https://emuseum.cornell.edu/internal/media/dispatcher/73427/fullGentlemen with fan seated in the moonlightlate 18th-early 19th centuryImage: 8 1/4 x 10 3/4 inches (21 x 27.3 cm)Ink on paper; double leaf albumGift of Daisy Yen Wu in memory of Yen Hsiao-fang and Yen Tse-king83.128.0010Gazing upward at a full moon in the night sky and holding a circular fan, a scholar sits on a stool in open air, within a villa compound. An open window provides a glimpse into a study, where a stack of books and two ceramic vessels sit on a table. This is a landscape of eccentric rock formations, towering trees next to a body of water, and vistas into the distance. Inscription, signature and seals; undated.Paintings21017637874Qian DuChinaQian Du hailed from Renhe, in the Hangzhou area of Zhejiang province. He was originally named Qian Yu; his zi was Shumei and his hao was Hugong or Songhu Xiaoying, common sobriquets that can be seen in the signatures and seals here. As a scholar-official, Qian Du excelled at painting, poetry, and calligraphy by studying earlier masters’ works. His landscapes adopted the refined style of Wang Meng (1308–1385) of the Four Masters of Late Yuan, particularly in the “ox-ear-hair strokes.” This page depicts idealized literati activities and might even reflect Qian Du’s state of mind. The mountains, rocks, and other elements are unified by fine brushstrokes derived from early literati masters, but Qian Du employs them to create his own trademark style. ("Tradition, Transmission, and Transformation in East Asian Art," curated by Cornell PhD student Yuhua Ding under the supervision of Ellen Avril and presented at the Johnson Museum January 23-June 12, 2016)83.128.001_Disc8026_80265007