100 Paintings — Brush, Wash, and Void
The 100 Most Famous Ink Paintings
From Chinese scrolls to Japanese screens, from Korean inks to Persian and Indian miniatures: one hundred works where black, water, and paper become painting.
The ranking includes only documented ink paintings. Calligraphy alone, prints, sketches, and preparatory drawings are excluded.
Painting with Black
How Does Ink Become a World?
Ink painting is not limited to monochrome. A single black, more or less diluted, can suggest stone, mist, water, foliage, fabric, and depth.
Emptiness is not an absence: it allows breath to circulate between forms and transforms the support into light.
The journey distinguishes finished painting from mere drawing and places each work in its original format: horizontal scroll, hanging scroll, folding screen, album, or manuscript page.
Enter the rankingThe 100 Most Famous Ink Paintings in Images
Scrolls, screens, and album leaves that have become major landmarks in art history.
#1Dwelling in the Fuchun Mountains
Ranked no. 1, Dwelling in the Fuchun Mountains shows how Huang Gongwang makes ink a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The dating retained is 1347–1350 and the documented technique is ink and colors on silk or paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Alpha Reproduction.
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#2Travelers Among Mountains and Streams
Ranked No. 2, Travelers Among Mountains and Streams shows how Fan Kuan makes ink a true pictorial language. The brush modulates the ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The accepted date is c. 1000 and the documented technique is ink and colors on silk or paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to a single image. The material of the support, the density of blacks, and the brushstrokes complete what digital reproduction allows us to glimpse.
Image and link: Alpha Reproduction.
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#3White Illuminating the Night
Ranked No. 3, White Illuminating the Night shows how Han Gan makes ink a true pictorial language. The brush modulates the ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The accepted date is ca. 750 and the documented technique is handscroll; ink on paper. The material of the support, the density of blacks, and the brushstrokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Fiche Alpha when it exists, otherwise the museum record that preserves and documents the work.
Image and link: Metropolitan Museum of Art.
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#4Early Spring
Ranked No. 4, Early Spring shows how Guo Xi makes ink a true pictorial language. The brush modulates the ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The accepted date is 1072 and the documented technique is ink and colors on silk or paper. The link associated with the image opens the Fiche Alpha when it exists, otherwise the museum record that preserves and documents the work. This mastery of fullness and emptiness explains the work's enduring place in the global history of ink painting.
Image and link: Alpha Reproduction.
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#5Old Trees, Level Distance
Ranked No. 5, Old Trees, Level Distance shows how Guo Xi turns ink into a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The date retained is ca. 1080 and the documented technique is handscroll; ink and color on silk. This mastery of fullness and emptiness explains the work’s lasting place in the global history of ink painting. The original format—scroll, album leaf, screen, or page—imposes a slow reading that is not reduced to an isolated image.
Image and link: Alpha Reproduction.
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#6Autumn Colors on the Qiao and Hua Mountains
Ranked No. 6, Autumn Colors on the Qiao and Hua Mountains shows how Zhao Mengfu turns ink into a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The date retained is 1295–1296 and the documented technique is ink and colors on silk or paper. The original format—scroll, album leaf, screen, or page—imposes a slow reading that is not reduced to an isolated image. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows to glimpse.
Image and link: Alpha Reproduction.
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#7Clear and Distant View of Rivers and Mountains
Ranked No. 7, Clear and Distant View of Rivers and Mountains shows how Xia Gui turns ink into a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The date retained is ca. 1200 and the documented technique is ink and colors on silk or paper. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows to glimpse. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that holds and documents the work.
Image and link: Alpha Reproduction.
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#8Avalokiteshvara of the Moon on the Water
Ranked no 8, Avalokiteshvara of the Moon on the Water shows how Unidentified artist makes ink a true pictorial language. The variations of ink, the blank spaces of the support and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Korea, ink painting retains a distinct identity, attentive to restraint, the structure of bamboo and the psychological presence of the portrait. The accepted dating is first half of the 14th century and the documented technique is hanging scroll; ink and color on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum record that preserves and documents the work. This mastery of fullness and emptiness explains the enduring place of the work in the global history of ink painting.
Image and link: Metropolitan Museum of Art.
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#9The Old Plum Tree
Ranked no 9, The Old Plum Tree shows how Kano Sansetsu makes ink a true pictorial language. The ink dialogues with emptiness, paper and sometimes the gold of the screen; the gesture organizes the surface as much as it describes branches, figures or landscapes. In Japan, the Zen and Kano schools transform the continental heritage into more graphic compositions, adapted to the scroll, screen or partition. The accepted dating is 1646 and the documented technique is four sliding-door panels (fusuma); ink, color, gold, and gold leaf on paper. This mastery of fullness and emptiness explains the enduring place of the work in the global history of ink painting. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Metropolitan Museum of Art.
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#10Wang Xizhi contemplating geese
Ranked no. 10, Wang Xizhi Gazing at Geese shows how Qian Xuan makes ink a true pictorial language. Variations in ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is ca. 1295 and the documented technique is handscroll; ink, color, and gold on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of blacks, and the brushstrokes complete what digital reproduction allows us to glimpse.
