景观 - 美国大都会艺术博物馆展品查阅

品名（中）	景观
品名（英）	Landscape
入馆年号	1981年，1981.285.15
策展部门	亚洲艺术（Asian Art）
创作者	Zhao Yuan【1350 至 1350】【中国人】
创作年份	公元 1367 - 公元 1399
创作地区
分类	绘画（Paintings）
尺寸	图像: 9 13/16 x 30 1/2 英寸 (24.9 x 77.5 厘米) 整体 with mounting: 10 1/8 x 347 5/16 英寸 (25.7 x 882.2 厘米)
介绍（中）	赵元的这幅小山水画以北宋严文贵（活跃于约970–1030年）和范宽（活跃于990–1030年间）的成语为原型，是元末明初文人画的典范，其中古代模型被书法笔法所改造。元代晚期文人艺术家将绘画视为个人表达的工具：据说，绘画应该像手写一样，是艺术家的"心印" 在政治和社会动荡时期创作的赵氏手卷反映了他那个时代绘画中的一个共同主题：隐居生活。一座幽静的山庄坐落在一座高高的山峰脚下，暗示着一种远离世俗纷争的宁静生活居住在南方的赵元通过想象重新创造了北方巍峨的群山。这幅作品最左边的最后一座梦幻般的山峰可能是受到一块花园岩石的启发，这块岩石与博物馆阿斯特庭院西墙上展出的岩石相似。
介绍（英）	Couched in the Northern Song idioms of Yan Wengui (active ca. 970–1030) and Fan Kuan (active ca. 990–1030), this small landscape by Zhao Yuan exemplifies late Yuan and early Ming scholar painting in which ancient models were transformed by calligraphic brushwork. Late Yuan scholar-artists saw painting as a vehicle for personal expression: painting, it was said, should be like handwriting—a “heart print” of the artist. Executed during a period of political and social turmoil, Zhao’s handscroll reflects a common theme found in paintings of his time: the reclusive life. A secluded mountain villa nestled at the foot of a tall peak suggests a serene existence free from worldly strife. Zhao Yuan, who lived in the south, re-created the towering mountains of the north through his imagination. The last fantastic peak near the far left of the composition was probably inspired by a garden rock—similar to one on display along the west wall of the Museum’s Astor Court.