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River and Mountains on a Clear Autumn Day
by Dong Qichang
Also known as: River and Mountains on a Clear Autumn Day 江山秋霽圖
About the Artwork
Dong Qichang had a tremendous impact on the artistic practices and historiography of later generations; his works and writings shaped literati aesthetics. Here, Dong places an abstract landscape composition diagonally across the picture plane, configured to recall earlier masters and simultaneously express his own personal style. Dong’s inscription claims, Huang Gongwang’s Autumn Day, looks like this. I truly regret the master has not seen my work. In fact, Dong Qichang may have had Dong Yuan’s Xiao and Xiang Rivers in mind, a work he owned and considered a key work in Chinese art history.
Inscriptions
黃子久江山秋霽似此，當恨古人不見我也。思翁; 董文敏每遇高麗鏡面箋，書畫尤為入神。此卷改表紙用之，字跡隱然，兼有朝鮮之印。至於筆法圓秀，真接倪黃。豈文沈所可同日而語也。 康熙庚午中秋後一日，天氣澄爽，重裝初畢，跋於瓶廬。抱瓮翁高士奇。; Second inscription by Gao Shiqi 高士奇 (1645–1704): On the twenty-third day of the ninth month, the jiaxu year of the Kangxi era [1694], I packed my bags to head north. When my boat passed Wuchang [Suzhou], Mr. Mantang [Song Luo] brought wine to bid me farewell so that we could share our thoughts on our separation in the last few years. I showed him the paintings and calligraphy which I collected and asked his opinions. Since Mr. Mantang does not own any handscrolls by Wenmin [Dong Qichang], I leave this one for him in commemoration of our parting; thus the painting will have a worthy owner and our meeting will become a beautiful story in the future. It is the fourth day after the beginning of winter, with the sky clear and sober. Trees under frost have turned red and yellow, seemingly echoing the brush and ink in the painting. I also ask Mr. Mantang to inscribe a poem to commemorate our meeting so that it will survive forever.; 1 colophon and 4 seals of Song Luo 宋犖 (1634–1713): Who is the foremost art connoisseur of our dynasty? Tangcun [Liang Qingbiao, 1620–1691] is dead, so the title passes to Jiangcun [Gao Shiqi]. Leaving office, you retired for five years in the Lake region. Fondling handscrolls and hanging scrolls from morning to evening. You sent me your collection catalogue Xiao Xia Lu last year; It is indeed the true equal of [Zhou Mi's] Yun Yan Guo Yan. This year you returned to the capital by imperial order; Your boat with calligraphy and paintings anchored at the river bank in Suzhou. When we met each other you did not waste any time for conversation by poured out immediately From your "coral net" extraordinary treasures. You produced incomparable scrolls, with gold-inscribed labels and jade rollers, Pouring out from bags and trunks, they were spread in disarray. Without a word, I rolled and unrolled until my fingers were numbed, We sat straight, facing each other quietly, and never felt tired. For three days we forgot about sleeping and food. And at times we shouted our joy out loud, forgetting who is host or guest. Your Dwelling in the Fuchun Mountains and the Yuansheng manuscript These peerless works I myself examined with delight. As an added pleasure to the farewell dinner under the Maple Bridge, You allowed me to hold again this handscroll by Dong Qichang-- The Misty River and Piled Peaks [by Zhao Mengfu] and this Clear Autumn Day are two extraordinary masterpieces. In showing such life and spirit with "qi yun." the artists were truly "men of heaven." The Clear Autumn Day is not even three feet long, Painted on tributary Korean paper, it shines like silver. Every building up and every turn of the mountains imitates nature, Every tree and every rock is removed from the commonplace. From the beginning, the theory of poetry is the theory of painting, Like the lotus and the morning sunshine, they complement and refresh each other. The artist's inscription regrets that "the Old Masters cannot see my scroll." Huang Gongwang would have agreed