Image and link: Metropolitan Museum of Art.
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#11Akbar with a Lion and a Calf
Ranked no. 11, Akbar with a Lion and a Calf shows how Govardhan makes ink a true pictorial language. In Persian or Indian manuscript painting, ink defines the contours, faces, and details before dialoguing with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a learned painting intended for the album or the manuscript. The dating retained is verso: ca. 1630; recto: ca. 1530–50 and the documented technique is ink, opaque watercolor, and gold on paper. The material of the support, the density of blacks, and the brushstrokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Metropolitan Museum of Art.
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#12Poet on a Mountain Peak
Ranked no. 12, Poet on a Mountain Peak shows how Shen Zhou makes ink a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is ca. 1500 and the documented technique is ink and colors on silk or paper. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Alpha Reproduction.
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#13The Lovers
Ranked No. 13, The Lovers shows how Riza-yi 'Abbasi makes ink a true pictorial language. In Persian or Indian manuscript painting, ink defines outlines, faces, and details before dialoguing with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a learned painting intended for the album or manuscript. The retained date is dated 1039 AH/1630 CE and the documented technique is opaque watercolor, ink, and gold on paper. This mastery of fullness and emptiness explains the work's lasting place in the world history of ink painting. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Metropolitan Museum of Art.
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#14Bamboo in the Wind
Ranked No. 14, Bamboo in the Wind shows how Yi Jeong (artist name: Taneun) makes ink a true pictorial language. The Korean tradition associates sobriety of line, breath of the support, and attention to natural rhythms, with a wide variety of ink densities. In Korea, ink painting maintains a distinct identity, attentive to restraint, bamboo structure, and the psychological presence of the portrait. The retained date is early 17th century and the documented technique is hanging scroll; ink on silk with gold on colophon. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of blacks, and the brush retouches complete what digital reproduction allows us to glimpse.
Image and link: Metropolitan Museum of Art.
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#15Spring Morning in the Han Palace
Ranked No. 15, Spring Morning in the Han Palace shows how Qiu Ying makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is circa 1530–1540 and the documented technique is ink and colors on silk or paper. The material of the support, the density of blacks, and the brush retouches complete what digital reproduction allows us to glimpse. The link associated with the image opens the Fiche Alpha when it exists, otherwise the museum record that conserves and documents the work.
Image and link: Alpha Reproduction.
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#16Shah Jahan on a Terrace Holding His Portrait
Ranked no. 16, Shah Jahan on a Terrace Holding His Portrait shows how Chitarman makes ink a true pictorial language. In Persian or Indian manuscript painting, ink defines outlines, faces, and details before interacting with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a learned painting destined for an album or manuscript. The dating is recto: dated 1627–28; verso: ca. 1530–50 and the documented technique is ink, opaque watercolor, and gold on paper. The link associated with the image opens the Fiche Alpha when it exists, otherwise the museum record that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Metropolitan Museum of Art.
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#17The Assembly of Birds
Ranked no. 17, The Assembly of Birds shows how Habiballah of Sava makes ink a true pictorial language. In Persian or Indian manuscript painting, ink defines outlines, faces, and details before interacting with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a learned painting destined for an album or manuscript. The dating is ca. 1600 and the documented technique is ink, opaque watercolor, gold, and silver on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Metropolitan Museum of Art.
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#18Memories of Qinhuai
Ranked No. 18, Memories of Qinhuai shows how Shitao makes ink a true pictorial language. The brush modulates the ink from deep black to an almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The date assigned is around 1695 and the documented technique is ink and colors on silk or paper. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows one to glimpse.
Image and link: Alpha Reproduction.
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#19The Flight of Emperor Xuanzong to Shu
Ranked No. 19, The Flight of Emperor Xuanzong to Shu shows how Unidentified artist makes ink a true pictorial language. The ink variations, the blank spaces of the support, and the touches of color give the image a depth that depends as much on the gesture as on the represented subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The date assigned is mid-12th century and the documented technique is hanging scroll; ink, color, and gold on silk. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows one to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that houses and documents the work.
Image and link: Metropolitan Museum of Art.
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#20The Thirty-Six Immortal Poets
Ranked No. 20, The Thirty-Six Immortal Poets shows how Studio of Kano Takanobu makes ink a true pictorial language. Ink dialogues with emptiness, the paper, and sometimes the gold of the screen; the gesture organizes the surface as much as it describes branches, figures, or landscapes. In Japan, the Zen and Kano schools transform the continental heritage into more graphic compositions, adapted to the scroll, screen, or partition. The date assigned is early 17th century and the documented technique is pair of six-panel folding screens; ink, color, gold, and silver on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that houses and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting.
Image and link: Metropolitan Museum of Art.
