작자미상 용과 호랑이 조선 또는 일본 (에도)|簋簅痡萳 樻虎圖 朝鮮 日本 江戶|Tiger
16th or 17th century
Medium
Hanging scroll; ink on silk
Dimensions
51 1/4 x 27 1/2 in. (130.2 x 69.9 cm)
Classification
Paintings
Culture
Korea or possibly Japan
Department
Asian Art
Museum
Metropolitan Museum of Art, New York, NY
Credit
Rogers Fund, 1912
Accession Number
12.123.1
Rights
Public Domain
Tags
Art Historical Context
This striking hanging scroll, titled *Dragon and Tiger* (or simply *Tiger* in some references) and attributed to the renowned Chinese monk-painter Muqi, dates to the 16th or 17th century. in ink on silk—a medium prized in East Asian art for its luminous texture and suitability for dynamic brushwork—the painting measures an impressive 51¼ × 27½ inches. Housed in the Metropolitan Museum of Art's Asian Art (acquired via the Fund in 1912), it reflects cultural exchanges between Korea's Joseon dynasty and Japan's Edo period, where such works were revered in Zen Buddhist circles. Muqi, active in the Southern Song dynasty (13th century), pioneered minimalist ink painting that captured the wild spirit of animals with bold, expressive strokes—often evoking the untamed energy of dragons and tigers. Tigers, powerful symbols of strength, protection, and yang energy in Korean and Japanese lore, dominate the composition, their forms emerging from misty voids with masterful economy of line. This piece likely represents a later interpretation or workshop production in the Muqi tradition, blending Chinese origins with local adaptations. As a hanging scroll, it was designed for ceremonial display, unrolled to inspire awe during rituals or meditation. Its anonymity in some Korean and Japanese inscriptions underscores the era's fluid attributions, highlighting how Muqi's legacy influenced generations across borders. A timeless emblem of nature's ferocity, it invites visitors to ponder the harmony of power and restraint in East Asian aesthetics.
About the Artist
Muqi · 1250–1280
Muqi Fachang (c. 1210?–1269?), a Chan Buddhist monk from Sichuan, emerged as one of the Southern Song dynasty's most evocative painters, blending spiritual insight with bold ink techniques. Early details of his life remain sparse, but he began as a monk in a Sichuan monastery before becoming a disciple of the revered Chan master Wuzhun Shifan (1177–1249) at Mount Qingcheng, where their master-disc...