'Streams and Mountains Without End': The Met

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Melik Kaylan, When Chinese Landscape Came into Its Own. Wall Street Journal, Sept 11, 2017
https://www.wsj.com/articles/str ... -history-1504908016

Note:
(a) This is an exhibition review on
Streams and Mountains Without End: Landscape Traditions of China. Metropolitan Museum of Art (The Met), Aug 26, 2017 - Jan 6, 2018
www.metmuseum.org/exhibitions/listings/2017/streams-and-mountains
(b) "Inside first we see two handscrolls from the Ming period * * * One, by an unknown 15th-century painter, depicts the four seasons horizontally from right to left on silk, and immediately we are immersed in the exquisite visual language of mists and mountains and bodies of water with all the ethereal sensitivity of a refined eye divining nature's forces. The other, a vertical scroll, by the renowned 16-century landscapist Wen Boren 文伯仁 [文征明侄子], illustrates a contrasting principle, that of the scholar-artist-poet using nature as a vehicle to reflect internal state, an early kind of expressionism.
(i) Landscape of the Four Seasons. The Met (15th century; Accession Number:1989.363.45).
www.metmuseum.org/exhibitions/vi ... 4&pos=1&ft=*
(ii) In (a), The Met describes the painting this way: "the 1571 handscroll Fantastic Scenery in the Human Realm, a dynamic landscape of bizarre and contorted forms, by Wen Boren"

Christie's attempted to auction this scroll in 1993, whose Web page (still available) did not show the scroll; outcome unknown.

(c) "This polarity of realist and the expressionist runs broadly through the genre and the show itself. Hence, in the next section dedicated to 'Poetic Landscape,' we see a haunting depiction of a tree-form by Tang Di from 1323 of the Yuan (Mongol) dynasty, one dedicated to a poem from the eighth century. Nearby a landscape by Sima Huai 司马槐 [a descendant of 光, separated by a few generations], also Yuan [sic; should be Song] era, rendered in gossamer minimalism floating in white space, refers to two lines in a different poem.
(i) Tang Di, Landscape After a Poem by Wang Wei.  The Met (1323; Accession Number: 1985.214.147).
http://www.metmuseum.org/exhibit ... 4&pos=3&ft=*
(A) 唐棣 (元), 王维诗意图.
(B) I am unable to find out which poem of 王维.
(ii) Press; Streams and Mountains without End: Landscape Traditions of China. The Met, Aug 10, 2017
www.metmuseum.org/press/exhibitions/2017/streams-and-mountains
("Among the show's highlights are a Song dynasty (960–1279) handscroll, Two Landscapes Inspired by the Poetry of Du Fu, a rare example of early literati painting, attributed to Sima Huai (Chinese, active ca. 1131–62)" )
(A) Southern Song (1127–1279) and Yuan Dynasty (1271–1368)
(B) In 1271, 忽必烈 formed Yuan Dynasty at president-day Beijing.
(C) I fail to find "Two Landscapes Inspired by the Poetry of Du Fu."

(d) "Chief among the show's delights are horizontal scrolls so long that a room-length display case doesn't quite suffice. One such is from 1770, a Tintin-like visual chronicle of the emperor visiting river communities, inspecting infrastructure. At one end he is depicted standing on a dam apparently quizzing local officials, while at the other the locals sweep the streets in readiness, because he hasn't arrived there yet.”

徐扬, 乾隆南巡图. 第四卷: 阅视黄淮河工. 中国国家博物馆.