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An image of Landscape in the style of Mi Fu by HUA Yan


(China 1682 – 1756)

Landscape in the style of Mi Fu
Place of origin
Qing dynasty 1644 - 1911 → China
Media category
Materials used
hanging scroll; ink on paper

129.5 x 61.0 cm image; 259.0 x 92.0 cm scroll

Signature & date
Signed u.l. corner, in Chinese, incribed in black ink, "Xinlo shanren painted and inscribed." Signed, in Chinese , stamped in red ink "hua yan, qiu yue, Kong chen shi hua, tai su dao ren [four artist's seals]" Not dated.
Purchased with funds provided by the Art Gallery Society of New South Wales 1993
Accession number
Not on display
Further information

This painting is in the style of the gifted landscapist Mi Fu (1052-1109), a member of an 11th-century coterie of scholar-artists who formulated the literati (wenrenhua) theory the value of a painting lies not in its simulation of nature but in its transformation of nature into a vehicle that expresses the character and mood of the painter. For centuries this theory shaped the style of the scholar-amateur literati artists who worked in ink only. They scorned mere representation, aspiring to a deliberate awkward-looking style full of archaic reference tempered by an astringent intellectualism. In 18th-century Yanzhou, a wealthy class of merchants who sought to emulate the taste of the scholar-gentry class commissioned paintings in the literati style, such as this fine example by Hua Yan. One of the ‘Eccentric Master of Yangzhou’, a loose group of artists producing their own unorthodox interpretations of literati painting, Hua Yan was noted for the virtuosity of his brushwork. By his time the Mi Fu style of building up landscape forms by a series of dots (particularly obvious in his mountains) was a classic in the stylistic vocabulary of literati artists.

‘The Asian Collections: Art Gallery of New South Wales’. pg.150.
© 2003 Trustees, Art Gallery of New South Wales

Bibliography (7)

Art Gallery of New South Wales, Great gifts, great patrons: an exhibition celebrating private patronage of the Gallery, Sydney, 1994. no catalogue numbers

Edmund Capon, Look, 'Society's Gift to the Gallery', pg. 12-13, Heidelberg, Apr 1994, cover (colour illus.), 12, 13 (colour illus.). The colour illus. on the cover is a detail of this work.

Bruce James, Art Gallery of New South Wales handbook, 'Asian Collection: East Asia', pg. 246-287, Sydney, 1999, 256 (colour illus.).

Jackie Menzies, The Art Gallery of New South Wales collections, 'Asian Art - India, South-East Asia, China, Tibet, Korea, Japan', pg. 173-228, Sydney, 1994, 201 (colour illus.).

Jackie Menzies, Art of the Brush - Chinese & Japanese painting calligraphy, Sydney, 1995, 8 (illus.), 9.

Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, 'Landscape Painting', Sydney, 2003, 150-151 (colour illus.). The colour illus. on page 151 is a detail of this work.

Lisa Slade and Rachael Kirsten, Enter Art, Sydney, 2000, sheet number 6 (colour illus.). Education kit produced by the NSW Dept of Education and Training as teaching resource for primary school teachers.

Exhibition history (3)

Great gifts, great patrons, Art Gallery of New South Wales, Sydney, 17 Aug 1994–19 Oct 1994

Art of the brush, Art Gallery of New South Wales, Sydney, 23 Sep 1995–12 Nov 1995

Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–05 Sep 2015