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#21Great Indian Fruit Bat
Ranked No. 21, Great Indian Fruit Bat shows how Bhawani Das makes ink a true pictorial language. In Persian or Indian manuscript painting, ink defines the contours, faces, and details before dialoguing with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a learned painting intended for the album or manuscript. The date assigned is ca. 1777–82 and the documented technique is pencil, ink, and opaque watercolor on paper. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Metropolitan Museum of Art.
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#22The House of Bijapur
Ranked no. 22, The House of Bijapur shows how Kamal Muhammad turns ink into a true pictorial language. The variations of ink, the reserve of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In the court workshops of Iran and India, ink drawing becomes the precise framework of a scholarly painting intended for an album or manuscript. The dating is ca. 1680 and the documented technique is ink, opaque watercolor, gold, and silver on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to glimpse.
Image and link: Metropolitan Museum of Art.
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#23A Stallion
Ranked no. 23, A Stallion shows how Habiballah of Sava turns ink into a true pictorial language. In Persian or Indian manuscript painting, ink defines the contours, faces, and details before interacting with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a scholarly painting intended for an album or manuscript. The dating is ca. 1601–6 and the documented technique is ink, opaque watercolor, and gold on paper. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Metropolitan Museum of Art.
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#24Portrait of Yun Dongseom
Ranked no. 24, Portrait of Yun Dongseom shows how an unidentified artist turns ink into a true pictorial language. The variations of ink, the reserve of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Korea, ink painting maintains a distinct identity, attentive to restraint, the structure of bamboo, and the psychological presence of the portrait. The dating is ca. 1790–1805 and the documented technique is hanging scroll; ink and color on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of full and empty explains the enduring place of the work in the global history of ink painting.
Image and link: Metropolitan Museum of Art.
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#25The Angel Gabriel meets Amr ibn Zayd
Ranked no. 25, The Angel Gabriel meets Amr ibn Zayd shows how Mustafa ibn Vali turns ink into a true pictorial language. In Persian or Indian manuscript painting, ink defines the contours, faces, and details before interacting with opaque colors and gold. In the court workshops of Iran and India, ink drawing becomes the precise framework of a scholarly painting intended for an album or manuscript. The dating is ca. 1595 and the documented technique is ink, opaque watercolor, and gold on paper. This mastery of full and empty explains the enduring place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Metropolitan Museum of Art.
See the museum record →The ink landscape as a mental, poetic, and philosophical space.
#26Yang Pu Moves with His Family
Ranked no. 26, Yang Pu Moves with His Family shows how an anonymous artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Yuan dynasty (1279–1368) and the documented technique is handscroll; ink and light color on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#27Street Scenes in Times of Peace
Ranked no. 27, Street Scenes in Times of Peace shows how Zhu Yu makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Yuan dynasty (1279–1368), 14th century and the documented technique is handscroll; ink and colors on paper. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#28Bodhisattva
Ranked no. 28, Bodhisattva shows how an anonymous artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Song dynasty (960–1278) and the documented technique is ink and colors on primed mud-wall construction. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#29The Wangchuan Villa
Ranked no. 29, The Wangchuan Villa shows how an anonymous artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Jin dynasty (1115–1234) or late 13th century and the documented technique is handscroll; ink on silk. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#30Peaceful Life in a Wooded Valley
Ranked no. 30, Peaceful Life in a Wooded Valley shows how Wang Meng makes ink a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building volume, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The accepted dating is Yuan dynasty (1279–1368), dated 1361, and the documented technique is hanging scroll; ink and light colors on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that does not reduce to a single image. The material of the support, the density of blacks, and the brushstrokes complement what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#31Water Pavilion Near Two Pines
Ranked no. 31, Water Pavilion Near Two Pines shows how Guo Xi makes ink a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building volume, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The accepted dating is Yuan or early Ming dynasty, 14th–15th century, and the documented technique is hanging scroll; ink and light colors on paper. The material of the support, the density of blacks, and the brushstrokes complement what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#32Mahamayuri Vidyaraja
Ranked no. 32, Mahamayuri Vidyaraja shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the represented motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The accepted dating is Liao dynasty (916–1125), 11th century, and the documented technique is ink and colors on cotton (framed). The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#33Flight of Geese
Ranked no. 33, Flight of Geese shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the represented motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The accepted dating is Late Yuan (1279–1368) or early Ming dynasty (1368–1644), and the documented technique is hanging scroll; ink and color on silk. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that does not reduce to a single image.
Image and link: Art Institute of Chicago.
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#34Woman with Her Servant in a Palace Garden
Ranked no. 34, Woman with Her Servant in a Palace Garden shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the represented motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The accepted dating is Yuan or early Ming dynasty, late 14th/15th century, and the documented technique is album leaf; ink and colors on silk. The original format — scroll, album leaf, screen, or page — imposes a slow reading that does not reduce to a single image.
Image and link: Art Institute of Chicago.