in his grave. The vermilion of the seals glitter and dazzles the eyes, These added accessories are as valuable as jade. You are very kind to give it to me, The feelings expressed in your inscription are so sincere. Wanting to refuse, but unable, I accept it to respect your wish, And taking off my gown and cap I wrapped it with care. You asked me to write a long poem in commemoration of this beautiful occasion, I am too ashamed that my effort in response is so poor and inadequate. Returning home, I unrolled it under candlelight, trying to write the colophon, The light of the waning moon shines at the foot of the mossy wall. Earnestly humming and brows knit in deep thought, I try to compose; The verses are not outstanding, but the facts are real. With this poem recorded at the end of the scroll, I mail it to you for approval, This poem and this painting shall outlast a thousand springs. (Translation by LYSL/HK/WKH); 1 colophon and 2 seals of Shao Changheng 邵長蘅 (1637–1704); 2 inscriptions and 14 seals of the Qianlong 乾隆 emperor (r. 1736–95); 1 seal of the Jiaqing 嘉慶 emperor (r. 1796–1820); 3 seals of the Xuantong 宣統 emperor (r. 1908–11); 1 seal unidentified.; [印] 朝鮮國王之印
Provenance
Gao Shiqi 高士奇 [1645–1703] Song Luo 宋犖 [1634–1713] Shao Changheng 邵長蘅 [1637–1704] c. 1736–1910: Qing imperial collection (seals of Emperors Qianlong, r. 1736–1795, Jiaqing, r. 1796–1820, and Xuantong, r. 1909–1911) ?–1959: (C. C. Wang 王季遷 [1907–2003], New York, NY, sold to the Cleveland Museum of Art) 1959–: The Cleveland Museum of Art, Cleveland, OH
Exhibition history
Fifteen Chinese Paintings from the Cleveland Museum of Art. Smith College Museum of Art, Northampton, MA (organizer) (October 9-28, 1964). Juxtapositions. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965). Fantastics and Eccentrics in Chinese Painting. The Asia Society Museum, New York, NY (organizer) (March 23-May 28, 1967); Los Angeles County Museum of Art, Los Angeles, CA (June 20-August 13, 1967); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (September 15-November 5, 1967). The Colors of Ink. Asia House Galleries (January 10-March 3, 1974); The Cleveland Museum of Art, Cleveland, OH (organizer) (April 9-May 12, 1974). The Compelling Image: Nature and Style in 17th Century Chinese Painting. Fogg Art Museum/Harvard University, Cambridge, MA (organizer) (February 15-April 30, 1979). Eight Dynasties of Chinese Painting. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 11-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982). Visions of Landscape: East and West. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982). Asian Autumn: Masterpieces from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992). The Artist as Collector: Masterpieces of Chinese Painting from the C.C. Wang Family Collection. The Metropolitan Museum of Art, New York, NY (organizer) (September 3, 1999-January 9, 2000). Landscapes Clear and Radiant: The Art of Wang Hui (1632-1717). The Metropolitan Museum of Art, New York, NY (organizer) (September 9, 2008-January 4, 2009). Silent Poetry: Masterworks of Chinese Painting. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 14, 2015-April 24, 2016). China’s Southern Paradise: Treasures from the Lower Yangzi Delta. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10, 2023-January 7, 2024).
Quick Overview
- Artist
- Dong Qichang (Chinese, 1555–1636)
- Date
- c. 1624–27
- Medium
- Handscroll; ink on Korean paper
- Dimensions
- Painting only: 38 x 136.8 cm (14 15/16 x 53 7/8 in.)
- Type
- Painting
- Classification
- Painting
- Department
- Chinese Art
- Credit line
- Purchase from the J. H. Wade Fund
- Accession no.
- 1959.46
More by Dong Qichang in museum collections
Data retrieved from the Cleveland Museum of Art on October 8, 2026. The museum may have updated its record since.
Open-access museum record · AT-00009306
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