Far trees and flat sand are clothed in fading light;
The lu grass on the land-spits rustles in the late faint wind;
An empty house becomes the color of the mountain;
While for the boatman at the lake’s head
Intoxication--still no return.
(trans. Richard Edwards)
"When on the boat coming back from Stone Lake, I had a good deal of leisure time, and so for my amusement I imitated the brush and spirit of Yunlin [Ni Zan] by painting this small scroll and adding a poem." (trans. Stephen Little)
Colophons by Yang Mengqian, Cheng Keze. Seals of Qian Konan, Yang Mengqian (1612), Cheng Keze (1680), Wang Hungxu (1645-1723), Pang Yuanji.
26.1 × 157.5 cm (10 1/4 × 62 in.)
Kate S. Buckingham Endowment Fund
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Kei Suzuki, comp. “Comprehensive Illustrated Catalog of Chinese Paintings (Chugoku kaiga sogo zuroku)”, vol. 1: American and Canadian Collections. Tokyo: University of Tokyo Press, 1982. pl. A3-012, Page I-32, 33.
-Richard Edwards, The Field of Stones: A Study of the Art of Shen Chou (1427-1509). Smithsonian Institution, Freer Gallery of Art, Oriental Studies no. 5. Washington, D.C., 1962. pp. 8, 10-11, 45, 54, 83-4, pl. 7-c (cat. 111).
-Xuzhai minghua lu [Catalog of Chinese paintings in the sollection of Pang Yuanji] Shanghai, 1909, 3/Shen Zhou, section 9a-b (recorded)
-Osvald Siren, Chinese Painting: Leading Masters and Principles. 7 vols. (New York: Ronald Press, 1956-58). VII, Annotated Lists, p. 223, as River-view.
-Published in Charles Fabens Kelley, “Chinese Painting,” The Art Institute of Chicago Quarterly, vol. 45, no. 4 (November 15, 1951), fig. 4
Stephen Little, “Chinese Paintings in the Art Institute of Chicago,” Arts of Asia, vol. 29, no. 3 (1999): 50-51, fig. 7.
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