Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains: Literati Painting

“The Autumn Colors of Que and Hua,” a landscape masterpiece by Zhao Mengfu for his dear friend Zhou Mi, currently resides in Taipei’s National Palace Museum. The painting vividly portrays the stunning autumn scenery of Licheng in Shandong, reflecting both Zhao Mengfu’s deep bond with Zhou Mi and Zhou Mi’s nostalgic yearning for his hometown.

The bond of true friendship

During the late Jin and early Yuan periods, Zhao Mengfu and Zhou Mi, esteemed literati, forged a deep and enduring friendship as kindred spirits. Zhou Mi, having served in the Southern Song Dynasty, opted for retirement after its fall, declining service under the Yuan Dynasty. In contrast, Zhao Mengfu ascended the ranks of the Yuan court, attaining prestigious positions such as Imperial Academy Academician and Minister of Rites, marking the zenith of his official career.

Nostalgic Brush: The Story of ‘Autumn Colors of Que and Hua’

Despite Zhou Mi’s retreat to his hometown, his heart remained tethered to his homeland, imbued with a profound sense of longing for Licheng. Sensing Zhou Mi’s nostalgia, Zhao Mengfu crafted “The Autumn Colors of Que and Hua,” capturing the picturesque scenery of Licheng to assuage his friend’s homesickness. Thus, this painting not only celebrates the splendor of autumn landscapes but also stands as a testament to their enduring friendship.

Capturing Tranquility: Que and Hua in Autumn

“The Autumn Colors of Que and Hua” portrays the landscape surrounding two renowned mountains near Jinan, Shandong, China—Que Mountain and Huabuzhu Mountain. This masterpiece, crafted in the literati style, unfolds in three distinct sections. The initial segment highlights the principal mountain, rendered with delicate dry brush strokes. To the left, the circular peak signifies Que Mountain, while the sharp peak on the right symbolizes Huabuzhu Mountain. In the central portion, a vast body of water extends between the main peaks, punctuated by sandbars and clusters of trees and structures, offering a panoramic vista. Graceful boats sway on the river, manned by fishermen navigating the waters with ease. Meanwhile, reeds and rushes line the riverbanks, imbuing the scene with a sense of tranquility and serenity.

Celebrated Endorsements

“The Autumn Colors of Que and Hua” has received praise and admiration from esteemed artists throughout history. Dong Qichang, a renowned painter and calligrapher of the Ming Dynasty, provided five inscriptions for the painting, with one of them commenting: “This painting combines the techniques of the Wu and Bei Yuan families, capturing the delicacy of the Tang Dynasty and the grandeur of the Northern Song Dynasty.” Emperor Qianlong of the Qing Dynasty further honored the artwork by inscribing its title at the beginning of the scroll and adding nine additional inscriptions, demonstrating his admiration for this masterpiece.

“The Autumn Colors of Que and Hua” (Partial – Inscription by Dong Qichang)

Zhao Mengfu (ca. 1232-1298). Autumn colours on the Qiao and Hua mountains. Ink and colors on paper. iimage ©  National Palace Museum, Taipei.

“The Autumn Colors of Que and Hua” (Preface – Inscription by Emperor Qianlong)

Literati painting, a significant concept and expressive technique in Chinese landscape art, emphasizes the subjective expression of emotions, aiming not for realism but to evoke a particular mood or sentiment. In literati painting, poets often suggest rather than explicitly depict scenes, relying on simple brushstrokes to guide viewers’ imagination and contemplation. Zhao Mengfu’s “The Autumn Colors of Que and Hua” seamlessly blends literati painting with realistic landscape elements, creating a distinctive style that shifted the painting aesthetics of the Yuan Dynasty towards simplicity, naturalness, and innocence, paving the way for the next stage of literati painting development.