Landscape, c. 1640 | Xiang Yun

$9,999.00

About This Artwork

Though extant works by Xiang Yun are rare, their brushwork and visual atmosphere embody the aesthetic tensions of landscape painting during the Ming–Qing transition. This painting adopts a level-distance composition, with hemp-fiber texture strokes defining the mountain forms. Pale ink shading conveys a rugged, weathered texture, while the sparse, dry-brushed branches evoke the spirit of Ni Zan’s “untrammeled cursive brush,” yet depart from Yuan conventions through a spatial structure that seeks openness within density. The empty pavilion and blank expanse of water continue the literati theme of “using scenery to convey principle,” while also reflecting the desolate emotional undercurrents of dynastic upheaval. The expressive brushwork contains hidden strength akin to seal-script strokes, and the modestly rendered standard-script signature aligns calligraphy and painting in the literati ideal that “brush and ink reflect the heart.” Through compressed space and a restrained aesthetic, the work opens a new path between the lofty detachment of Yuan models and the growing realism of early Qing painting. Its disciplined dry-brush language anticipates the innovations of Nanjing painters like Gong Xian and stands as a quiet testament to the spiritual resilience of literati culture during a time of profound historical change.

•    Title: Landscape | 山水

•    Year: c. 1640

•    Artist: Xiang Yun | 香云

•    Medium: Ink and colour on paper | 设色纸本

•    Inscription: “Xiang Yun”; Seal: “Xiang” “Yun“ (Conjoined seals) | 款识：香雲；钤印：「香」「雲」(连珠印)

•    Dimensions: 19.5 x 25.5 cm

•    Framed Dimensions: 54 x 64 x 5 cm

* This is the original, one-of-a-kind artwork created by the artist, not a reproduction or print. It carries the full authenticity and intention of the artist’s hand.

About the Artist

Xiang Yun (1586–1655) was a painter active during the late Ming and early Qing period, known for his mastery of antique styles, particularly in landscape painting. His brushwork was rounded and forceful, executed with suspended elbow and centered brush, producing richly layered ink tones with dynamic energy. Drawing upon the refined elegance of Ni Zan’s brush language and a sensitivity to nature, his compositions reveal both a deep understanding of earlier masters and a distinct personal style. As a pioneering figure in the early Qing Nanjing painting scene, he had a significant influence on later artists such as Gong Xian. The collector and critic Zhou Lianggong praised him as “the foremost painter since Shen Zhou,” affirming his high artistic standing.

About This Artwork

Though extant works by Xiang Yun are rare, their brushwork and visual atmosphere embody the aesthetic tensions of landscape painting during the Ming–Qing transition. This painting adopts a level-distance composition, with hemp-fiber texture strokes defining the mountain forms. Pale ink shading conveys a rugged, weathered texture, while the sparse, dry-brushed branches evoke the spirit of Ni Zan’s “untrammeled cursive brush,” yet depart from Yuan conventions through a spatial structure that seeks openness within density. The empty pavilion and blank expanse of water continue the literati theme of “using scenery to convey principle,” while also reflecting the desolate emotional undercurrents of dynastic upheaval. The expressive brushwork contains hidden strength akin to seal-script strokes, and the modestly rendered standard-script signature aligns calligraphy and painting in the literati ideal that “brush and ink reflect the heart.” Through compressed space and a restrained aesthetic, the work opens a new path between the lofty detachment of Yuan models and the growing realism of early Qing painting. Its disciplined dry-brush language anticipates the innovations of Nanjing painters like Gong Xian and stands as a quiet testament to the spiritual resilience of literati culture during a time of profound historical change.

•    Title: Landscape | 山水

•    Year: c. 1640

•    Artist: Xiang Yun | 香云

•    Medium: Ink and colour on paper | 设色纸本

•    Inscription: “Xiang Yun”; Seal: “Xiang” “Yun“ (Conjoined seals) | 款识：香雲；钤印：「香」「雲」(连珠印)

•    Dimensions: 19.5 x 25.5 cm

•    Framed Dimensions: 54 x 64 x 5 cm

* This is the original, one-of-a-kind artwork created by the artist, not a reproduction or print. It carries the full authenticity and intention of the artist’s hand.

About the Artist

Xiang Yun (1586–1655) was a painter active during the late Ming and early Qing period, known for his mastery of antique styles, particularly in landscape painting. His brushwork was rounded and forceful, executed with suspended elbow and centered brush, producing richly layered ink tones with dynamic energy. Drawing upon the refined elegance of Ni Zan’s brush language and a sensitivity to nature, his compositions reveal both a deep understanding of earlier masters and a distinct personal style. As a pioneering figure in the early Qing Nanjing painting scene, he had a significant influence on later artists such as Gong Xian. The collector and critic Zhou Lianggong praised him as “the foremost painter since Shen Zhou,” affirming his high artistic standing.

Original Work · Exclusive Availability

This artwork is a one-of-a-kind original, created by the artist using professional-grade materials and techniques. It includes:

• A signed Certificate of Authenticity issued by Hora Gallery
• Optional framing and presentation consultation
• Full ownership documentation and condition notes upon request
• Professional packaging and insured delivery

Due to the unique nature of original works, we recommend contacting us prior to purchase if you have specific questions about condition, installation, or international delivery.