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Paintings

Cottages in a Misty Grove in Autumn

Li Anzhong · 1117

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Cottages in a Misty Grove in Autumn — Li Anzhong
Cottages in a Misty Grove in Autumn (煙村秋霭圖), 1117. Li Anzhong (Chinese, active first half of the 1100s). Album leaf; ink and color on silk; overall: 24.2 x 26.3 cm (9 1/2 x 10 3/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Severance A. Millikin, 1963.588 · Cleveland Museum of Art

Small houses hide among autumn trees, separated from the nearer bank by water. Li Anzhong painted this leaf in 1117. The court artist worked when Chinese landscape increasingly explored low, water-rich terrain. Distances between banks, thinning mist and a few reddish crowns create the scene’s effect.

A house occupies an opening between trunks. Pale walls and a dark roof differ from the fragmented foliage. The image supplies enough detail to imagine a place to live. The view remains partly obstructed, and the dense grove shelters the dwelling from an outside gaze.

Many small brush touches build the foliage. Reddish areas alternate with dark ones, making autumn emerge through changes within the grove. Trunks stand in close rows below. The painter distinguishes individual trees while forming a larger mass that conceals the houses.

Distant trees grow pale and lose clear edges. Mist has no outline of its own; it becomes visible through vanishing trunks and leaves. This painting asks the viewer to compare adjacent passages. Distance emerges from the difference between what is clear and what is barely discernible.

Bands of shoreline recede towards the grove. Their curves lead the eye across water without supplying a direct path to the house. Fine boundaries give unpainted silk its meaning. The small surface conveys both the river’s breadth and the opposite bank’s distance.

At the right, a leaning tree has lost most of its leaves. Sharply defined branches make the nearer bank feel more accessible than the misty grove. The trunk’s turn directs attention back towards the houses. Distance and foliage distinguish the two banks while keeping them within a single autumn day.

Li Anzhong later lived through the court’s move from Kaifeng south to Hangzhou. This landscape predates that change. Its date shows an existing interest in watery lowlands that cannot be reduced to the later relocation. Artists brought skills, tastes and images into new circumstances that had developed long before political upheaval.

Medium
Album leaf; ink and color on silk
Collection
Cleveland Museum of Art
Dimensions
Overall, 24.2 × 26.3 cm
Accession number
1963.588

Sources

Image provided under CC0. Image licence