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Winter Landscape: Building on a Snowy Butte at Kuang lu in Album Folio Format

Li Ruwei

Qing dynasty (1644-1912), 1882

Titles Winter Landscape: Building on a Snowy Butte at Kuang lu in Album Folio Format (Proper)
Artist Li Ruwei, Chinese, born 1811 - death date unknown
Medium ink and color on paper
Dimensions 11 x 15 1/8 in. (27.9 x 38.4 cm)
Credit Line Museum purchase with funds from the Endowed Fund for Acquisitions and the Birmingham Asian Art Society, 1988.82.101
Work Type painting, album leaf
Classification Paintings

Signature Artist’s Seal: Ruwei (circular, red characters) ??
Marks Artist’s Seal: Ruwei (circular, red characters) ??
Inscription Artist’s Inscription: I began painting by studying Wang Shaonong (Wang Mian?, 1287-1359) then gradually studied Dong Zongbo (Dong Qichang, 1555-1636), then the Yuan and Ming dynasty artists, eventually turning back to the artists of the two Song dynasty (960-1279) schools. Unconsciously I absorbed the styles of twenty-six artists. In this album I first follow the styles of nine masters from the two Song schools, exhausting my meager talent. Ximing said formerly when I studied Ni (Ni Zan, 1301-1374) and Dong the two artists were obviously not alike. If you want to study the Yuan dynasty (1279-1368), examine the work of Dachi (Huang Gongwang, 1269-1358). If you want to study the Ming dynasty (1638-1644) examine the work of Qingxiang (Shi Tao, 1642-1707). You can take from Bei Yuan and Heyang (Guo Xi, c. 1020-1090) without taking from Mei Hua and Huanghe (Wang Meng, 1308-1385). Since the paper on the right has been filled I'll continue the text on the left. On this page I have newly made a building on a snowy butte. I do not dare to recklessly usurp the ancients, claiming to act in their place. This is Kuang lu as it appears, I haven't forgotten what I saw. Alas, when it comes to calligraphy and painting it is not easy to mingle with the ancients. This is the third month of 1882 when the moon is not quite full. Now on the eve of the departure of Xi ming ci shi lao xiong for Shanghai, I present this as a parting gift. I'm greatly dismayed! Come back! How can I endure your leaving? Fang liu lao di, Li Ruwei, at age seventy-one. ???????????????????????????????(?)???????????????????????????????????????????????(?)?????????????????????????????????????? I began painting by studying Wang Shaonong, then gradually studied Dung Cungbo, then the Yuan and Ming dynasty artists, eventually turning back to the artists of the two Song schools. Unconsciously I absorbed the styles of twenty-six artists. In this album I first follow the styles of nine masters from the two Song schools, exhausting my meager talent. Ximing said formerly when I studied Ni and Dong the two artists were obviously not alike. If you want to study the Yuan dynasty study Dachi. If you want to study the Ming dynasty study Qingxiang. You can take from Bei Yuan and He Yang without taking from Mei Hua and Huang He. Since the paper on the right has been filled I'll continue the text on the left. On this page I have newly made a temple on a snowy butte. I do not dare to recklessly usurp the ancients, claiming to act in their place. This is Kuang lu as it appears, I haven't forgotten what I saw. Alas, when it comes to calligraphy and painting it is not easy to mingle with the ancients. This is the third month of 1882 when the moon is not quite full. Now on the eve of the departure of Xi ming ci shi lao xiong for Shanghai, I present this as a parting gift. I'm greatly dismayed! Come back! How can I endure your leaving? Fang liu lao di, Li Ruwei, at age seventy-one.

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