Wang Fangyu (1913-1997) and Sum Wai (1918-1996), to 1997 
Shao F. Wang, New York and Short Hills, NJ, by descent, to 1998 
Freer Gallery of Art, gift of Shao F. Wang in 1998
 According to Curatorial Note 3, Joseph Chang and Stephen D. Allee, May 7, 1998, and Joseph Chang and Stephen D. Allee, August 18, 1998, in the object record.
 See note 1.
- Previous Owner(s)
Shao F. Wang
Wang Fangyu 1913-1997
Sum Wai 1918 - 1996
The stark ink-landscapes of the Yuan-dynasty painter Ni Zan (1306-1374) held a strong appeal for many seventeenth-century artists of the late Ming and early Qing dynasties, especially followers of the influential painter and theorist Dong Qichang (1555-1636), such as Bada Shanren. Ni's spare compositions and spartan brushwork, together with the pervasive sense of loneliness and seclusion in his paintings, served as important models for Bada, who formally recognized the specific source of his inspiration in his unsigned inscription, which reads in part: "Ni Yu [Ni Zan] painted like a celestial steed bounding the void or white clouds emerging from a ridge, showing not a speck of mundane vulgarity."
In this undated album leaf, while both the dry, crumbly ink and small, open pavilion at lower left are strongly reminiscent of Ni Zan, the composition as a whole clearly illustrates the loose structural relationships and unconventional use of space that typify landscapes from Bada's late period.
- Published References
- Yuan Li. "近距离阅读大师." Exploring the Enigmas of Bada Shanren – Freer’s Special Exhibition Review., 284. Shanghai, May 2016. p. 69.
- Thomas Lawton Thomas W. Lentz. Beyond the Legacy: Anniversary Acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery. vol. 1 Washington, 1998. pp. 244-251, 262.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
- Rights Statement
Copyright with museum