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#35The Pillars of the State
Ranked no. 35, The Pillars of the State shows how Yao Shou makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of brush and memory. The retained dating is Ming dynasty (1368–1644), 1494, and the documented technique is handscroll; ink and color on paper. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#36A Hunt in the Celestial Mountains
Ranked no. 36, A Hunt in the Celestial Mountains shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of brush and memory. The retained dating is Late Ming / early Qing dynasty, 17th century, and the documented technique is handscroll; ink and color on paper. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#37Brook Covered with Bamboos under Spring Rain
Ranked no. 37, Brook Covered with Bamboos under Spring Rain shows how Xia Chang makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of brush and memory. The retained dating is Ming dynasty (1368–1644), dated 1441, and the documented technique is handscroll; ink on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#38The Peach Blossom Spring
Ranked no. 38, The Peach Blossom Spring shows how Qiu Ying makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of brush and memory. The retained dating is Late Ming (1368–1644) or early Qing (1644–1912) dynasty, and the documented technique is handscroll; ink and color on silk. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#39Landscape in the Style of the Old Masters: After Gao Kegong
Ranked No. 39, Landscape in the Style of the Old Masters: After Gao Kegong shows how Lan Ying makes ink a true pictorial language. Variations in ink, reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the represented subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Ming dynasty (1368–1644), first half of the 17th century, and the documented technique is album leaf; ink and color on paper. The material of the support, the density of blacks, and the brushwork complete what digital reproduction allows us to perceive.
Image and link: Art Institute of Chicago.
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#40Strange Rocks
Ranked No. 40, Strange Rocks shows how Gao Yang makes ink a true pictorial language. Variations in ink, reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the represented subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Ming dynasty (1368–1644), early 17th century, and the documented technique is hanging scroll; ink and light color on paper. The link associated with the image opens the Alpha record if it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#41Drinking Tea Under the Parasol Tree
Ranked No. 41, Drinking Tea Under the Parasol Tree shows how Tang Yin makes ink a true pictorial language. Variations in ink, reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the represented subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Ming dynasty (1369–1644), 1509, and the documented technique is handscroll; ink and slight color on paper. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#42Clouds over the River Before Rain
Ranked No. 42, Clouds over the River Before Rain shows how Shen Zhou makes ink a true pictorial language. The brush modulates ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all come from the same culture of brush and memory. The retained dating is Ming dynasty (1368–1644), dated 1504, and the documented technique is handscroll; ink and color on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of blacks, and the brushwork complete what digital reproduction allows us to perceive.
Image and link: Art Institute of Chicago.
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#43Autumn Mountains
Ranked no. 43, Autumn Mountains shows how Wen Zhengming turns ink into a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the motif depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating retained is Ming dynasty (1368–1644), early 16th century, and the documented technique is handscroll; ink on gold-flecked paper. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#44Flowers of the Four Seasons
Ranked no. 44, Flowers of the Four Seasons shows how Chen Jiayan turns ink into a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the motif depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating retained is Ming dynasty (1368–1644), dated 1599, and the documented technique is handscroll; ink on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#45United by Music
Ranked no. 45, United by Music shows how Zhou Wenju turns ink into a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the motif depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating retained is Ming dynasty (1368–1644), 15th/16th century, and the documented technique is handscroll; ink and colors on silk. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#46Landscape with Taoist Immortals Playing Weiqi
Ranked no. 46, Landscape with Taoist Immortals Playing Weiqi shows how Dai Jin turns ink into a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the motif depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating retained is Ming dynasty (1368–1644), 15th-16th century, and the documented technique is hanging scroll; ink and colors on silk. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#47Drinking at Night
Ranked no. 47, Drinking at Night shows how Tang Yin turns ink into a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the motif depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating retained is Ming dynasty (1368–1644); c. 1520/23, and the documented technique is handscroll; ink on paper. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#48Lotus in Bloom
Ranked no. 48, Lotus in Bloom shows how Chen Chun makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The accepted dating is Ming dynasty (1368–1644), 1543, and the documented technique is handscroll; ink and color on paper. The link associated with the image opens the Alpha record if it exists, otherwise the museum record that preserves and documents the work. This mastery of fullness and emptiness explains the enduring place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#49Rowing under a Clearing Autumn Sky
Ranked no. 49, Rowing under a Clearing Autumn Sky shows how Lu Zhi makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The accepted dating is Ming dynasty (1368–1644); c. 1545, and the documented technique is hanging scroll; ink and color on paper. This mastery of fullness and emptiness explains the enduring place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#50Hermit Retreats in the Autumn Mountains
Ranked no. 50, Hermit Retreats in the Autumn Mountains shows how Mi Wanzhong makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted motif. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The accepted dating is Ming dynasty (1368–1644), dated 1621, and the documented technique is handscroll; ink and color on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brush strokes complement what digital reproduction allows us to see.
Image and link: Art Institute of Chicago.
See the museum record →The brush captures the living, the portrait, and court narratives.
#51Return to Stone Lake
Ranked no. 51, Return to Lake of Stone shows how Shen Zhou makes ink a true pictorial language. The brush modulates the ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating is Ming dynasty (1368–1644), dated 1466, and the documented technique is handscroll; ink on paper. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows us to see. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the artwork.
