few dwelling huts in an atmospheric rocky riverside setting; in a wood case

Misty Trees and Mountain Range, c. 1670


Ink on paperexpand_more

Gift of Ruth and Bruce Daytonexpand_more  94.76

Not on Viewexpand_more

The so-called wet and dry styles, originated by two great masters, Mi Fei (1051–1107) and Ni Zan (1301–1374), were standard avenues of study for most Chinese literati artists. In this case, the combination of the two approaches in a single work intrigued Dong Qichang, an influential literati artist, calligrapher, and critic in the 1600s, for he noted as much in the inscription. The handscroll begins and ends with mountain ranges painted with flowing ink washes mixed with loose, wet ink dots, a technique typical of Southern school masters such as Mi Fu (1051–1107). In the midsection, dominated by plateaus and rocks, the loose and wet technique is replaced by light structural drawing in sensitive dry brushstrokes, which are familiar from the painting style of Ni Zan. Yet this is not a series in the manner of old masters but rather a synthesis of old idioms interpreted by the painter.



Tung Ch'i-Ch'ang, Misty Trees and Mountain Range (#174)
Misty Trees and Mountain Range
Artist Life
1555 - 1636
Accession Number
Curator Approved

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few dwelling huts in an atmospheric rocky riverside setting; in a wood case