Why is "Dwelling in the Fuchun Mountains" Split into Two Paintings?

"Dwelling in the Fuchun Mountains" is one of China’s most celebrated landscape paintings, created by the Yuan Dynasty artist Huang Gongwang in 1350. Often called the “Orchid Pavilion of Painting,” it is listed among the Ten Great Masterpieces of Chinese Art. Yet, this iconic work is not a single scroll—it exists in two separate parts. This article explores the dramatic story behind its division, its historic reunions, and where you can see these priceless pieces today.

1. The Artist and His Masterpiece

Huang Gongwang (1269–1354) lived through a turbulent era. After a brief career as a minor official, he was imprisoned due to political corruption. Following his release, he embraced Daoism and spent years wandering the scenic regions of Zhejiang and Jiangsu provinces.

In 1347, he settled along the Fuchun River in Zhejiang, where he began drafting Dwelling in the Fuchun Mountains. The painting captures the serene beauty of the riverbanks in early autumn, rendered in ink on paper. Huang worked on it intermittently for years, only finalizing it with an inscription at the age of 82.

The scroll measures 33 cm in height and 636.9 cm in length, making it one of the most ambitious landscape compositions in Chinese art history.

2. Why Was the Painting Burned and Split?

The painting’s separation is rooted in a tale of obsession and rescue.

During the late Ming Dynasty, the painting came into the possession of the collector Wu Hongyu, who adored it so deeply that he ordered it to be burned upon his death so it could accompany him to the afterlife. As the scroll began to burn, his nephew rushed in to save it—but not before the flames had already cut it into two sections:

• Front section: The Remaining Mountain (剩山图), 31.8 cm × 51.4 cm.
• Rear section: The Useless Teacher Scroll (无用师卷), 33 cm × 636.9 cm.

Thus, what was once a continuous masterpiece became two independent fragments, separated for centuries.

3. Where Are the Two Parts Today?

• The Remaining Mountain is housed in the Zhejiang Provincial Museum in Hangzhou, China.
• The Useless Teacher Scroll is part of the permanent collection of the National Palace Museum in Taipei, Taiwan.

Their physical separation across the Strait has made Dwelling in the Fuchun Mountains a powerful symbol of cultural division—and reunion.

4. Historic Reunions: When the Two Parts Met Again

2011: The First Reunion in Taipei

From June to September 2011, the Zhejiang Provincial Museum lent The Remaining Mountain to the National Palace Museum in Taipei for the landmark exhibition “Landscape Reunited: Huang Gongwang and Dwelling in the Fuchun Mountains.” This was the first time in centuries the two sections were displayed together, alongside 83 other Yuan Dynasty artworks.

2021: A Digital Reunion in Hangzhou

In late 2021, the Zhejiang Provincial Museum hosted another special exhibition. Due to restrictions on transporting cultural relics, the Taipei museum could not lend the original Useless Teacher Scroll. Instead, a high-resolution replica was used to create a “virtual reunion” of the two halves.

5. Frequently Asked Questions (FAQ)

❓ Why is this painting so important in Chinese art?

It represents the pinnacle of Yuan Dynasty literati painting, blending poetic atmosphere with masterful brushwork. It has influenced generations of Chinese artists.

❓ Will the two pieces ever be exhibited together again?

Future reunions depend on cross-strait cultural agreements and conservation considerations. The 2011 exhibition remains a historic milestone.

❓ Where can I see them in person?

• The Remaining Mountain is on permanent display at the Zhejiang Provincial Museum.
• The Useless Teacher Scroll is regularly exhibited at the National Palace Museum in Taipei.

❓ Are there digital or replica versions available?

Yes, both museums offer high-quality digital images online, and replicas are sometimes used in traveling exhibitions.

6. Conclusion: A Painting Divided, A Culture Connected

Dwelling in the Fuchun Mountains is more than a masterpiece—it is a witness to history, a victim of human passion, and a symbol of enduring cultural unity. Whether viewed in Hangzhou or Taipei, its landscapes speak of a shared heritage that transcends time and distance.

Art may be separated, but its spirit remains whole.

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