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COLOUR STUDY

Colour palette

  • #CFC4B2
  • #B3AD9D
  • #D3CAB7
  • #989082
  • #E8DFCA
  • #C3B9A6

Approximate colour proportions

  • #CFC4B221.2%
  • #B3AD9D20.2%
  • #D3CAB717.7%
  • #98908216.8%
  • #E8DFCA12.4%
  • #C3B9A611.7%

Estimated from six colour groups in the museum image, including visible paper or borders. Reproduction and lighting affect the result; these are image-area proportions, not pigment measurements.

Bequest of Mrs. A. Dean Perry · The Cleveland Museum of Art
Image licence: CC0 · Museum record & image source ↗

China, Ming dynasty (1368–1644) · 1468

Yellow Chrysanthemums and Red Osmanthus in the Style of Wang Yuan

Shen Zhou

Date
1468
Medium
hanging scroll; ink on paper
Dimensions
Overall: 397.1 x 127.4 cm (156 5/16 x 50 3/16 in.); Painting only: 288.5 x 106.3 cm (113 9/16 x 41 7/8 in.)
Country / context
China
Movement / tradition
Chinese painting
Collection
The Cleveland Museum of Art
Attribution / role
Museum attribution
Pathway
Chinese painting ↗
FROM THE MUSEUM

Shen Zhou, a native from Suzhou, was descended from a prominent land-owning family with strong ties to literati culture. Because Shen Zhou never entered government service, he had ample opportunity to cultivate the arts of painting, poetry, and calligraphy.Chrysanthemums and red osmanthus both bloom in autumn. The deep orange osmanthus flowers emanate a characteristically sweet fragrance. According to his inscription on the painting, Shen Zhou sought to imitate the style of the Yuan dynasty (1271–1368) painter Wang Yuan. His color-filled brushstrokes and washes, however, anticipate the flower painting style of Yun Shouping, whose Peonies are also in the Cleveland Museum of Art collection, https://www.clevelandart.org/art/1967.192. The sheer size and complex composition of this scroll are impressive.

Collection text · The Cleveland Museum of Art · CC0

Place in the artist’s career

The 1468 flower painting declares a dialogue with an earlier master; the later Tiger Hill leaf turns a known place into a sequence of brush-made views; the 1500 crab apple concentrates on a fragment of nature. Ink, rather than abundant pigment, carries distinctions of texture, rhythm and tonal depth.

The artist’s practice

Artist-wide context; individual works may differ.

Media and surface

Ink on paper makes wet washes, dry brush and exposed support equally expressive.

Marks and structure

Calligraphic brush rhythms connect landscape texture, plant forms and written inscriptions.

Palette and light

Ink density often carries the tonal range; light colour supports rather than replaces brush structure.

Explore the artist’s life and works ↗
A MOMENT TO LOOK

Start with what you can see: shapes, surface, colour and scale. How might the listed materials affect the way this object was made and experienced?

Looking prompt · an invitation to observe, not a historical interpretation.

Follow a connection.

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