Ode on Returning Home
Qian Xuan was a celebrated Song loyalist who, following the Mongol conquest, supported himself through painting. Toward the end of his life, however, he complained that his works were being forged. Here, both the calligraphy and painting are modeled closely on Qian's style, suggesting that the work is a faithful copy.
Qian's composition was inspired by Tao Qian's (365–427) poem "Returning Home," written in 405 after Tao resigned from public office. In it, Tao expresses his preference for poverty over the compromises and constraints of official life, establishing forever the ideal of the home and garden as a personal retreat. Clearly, Qian saw Tao's poem as a reflection of his own life in reclusion. Using the archaic "blue-and-green" style in a new, purposefully naive manner, he created a dreamlike environment that exists outside the realm of temporal troubles. His poem, written to the left of the picture, is both an appreciation of Tao and an expression of his state of mind:
In front of his gate he plants five willows,
By the eastern fence, he picked chrysanthemums.
In his long chant is a lingering purity,
There is never enough wine to sustain him.
To live in this world it is necessary to become deeply drunk,
To take office would only bring shame.
In a moment of inspiration he composes "Returning Home"
The poem of one thousand years.
Qian's composition was inspired by Tao Qian's (365–427) poem "Returning Home," written in 405 after Tao resigned from public office. In it, Tao expresses his preference for poverty over the compromises and constraints of official life, establishing forever the ideal of the home and garden as a personal retreat. Clearly, Qian saw Tao's poem as a reflection of his own life in reclusion. Using the archaic "blue-and-green" style in a new, purposefully naive manner, he created a dreamlike environment that exists outside the realm of temporal troubles. His poem, written to the left of the picture, is both an appreciation of Tao and an expression of his state of mind:
In front of his gate he plants five willows,
By the eastern fence, he picked chrysanthemums.
In his long chant is a lingering purity,
There is never enough wine to sustain him.
To live in this world it is necessary to become deeply drunk,
To take office would only bring shame.
In a moment of inspiration he composes "Returning Home"
The poem of one thousand years.
Artwork Details
- 元/明 倣錢選 鮮于樞 歸去來辭 卷
- Title: Ode on Returning Home
- Artist: After Qian Xuan (Chinese, 1239–1301)
- Date: 14th–15th century
- Culture: China
- Medium: Handscroll; ink, color, and gold on paper
- Dimensions: Image: 42 x 10 1/4 in. (106.7 x 26 cm)
Overall with mounting: 12 1/4 in. x 13 ft. 6 in. (31.1 x 411.5 cm) - Classification: Paintings
- Credit Line: John Stewart Kennedy Fund, 1913
- Object Number: 13.220.124
- Curatorial Department: Asian Art
More Artwork
A slider containing 5 items.
Press the down key to skip to the last item.
Press the down key to skip to the last item.
Qian Xuan
1782, 2nd edition
Qian Xuan
ca. 1295
China
Tibet
late 15th century
Wang Yuanqi
ca. 1710
Related Content
Publications
Books, guides, and catalogues published by The Met.
Free to download
Research Resources
The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
To request images under copyright and other restrictions, please use this Image Request form.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.