Image and link: Art Institute of Chicago.
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#52Pavilion of the Eight Poems
Ranked no. 52, Pavilion of the Eight Poems shows how Chen Chun makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating is Ming dynasty (1368–1644), dated 1538, and the documented technique is handscroll; ink on paper. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the artwork. This mastery of fullness and emptiness explains the artwork's lasting place in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#53Winter Landscape
Classée no 53, Paysage d’hiver montre comment Xie Shichen fait de l’encre un véritable langage pictural. Les variations d’encre, les réserves du support et les touches de couleur donnent à l’image une profondeur qui dépend du geste autant que du motif représenté. Dans la peinture chinoise, copier les maîtres, écrire un poème et peindre un paysage relèvent d’une même culture du pinceau et de la mémoire. La datation retenue est Ming dynastie (1368–1644) et la technique documentée est handscroll; ink with touches of color on paper. Cette maîtrise du plein et du vide explique la place durable de l’œuvre dans l’histoire mondiale de la peinture à l’encre. Le format original — rouleau, feuille d’album, paravent ou page — impose une lecture lente qui ne se réduit pas à une image isolée.
Image and link: Art Institute of Chicago.
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#54Poetic Thoughts in a Forest Pavilion
Ranked no. 54, Poetic Thoughts in a Forest Pavilion shows how Ni Zan makes ink a true pictorial language. The brush modulates the ink from deep black to almost transparent wash, building relief, breath, and distance without resorting to Western perspective. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating is Ming dynasty (1368–1644), c. 1371, and the documented technique is hanging scroll; ink on paper. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows us to see.
Image and link: Art Institute of Chicago.
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#55Fisherman Hermit Near an Autumn Grove
Ranked no. 55, Fisherman Hermit Near an Autumn Grove shows how Sheng Mao makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating is late Ming/early Qing dynasty, 17th century, and the documented technique is hanging scroll, ink and color on paper. The material of the support, the density of blacks, and the brush strokes complete what digital reproduction allows us to see. The link associated with the image opens the Alpha sheet when it exists, otherwise the museum notice that preserves and documents the artwork.
Image and link: Art Institute of Chicago.
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#56Fisherman's Song
Ranked no. 56, Fisherman's Song shows how Wang Wen makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is Ming dynasty (1368–1644) and the documented technique is handscroll; ink on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#57The Elephant's Bath
Ranked no. 57, The Elephant's Bath shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is Ming dynasty (1369–1644) or earlier and the documented technique is handscroll; ink and colors on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#58Portrait of Wen Zhengming
Ranked no. 58, Portrait of Wen Zhengming shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is late Ming/early Qing dynasty, 17th century and the documented technique is album leaf; ink and light color on silk. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#59Visit to Dai Kui on a Snowy Night
Ranked no. 59, Visit to Dai Kui on a Snowy Night shows how Xia Kui makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is Ming dynasty (1368–1644), 15th century and the documented technique is hanging scroll; ink and colors on silk. The material of the support, the density of blacks, and the brush retouches complete what the digital reproduction allows to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#60Contemplation of the Waterfall
Ranked no. 60, Contemplation of the Waterfall shows how Xia Kui makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The dating retained is Ming dynasty (1368–1644), 15th century and the documented technique is hanging scroll; ink and slight color on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#61River and Mountain Landscape
Ranked No. 61, River and Mountain Landscape shows how Xiang Shengmo makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of the brush and memory. The retained date is Ming dynasty (1368–1644) and the documented technique is hanging scroll; ink on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#62The Gathering at the Orchid Pavilion
Ranked No. 62, The Gathering at the Orchid Pavilion shows how Tang Yin makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of the brush and memory. The retained date is Ming dynasty (1368–1644), 15th–16th century and the documented technique is folding fan mounted as an album leaf; ink and color on gold paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#63Farewell at the Capital Gate
Ranked No. 63, Farewell at the Capital Gate shows how Yao Shou makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of the brush and memory. The retained date is Ming dynasty (1369–1644), 15th century and the documented technique is handscroll; ink and color on paper. The material of the support, the density of the blacks, and the brush retakes complete what digital reproduction allows one to perceive. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#64Two Scholar-Musicians in a Landscape
Ranked No. 64, Two Scholar-Musicians in a Landscape shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of the brush and memory. The retained date is Ming dynasty (1368–1644), 15th century and the documented technique is hanging scroll; ink and color on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#65Planting the Fragrant Mushroom at Tiaozhou'an
Ranked No. 65, Planting the Fragrant Mushroom at Tiaozhou'an shows how Chen Guan makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same culture of the brush and memory. The retained date is Ming dynasty (1368–1644), 1627 (?) and the documented technique is hanging scroll; ink and light color on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#66The Buddha's Bathing Festival
Ranked no. 66, The Buddha's Bathing Festival shows how Hua Ziyou makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The retained dating is Qing dynasty, 1833, and the documented technique is hanging scroll, ink and color on silk. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the reworkings of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#67Dreaming Woman
Ranked no. 67, Dreaming Woman shows how Leng Mei makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The retained dating is Qing dynasty, Kangxi period (1662–1722), and the documented technique is hanging scroll; ink and color on silk. The material of the support, the density of the blacks, and the reworkings of the brush complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#68Flowers and Insects
Ranked no. 68, Flowers and Insects shows how Chai Zhenyi makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The retained dating is Qing dynasty (1644–1911), reign of Kangxi (1662–1722), and the documented technique is handscroll; ink and color on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#69A thatched-roof pavilion at the foot of two old cedars
Ranked no. 69, A thatched-roof pavilion at the foot of two old cedars shows how Luo Mu makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of the brush and memory. The retained dating is Qing dynasty (1644–1911), dated 1693, and the documented technique is hanging scroll; ink on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#70Envoys Presenting Tribute
