# Poem by Wang Wei in the Cursive Script Style

- By: Song Lizong (Chinese, 1205–1264)
- Date: 1256
- Medium: Album leaf; ink on silk
- Classification: Calligraphy
- Dimensions: Image: 25.1 x 25.3 cm (9 7/8 x 9 15/16 in.); with mat: 33.3 x 40.5 cm (13 1/8 x 15 15/16 in.)
- Culture: China, Southern Song dynasty (1127-1279)
- Credit line: John L. Severance Fund
- Museum: [Cleveland Museum of Art](https://clevelandart.org/art/1961.421.2)
- Rights: [Public domain (CC0)](https://creativecommons.org/publicdomain/zero/1.0/)
- Picture: https://openaccess-cdn.clevelandart.org/1961.421.2/1961.421.2_web.jpg
- Who can see it: Tweens profiles and older (museums give no ratings; placed by Invisible Network from the museum's own words)

Poem and painting, once mounted together as one fan, exemplify the collaboration between imperial patron and court painter. Emperor Lizong’s calligraphy cites a verse from Wang Wei’s (701–761) poem, Walking to where the water ends, I sit and watch when clouds arise.

Ma Lin’s response is this painting. At the water’s edge, a scholar reclines by a large rock. The view leads across the empty middle ground to a distant mountain. With sparse ink and subtly graded washes, Ma Lin visualizes the poetic verse. The painting suggests the impact of Chan aesthetics through interaction between the palace, literati-officials, and monasteries around Hangzhou.

The leaf facing Emperor Lizong’s calligraphy has an inscription by Zhang Daqian (1899–1983).