https://emuseum.cornell.edu/internal/media/dispatcher/71528/fullCopy of Wang Yuan-ch'i/Yuanqi (1642-1715) 1690 Landscape and InscriptionQing dynasty, second half of 19th century34 1/8 x 16 1/4 inches (86.7 x 41.3 cm)Hanging scroll: ink and colors on paperGeorge and Mary Rockwell Collection71.1090Tri-partite composition with each section separated by water or cloud motif. A shallow foreground is occupied by three trees on a rocky platform; the middle ground has the most "human" interests: footbridge, cottages with two men seated facing each other, trees, boats, and a path leading to a pavilion on a hill; a range of moutnains with prominent peaks and a waterfall in the background. Inscription and seals of the Chen Yuanqi are copied on the upper left. Translation: see curatorial file.Paintings18526837601Qin ZuyongWaishi, Leng-yen-wai-shih/lengyan hao:Leng-yen-wai-shihLin-yenT'ung-yin-sheng/tong-yin-sheng.Y-fen, Tzu/zi:Y-fenTzu/ziLin-yen/linyanLinyanWaishi, LengyanHaoQin ZuyongChinaQin Zuyong was a native of Wuxi, in Jiangsu province, and gained fame as a poet, calligrapher, and landscape painter. A master copyist in the literati tradition, he became particularly well known for his paintings after Wang Yuanqi (1642-1715). Here he has copied not only the painting, but also Wang Yuanqi's seal and inscription, which reads:
Painting should be ripe but not sweet, green but not astringent
The air should be light and the body heavy
Quality is not in the unusualness of the scenery, but in a satisfying composition
Capture and brighten the spirit, but keep the individuality of the artist
While discussing painting with my pupil, Hua Ziqian, I wrote this to show him
One day after the Autumn Equinox, in the gengwu year of the reign of Kangxi (1690)
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