Ranked No. 70, Envoys Presenting Tribute shows how Su Liupeng turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The recorded date is Qing dynasty (1644–1911), c. 1850/1900, and the documented technique is handscroll; ink on silk. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brush retouches complement what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#71The Five Virtues
Ranked No. 71, The Five Virtues shows how Ren Yi turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The recorded date is Qing dynasty (1644–1911), 1895, and the documented technique is hanging scroll; ink and colors on paper. The material of the support, the density of the blacks, and the brush retouches complement what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record if it exists, otherwise the museum notice that preserves and documents the artwork.
Image and link: Art Institute of Chicago.
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#72Contemplating Plum Blossoms with Hot Wine
Ranked No. 72, Contemplating Plum Blossoms with Hot Wine shows how Yuan Jiang turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The recorded date is Qing dynasty (1644–1911), 1717, and the documented technique is hanging scroll; ink and slight color on silk. The link associated with the image opens the Alpha record if it exists, otherwise the museum notice that preserves and documents the artwork. This mastery of fullness and emptiness explains the lasting place of the artwork in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#73Mandarin Ducks and Lotus
Ranked No. 73, Mandarin Ducks and Lotus shows how Ren Yi turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape stem from the same culture of brush and memory. The recorded date is Qing dynasty (1644–1911), 1892, and the documented technique is hanging scroll; ink and colors on paper. This mastery of fullness and emptiness explains the lasting place of the artwork in the world history of ink painting. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#74Landscape
Ranked no. 74, Landscape shows how Gong Xian makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the motif represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating retained is Qing dynasty/early Republican period, 19th/early 20th century and the documented technique is handscroll; ink on paper. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the retouching of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#75Birds on a Tree with Fruits and Autumn Foliage
Ranked no. 75, Birds on a Tree with Fruits and Autumn Foliage shows how Jiang Hong makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the motif represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating retained is Qing dynasty (1644–1911); late 17th century and the documented technique is hanging scroll, ink and colors on silk. The material of the support, the density of the blacks, and the retouching of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
See the museum record →Late China, Korea, Japan, Persia, and India renew the uses of ink.
#76Landscape after Huang Gongwang
Ranked no. 76, Landscape after Huang Gongwang shows how Wang Yuanqi makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the motif represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating retained is Qing Dynasty (1644–1911); dated 1701 and the documented technique is hanging scroll; ink and color on paper; with box. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that conserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#77Geese on a Shore
Ranked no. 77, Geese on a Shore shows how Shen Kai makes ink a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the motif represented. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The dating retained is Qing dynasty (1644–1911), 1750 and the documented technique is hanging scroll, ink and color on silk. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting. The original format—scroll, album leaf, screen, or page—imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#78One Hundred Cranes
Ranked no. 78, One Hundred Cranes shows how Shen Quan turns ink into a true pictorial language. The variations of ink, the reserves of the support and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem and painting a landscape all stem from the same culture of the brush and memory. The dating retained is Qing dynasty (1644–1912) and the documented technique is handscroll; ink and light color on silk. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks and the brushwork complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#79Portrait of Tao Yuanming
Ranked no. 79, Portrait of Tao Yuanming shows how Yu Zhiding turns ink into a true pictorial language. The variations of ink, the reserves of the support and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem and painting a landscape all stem from the same culture of the brush and memory. The dating retained is Qing dynasty (1644–1911), early 19th century and the documented technique is hanging scroll; ink and color on paper. The material of the support, the density of the blacks and the brushwork complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#80Plum Blossoms, Crane and Spring
Ranked no. 80, Plum Blossoms, Crane and Spring shows how Xugu turns ink into a true pictorial language. The variations of ink, the reserves of the support and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem and painting a landscape all stem from the same culture of the brush and memory. The dating retained is Qing dynasty (1644–1912); 1824–1896; c.1892 and the documented technique is hanging scroll; ink and colors on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of full and empty explains the lasting place of the work in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#81Birds on a Red Plum Tree
Ranked no. 81, Birds on a Red Plum Tree shows how Ren Yi turns ink into a true pictorial language. The variations of ink, the reserves of the support and the touches of color give the image a depth that depends as much on the gesture as on the subject represented. In Chinese painting, copying the masters, writing a poem and painting a landscape all stem from the same culture of the brush and memory. The dating retained is Qing dynasty (1644–1911), 1892 and the documented technique is hanging scroll; ink and colors on paper. This mastery of full and empty explains the lasting place of the work in the world history of ink painting. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#82The Bamboo Slope
Ranked no. 82, The Bamboo Slope shows how Wang Hui makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The retained dating is Qing dynasty (1644–1912), 1710 and the documented technique is handscroll; ink on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image. The material of the support, the density of the blacks, and the reworkings of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#83Drinking and Dancing Before the Tribal Chief
Ranked no. 83, Drinking and Dancing Before the Tribal Chief shows how Leng Mei makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The retained dating is Qing dynasty (1644–1911), late 17th to early 18th century and the documented technique is handscroll; ink on paper. The material of the support, the density of the blacks, and the reworkings of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#84King Yu Moves a Mountain to Control the Floods
Ranked no. 84, King Yu Moves a Mountain to Control the Floods shows how Anonymous artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The retained dating is Qing dynasty (1644–1911), 18th century and the documented technique is handscroll; ink and color on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that conserves and documents the work. This mastery of fullness and emptiness explains the enduring place of the work in the world history of ink painting.
