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
A sweeping vista of energized mountains, hills, small islands, sand bars, and rivers, this painting retains a simple coherence of ideas and images. Its inspiration comes from Huang Gongwang (1269–1354), the great master of the Yuan dynasty, whose famous Dwelling in the Fuchun Mountains has a similar structure, but is much more diverse and varied in its composition. Here, the basic elements of trees, rocks, and hills are repeated in differing scales at varying distances, contributing to the essential rhythm of the painting. Born in Huating (Shanghai), Gu Tianzhi inherited a tradition of painting that was molded under the guiding light of Dong Qichang (1555–1636), an eminent theoretician of the late Ming dynasty and the spokesman for the orthodox heritage that ruled Chinese painting for more than 300 years.
Be the first to share your thoughts.
Sign in to join the discussion.
Zou Zhe (Chinese, c. 1610-before 1688) — Autumn Mist in the
Tao Cheng (Chinese, active c. 1471–after 1502) — Chrysanthem
Li Sheng (Chinese, active c. 1324–after 1375) — Buddha's Con
Wen Boren (Chinese, 1502–1575) — Water Village
Du Qiong (Chinese, 1396–1474) — Mt. Taibo in the Style of Wa
Tang Yin (Chinese, 1470–1523) — Scholar-Hermits in the Autum
Wang Yuanqi (Chinese, 1642–1715) — Green Peaks under Clear S
Landscape
Wang Hui (Chinese, 1632–1717) — Hall of Lofty Pines
Shi Rui (Chinese, c. 1400-c. 1470) — Waiting for the Moon in
Landscape, The Palace of the Clouds
Lin Liang (Chinese, 1416–1480) — A Hundred Sparrows in a Lof