styles after Old Masters
清 梅清 為澤翁倣各家山水圖 冊|Landscapes after Ancient Masters
清 倣 梅清 黃海雲濤圖 扇頁|Peaks of Mount Huang
Landscapes in Various Styles after Old Masters
Landscapes in Various Styles after Old Masters
清 倣梅清 響山泛舟圖 軸|Boating beneath Echo Hill
Landscapes in Various Styles after Old Masters
Song Xu (Chinese, 1525-c. 1606) — Xiaomei
Song Xu (Chinese, 1525-c. 1606) — Yutai Peak (Jade Terrace P
Ike Taiga (Japanese, 1723–1776) — West Lake
Yi Bingshou — 清 伊秉綬 山水 冊|Landscapes
Kenkō Shōkei (Japanese, active 1478–1506) — View of Xiao Xia
Lan Ying — Landscape in the Style of Ancient Masters: after
Qian Weicheng — 清 錢維城 景數四氣,冬景圖 冊|Winter Landscapes and Fl
Kuncan (Chinese, 1612–c. 1673) — Spring Landscape
Wang Hui (Chinese, 1632–1717) — Tall Bamboo and Distant Moun
Ryūryūkyo Shinsai
Luo Mu
Hu Zhengyan — 明 胡正言 《十竹齋書畫譜》 四開 木版畫|Page from the Ten Ba