Image and link: Art Institute of Chicago.
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#85Taihu Lake Rock
Ranked no. 85, Taihu Lake Rock shows how Rushan makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The retained dating is Qing dynasty (1644–1911), c. 1860 and the documented technique is folding fan (mounted); finger painting in ink on paper. This mastery of fullness and emptiness explains the enduring place of the work in the world history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#86Lotus and Water Birds
Ranked no. 86, Lotus and Water Birds shows how Zhu Da makes ink a true pictorial language. The variations of ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape all belong to the same culture of brush and memory. The retained dating is Qing dynasty (1644–1911), 1697 and the documented technique is hanging scroll; ink on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that is not reduced to an isolated image. The material of the support, the density of the blacks, and the reworkings of the brush complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#87Bamboo and Squirrel
Ranked no. 87, Bamboo and Squirrel shows how Xugu makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same brush and memory culture. The accepted dating is Qing dynasty (1644–1911), late 19th century, and the documented technique is hanging scroll; ink and colors on paper. The material of the support, the density of the blacks, and the brush retouches complete what digital reproduction allows us to perceive. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#88Zhenwu with the Eight Trigrams, the Big Dipper, and Talismans
Ranked no. 88, Zhenwu with the Eight Trigrams, the Big Dipper, and Talismans shows how Anonymous Artist makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same brush and memory culture. The accepted dating is Qing dynasty (1644–1911), 17th or early 18th century, and the documented technique is hanging scroll; ink, colors, and gold on silk. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#89Landscape after Wang Meng — Wang Shimin
Ranked no. 89, Landscape after Wang Meng — Wang Shimin shows how Wang Shimin makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same brush and memory culture. The accepted dating is Qing dynasty (1644–1911), 1664, and the documented technique is hanging scroll; ink and light color on paper. This mastery of fullness and emptiness explains the lasting place of the work in the world history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
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#90The Xuehong Pavilion in a Scholar's Garden
Ranked no. 90, The Xuehong Pavilion in a Scholar's Garden shows how Qian Shumei makes ink a true pictorial language. The variations of ink, the reserves of the support, and touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape are part of the same brush and memory culture. The accepted dating is Qing dynasty (1644–1911), 1831, and the documented technique is handscroll; ink and colors on gold-spattered paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brush retouches complete what digital reproduction allows us to perceive.
Image and link: Art Institute of Chicago.
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#91The Plum Blossom Studio in the Style of Li Cheng
Ranked No. 91, The Studio of Plum Blossoms in the Style of Li Cheng shows how Mei Chong turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating is Qing dynasty (1644–1911), late 17th century, and the documented technique is hanging scroll; ink and light colors on paper. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#92Landscape after Wang Meng — Qi Zhijia
Ranked No. 92, Landscape after Wang Meng — Qi Zhijia shows how Qi Zhijia turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating is Qing dynasty (1644–1911), 1680, and the documented technique is hanging scroll; ink and light color on paper. The link associated with the image opens the Alpha record if it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
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#93Sad Kingfisher and Lotus
Ranked No. 93, Sad Kingfisher and Lotus shows how Ren Yi turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating is Qing dynasty (1644–1911), 1885, and the documented technique is hanging scroll; ink and colors on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to a single image.
Image and link: Art Institute of Chicago.
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#94Smelting Gold and Predicting the Future
Ranked No. 94, Smelting Gold and Predicting the Future shows how Yu Guiyan turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating is Qing dynasty (1644–1911), 1901, and the documented technique is hanging scroll; ink and color on silk. The original format — scroll, album leaf, screen or page — imposes a slow reading that cannot be reduced to a single image. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse.
