Landscape and poem in running script


.7 – Painting by Yang Pu; ink on paper.
.8 – Calligraphy by Qi Baishi; ink on paper

Historical period(s)
Modern period, 1928
Ink on paper
H x W (overall): 32.8 x 41.8 cm (12 15/16 x 16 7/16 in)
Credit Line
Gift of Robert Hatfield Ellsworth in honor of the 75th Anniversary of the Freer Gallery of Art
Robert Hatfield Ellsworth collection
Accession Number
On View Location
Currently not on view

Album leaf

Modern period (1912 - present)

To 1998
Robert Hatfield Ellsworth (1929-2014), New York, NY. [1]

From 1998
Freer Gallery of Art, gift of Robert Hatfield Ellsworth, New York, NY. [2]


[1] Curatorial Remark 5 in the object record.

[2] See note 1. Also see Freer Gallery of Art Purchase List after 1920 file, Collections Management Office.


.7 - Painting by Yang Pu; ink on paper.
.8 - Calligraphy by Qi Baishi; ink on paper


1. (HKaplan as per SAllee, 26 July 2004) "Republic period (1912- )" added to Period; Dated changed from "1927" to "1924"; Medium has been changed from "Ink on paper" to "Twelve leaves painting; ink and color on paper, and Twelve leaves calligraphy; ink on paper."

2. (J. Smith per Stephen Allee 7/24/2008) Primary classification: Album; Secondary classification: Calligraphy

3. (S. Kitsoulis per Stephan Allee, 18 February 2009) Object record F1998.251.1-12 changed to F1998.251.1-24 and converted to virtual record. New active record created for bifolio F1998.251.7-8.

4. (Stephen D. Allee, 29 April 2009) Added "Modern period" to Period One; added active dates for Artist Yang Pu (1920s-1930s); changed Title from "Poem for Po-lu's Album of Landscapes" to "Landscape and poem in running script"; added full citation of Ellsworth book in Published References.

5. (Najiba Choudhury, 1/30/2015) transferred from the Provenance text field:
"1. (Joseph Chang, 19 May 1998) Almost all of the works in this gift are from the 19th and 20th centuries, so many fall naturally outside the various international restrictions on the trade in antiquities. All Chinese calligraphy in the proposed gift were published more than ten years ago in Mr. Ellsworth's, "Later Chinese Painting and Calligraphy: 1800-1950" (New York: Random House, 1986), volume 3.

2. (Joseph Chang and Stephen D. Allee, Donor Panel for FGA 75th Anniversary Exhibition, 18 August 1998) Through the generosity of the eminent New York collector and art dealer Robert Hatfield Ellsworth, the Freer Gallery of Art has become one of the largest repositories of Chinese calligraphy in the United States and the only museum with such extensive holdings from the nineteenth and twentieth centuries.

His important gift quadruples the overall number of independent works of Chinese calligraphy in the museum's collection and for the first time povides a comprehensive body of material for the study and exhibition of this vital art form as it has developed over the last two hundred years, a period which only recently has begun to receive the attention it deserves from scholars and collectors. Mr. Ellsworth's foresight in building such a large and representative collection is even more remarkable for the discriminating eye he consistently applied to the task.

The Ellsworth gift includes some 260 works of calligraphy by 175 artists, along with 19 attached paintings by 16 artists. The earliest dated calligraphy in the collection is from 1789 and the most recent from 1985. Nearly half the works were created during the Qing dynasty (1644-1911) between the late eighteenth century and 1911, while an equal number belong to the Republic period between 1912-1949. The collection contains representative works by virtually every prominent calligrapher during this 160-year time span and also includes a small group of works by selected contemporary artists.

A wide diversity of styles and schools is represented. For example, the collection is particularly rich in calligraphy that derives from the revitalized study of ancient inscriptions on metal and stone, a scholarly movement that inspired the most significant new developments in Chinese written art during the late eighteenth and nineteenth centuries. As illustrated by the works on display, which were created by two major lineages of calligrapher-seal carvers belonging to the Zhe School and the Wan (or Anhui) School, it is often possible to trace the unbroken transmission and evolution of ideas from master to student and generation to generation over a period of nearly two hundred years."

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