Xu Daoning, Chinese (970–1052). Fishermen’s Evening Song, ca. 1039–1052. Handscroll ink and slight color on silk, 19 1/4 × 88 1/2 inches (48.9 × 224.79 cm). The Nelson-Atkins Museum of Art, Purchase: William Rockhill Nelson Trust, 33-1559
Legendary Landscapes: Sublime Visions from China’s Song Dynasty
March 21 – September 27, 2026
Curator Ling-en Lu of the Nelson-Atkins Museum of Art offers an inside look at the museum’s upcoming captivating exhibition, Legendary Landscapes: Sublime Visions from China’s Song Dynasty. Bringing together rare and influential paintings from the Song Dynasty (960–1279), the exhibition explores a pivotal moment when landscape painting reached extraordinary artistic and philosophical heights. Featuring masterworks from the museum’s collection that transform mountains, rivers, and mist-filled valleys into powerful reflections on nature and the cosmos, the show invites visitors to experience the enduring beauty and vision of one of China’s greatest artistic traditions. Read the interview below to gain deeper insights from the Lu into the ideas, masterpieces, and lasting legacy behind this remarkable exhibition!
AWNY: What inspired the theme of Sublime Vision and why focus on Song dynasty landscapes?
LL: The idea for this exhibition had been in mind for some time, as the Nelson-Atkins Museum of Art holds an exceptionally deep and distinguished collection of high-quality Northern and Southern Song paintings. Many of these works had not been on view for nearly a decade, making this a special opportunity to bring them together again, showcase some of the finest examples in the museum’s holdings, and offer audiences a fresh perspective on masterpieces from the Song Dynasty. It is also rare to see these works on display: due to conservation standards, delicate paintings on silk and paper can typically be exhibited for only about six months before they must be removed from light and stored for as long as five years to preserve them.
For contemporary viewers, the exhibition also explores how landscape imagery intersects with spirituality. In the past, Song landscapes were often studied primarily through a formal or academic lens, with emphasis on style, brushwork, and composition. More recently, however, scholars have begun examining the deeper connections between landscape painting and religious thought—particularly the influence of Daoism and broader spiritual traditions. While similar scholarship has long explored spiritual dimensions in European and American landscape painting, this line of inquiry is relatively new in the study of Chinese art. By highlighting these relationships, the exhibition invites viewers to consider how these landscapes might embody philosophical and spiritual ideas about nature, the cosmos, and humanity’s place within it.
At the same time, this perspective helps modern audiences connect with the works more intuitively. Rather than focusing solely on technical aspects such as brushwork—something that can be challenging for many viewers to fully grasp—the exhibition encourages visitors to experience the paintings as powerful visual expressions of both the natural world and the spiritual imagination.
AWNY: The museum’s collection includes 13 famous Song dynasty landscapes—what makes these works particularly significant?
LL: Our collection was built over several different eras. At times when resources were more limited, curators focused on acquiring only the very finest works of art—a goal that is far more difficult to achieve today. Fortunately, the museum benefited from remarkable opportunities during the 1930s and 1940s, particularly in the years surrounding and following World War II, when many important paintings from China and Japan entered the international art market. Additional opportunities continued into the 1960s and 1970s, allowing the museum to further strengthen its holdings with exceptional, high-quality works. These moments of opportunity played a key role in shaping the depth and strength of the collection at the Nelson-Atkins Museum of Art.
AWNY: What are some recurring motifs or techniques in these Song dynasty landscapes that you would like visitors to notice?
LL: One of the recurring motifs is the presence of humans, often depicted as fishermen, travelers, or poets, set against mountains, rivers, and forests. These small figures emphasize the relationship between humans and nature, highlighting both our connection to and our relative scale within the natural world. Many Song painters were also writers and scholars, and their literary insights shaped how they approached landscape painting, allowing them to translate philosophical and cosmological ideas visually—effectively capturing a microcosm of the universe within a single work.
Song artists aimed to create comprehensive, immersive landscapes that combined realistic depictions of nature with a broader intellectual and spiritual framework. Whether rendered on a monumental hanging scroll or an intimate handscroll, these landscapes often reflect ideals of contemplation and enlightenment. Mountains frequently appear as bridges between heaven and earth, reflecting a worldview deeply shaped by Daoist thought and other Asian philosophies of nature. More than simply beautiful images, these landscapes serve as visual embodiments of the universe, harmonizing careful observation, imaginative vision, and philosophical reflection.
AWNY: Were there any discoveries or surprises while curating the exhibition?
LL: There is an exciting surge of scholarship surrounding Song Dynasty landscapes, uncovering previously overlooked motifs and deepening our understanding of these remarkable works. My fellow scholars are approaching these paintings in innovative ways, not just examining brushwork or composition, but uncovering the philosophical and spiritual contexts that shape them, offering a fuller appreciation of their intellectual and imaginative depth.
AWNY: What do you hope visitors will take away from Sublime Vision?
LL: I hope visitors take the time to really look at the details in each painting, as every element offers its own visual delight. We want to guide the audience to see nature through the figures in the landscapes, using them as a lens to experience the environment the artist created. Even if you can’t study the entire exhibition closely, spend time with just one work—observe carefully, start with the human figures, and let yourself discover the richness in every brushstroke. In addition, the exhibition includes some contemporary works that employ ink brushwork in dialogue with the Song Dynasty tradition. These pieces honor the legacy of the past while offering fresh perspectives, showing both the evolution and the unbroken continuity of Chinese painting.
To learn more about this fascinating exhibition, click here.
