Blue peaks and misty hills above a hamlet among trees
Shitao — Wilderness Colors (Blue Peaks and a Hillside Hamlet) | Chinese Ink Painting Art Print
Note: Framed prints require slightly longer production time
Why this print is worth it
Archival giclée on Hahnemühle fine-art paper
Made as fine art, not as a mass-market poster.
We reproduce each work from high-quality source material using a 12-ink archival giclée process on Hahnemühle fine-art paper, chosen to preserve the colour, detail and character of the original as faithfully as possible.
“The quality of color and paper is museum quality and well worth the purchase price.”
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Blue-tipped peaks rise above bands of white mist, and a wooded mountain of grey-green ink strokes climbs on the right, a thin stream threading down behind a cluster of tiled houses. Pines, bare-branched trees and leafy shrubs crowd the foreground bank, where dark rocks edge a stretch of pale open water. Shitao's poem is brushed at the upper left with his signature and a red seal, and collectors' seals sit along the right edge. A leaf from his album Wilderness Colors, about 1700.
The original: album leaf, ink and colour on paper, about 1700, The Metropolitan Museum of Art, New York.
Shitao (1642–1707), born Zhu Ruoji into the Ming imperial clan in Guangxi, escaped the fall of the dynasty as a child and had become a Buddhist monk by 1651. He lived in Anhui, Nanjing and Yangzhou, spent some years in Beijing seeking patronage, and in 1693 turned to Daoism and settled in Yangzhou, where he died. He painted landscapes, flowers and figures in many manners, treating earlier styles as a starting point rather than a model, and in his Comments on Painting wrote of the single brushstroke as the root of painting. With Bada Shanren he is counted among the Individualist painters of the early Qing. His work, including Wilderness Colors, is held by the Metropolitan Museum of Art and the Cleveland Museum of Art.
Printed as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.
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FAQ
Fine-art quality should be something you can verify. Here is exactly what goes into a 9 Art Prints reproduction.
What makes a 9 Art Prints reproduction different?
A lot of art-print sellers describe their work as “museum quality” without telling you what that actually means. We prefer specifications. Our fine-art reproductions are produced using professional giclée printing on genuine Hahnemühle fine-art papers, selected to suit the artwork. We work from high-resolution source material and prepare each image specifically for print, with close attention to colour, detail and tonal range.
What paper do you use?
Our principal fine-art papers include Hahnemühle German Etching 310gsm and Hahnemühle Photo Rag 308gsm. German Etching has a substantial, lightly textured surface that works exceptionally well for paintings and richly coloured works. Photo Rag has a smoother cotton surface suited to graphic, modernist and highly detailed imagery.
Paper is selected according to the character of the artwork rather than using one generic stock for everything.
What does “giclée” actually mean?
Giclée is a professional fine-art printing process using archival pigment inks and high-resolution inkjet technology. Unlike inexpensive poster printing, it is designed to reproduce subtle colour gradations, fine detail and tonal depth.
It is a reproduction method widely used by artists, photographers, galleries and professional fine-art printers.
So is this really “museum quality”?
We would rather tell you what we use and let you decide. Genuine Hahnemühle fine-art paper, professional giclée printing, archival pigment inks and carefully prepared high-resolution artwork are measurable things.
“Museum quality” by itself is not.
Will large prints still look sharp?
Large-format reproduction depends heavily on the quality of the underlying artwork file. We source the highest-resolution material available and prepare each image for print rather than simply enlarging a small internet image.
That is especially important with historic paintings, posters and archival works where source quality varies considerably.
Are these just posters?
No. A poster can be printed cheaply on lightweight commercial paper. Our fine-art editions are intended as permanent pieces of wall art, produced on heavyweight fine-art substrates with professional printing methods.
For graphic or poster artwork, the image may be a historic poster; the object you receive is still a fine-art reproduction.
What about your framed prints?
Our framed pieces use solid-wood frames and are produced as finished pieces of wall art rather than inexpensive poster frames. Depending on the configuration, we also offer matting and premium glazing options.
The goal is the same as with the print itself: use materials appropriate for a piece you intend to keep.
Will the colours look exactly like my screen?
Screens emit light; paper reflects it, so no physical print can be identical to every monitor or phone display. We prepare our artwork specifically for print and aim for accurate colour, contrast and tonal reproduction.
The texture and surface of fine-art paper also give the finished piece a physical depth that cannot be shown completely on a screen.
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