Image and link: Art Institute of Chicago.
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#95Mountain Villa after Rain
Ranked No. 95, Mountain Villa after Rain shows how Yang Jin turns ink into a true pictorial language. The variations in ink, the reserves of the support, and the touches of color give the image a depth that depends as much on the gesture as on the subject depicted. In Chinese painting, copying the masters, writing a poem, and painting a landscape all stem from the same culture of brush and memory. The dating is Qing dynasty (1644–1911), 1725, and the documented technique is hanging scroll; ink and light color on paper. The material of the support, the density of the blacks, and the brush strokes complete what digital reproduction allows us to glimpse. The link associated with the image opens the Alpha record if it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
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#96Squirrel and Grapes
Ranked no. 96, Squirrel and Grapes shows how Shen Yongling makes ink a true pictorial language. The variations of ink, the blank areas of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is 1694 and the documented technique is hanging scroll; ink and color on paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
See the museum record →
#97Black Birds
Ranked no. 97, Black Birds shows how Xugu makes ink a true pictorial language. The variations of ink, the blank areas of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is Qing dynasty (1644–1911), 1893 and the documented technique is hanging scroll; ink and colors on paper. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image.
Image and link: Art Institute of Chicago.
See the museum record →
#98Wisteria and Goldfish
Ranked no. 98, Wisteria and Goldfish shows how Xugu makes ink a true pictorial language. The variations of ink, the blank areas of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is Qing dynasty (1644–1911), late 19th century and the documented technique is hanging scroll; ink and colors on paper. The original format — scroll, album leaf, screen, or page — imposes a slow reading that cannot be reduced to an isolated image. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to perceive.
Image and link: Art Institute of Chicago.
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#99Roosters and Flowering Apricot Trees
Ranked no. 99, Roosters and Flowering Apricot Trees shows how Ren Yi makes ink a true pictorial language. The variations of ink, the blank areas of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is Qing dynasty (1644–1911) and the documented technique is hanging scroll; ink and colors on paper. The material of the support, the density of the blacks, and the brushstrokes complete what digital reproduction allows us to perceive. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work.
Image and link: Art Institute of Chicago.
See the museum record →
#100Mount Langya
Ranked no. 100, Mount Langya shows how Dong Bangda makes ink a true pictorial language. The variations of ink, the blank areas of the support, and the touches of color give the image a depth that depends as much on the gesture as on the depicted subject. In Chinese painting, copying the masters, writing a poem, and painting a landscape belong to the same culture of brush and memory. The retained date is Qing dynasty (1644–1911), 18th century and the documented technique is folding fan mounted as an album leaf; ink on gold-flecked paper. The link associated with the image opens the Alpha record when it exists, otherwise the museum notice that preserves and documents the work. This mastery of fullness and emptiness explains the lasting place of the work in the global history of ink painting.
Image and link: Art Institute of Chicago.
See the museum record →Editorial method
Three ranking criteria
The rank combines fame, historical importance, and pictorial mastery of ink, with control of images, techniques, and links.
Fame
The presence of the work in major collections and in the international history of painting.
Technique
Ink must play a structuring role: wash, outline, texture, rhythm, or value modulation.
Balance
Landscapes, figures, animals, flowers, folding screens, and miniatures tell several traditions without confusing painting and drawing.
A global history of ink
From the literati scroll to the court miniature
The Chinese masters of the Tang, Song, Yuan, and Ming make ink the great language of landscape, figure, and literati culture.
Japan and Korea develop their own ways: Zen ink wash, monumental folding screens, bamboos, and portraits of extreme presence.
In Persia and India, ink defines the contour and detail before dialoguing with opaque color and the gold of princely albums.
Sources and catalog
Check and continue
Alpha records are used when they exist; other images redirect to the corresponding institutional record.
Frequently Asked Questions
Understanding ink painting
Method, formats, colors, and sources: useful landmarks for browsing the hundred artworks.
How was this top 100 established?
The ranking combines fame, historical significance, pictorial quality, influence, and presence in major public collections.
Are all the works paintings?
Yes. Calligraphies alone, prints, sketches, and preparatory drawings have been excluded. Scrolls, screens, albums, and miniatures are admitted when they are catalogued as paintings.
Can an ink painting include colors?
Yes. Ink often structures the work while light colors, opaque colors, or gold complete the composition.
Why does China hold a major place?
Ink painting has been a central language of landscape, figures, flowers, and birds for over a millennium.
Why include Japan, Korea, Persia, and India?
These traditions developed autonomous uses of ink, from monochrome wash to court miniatures.
Are the titles in French?
Yes. Titles are translated into French when usage allows, while preserving proper nouns.
Where do the images lead?
They open the corresponding Alpha Reproduction sheet when it exists, otherwise the official museum notice.
Did the museums validate this ranking?
No. This is an independent editorial selection based on their catalogs and the history of ink painting.
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