DOCSLIB.ORG

Chinese Painting That He Used to Expand My Knowledge of the Plurality of Chinese Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Painting That He Used to Expand My Knowledge of the Plurality of Chinese Art Figure 1 Margaret’s Exhibition 1: Lingnan 岭南 Memorial Hall 1994 Chinese and Painting: an outsider’s, inside experience of the Lingnan 岭岭岭南南南 School and Xie He’s writings. by Margaret Piggott Jiang In fulfillment of the Requirements for the Degree of Master of Arts (MA) in Asian Studies. Asian Studies Institute. School of Asian and European Languages and Cultures Victoria University of Wellington, New Zealand . 2008 1 Calligraphy Margaret’s Exhibition by Huang Yongyu 1994. 1 ACKNOWLEDGEMENTS In this thesis, I draw on personal experience and contact with painters from within the academy structure, art associations, societies and individual practitioners, both in China and overseas. I choose to use the materials of brush, ink and paper that make up the treasures of the artist’s studio. My understanding and interpretation is based on my experience as apprentice to master Fang Chuxiong, a third generation master of the Lingnan 岭南 School. My perceptions were further shaped by the discussions on art theory and practice I had with masters and professors from both within the Lingnan 岭南 School and outside the academy structure. I am deeply indebted to Professor Fang Chuxiong for his role as my teacher and I am grateful for the instruction of styles and movements in Chinese painting that he used to expand my knowledge of the plurality of Chinese art. I thank his wife, Lin Shuran, for her support and assistance. For the endless hours debating art theory, philosophy, culture and history, thanks go to Professor Ye Zixiong. I am grateful also for the loving support of Professor Ye’s family, students and friends. I am grateful to the Master mounters from the Lingnan 岭南School and the Academy of Fine Arts who gave freely of their time, knowledge and skill. Special thanks go to Guan Shanyue, Li Xiongcai, Huang Yongyu and their families. Not wishing to leave anyone out, I wish to thank the many people from the Lingnan 岭南School and beyond who assisted me in my quest. I am grateful to the many mentors who have helped me through the development of this body of work and writing of this thesis. Thanks to those who supported me in this thesis’s inception as an MFA. In Whitecliffe Colledge of Art in Auckland and as it morphed into a MA draft (International Relations) and its subsequent evolution into a MA thesis for a degree in Asian Studies. To Ralph Pettman, Stephen Epstein and Brian Moloughney, thank you for taking on a very unusual student and finding a place within the system for this thesis to be expressed. Special thanks also to Duncan Campbell for his expertise and guidance. To my children, Lihsia, Brendon, David and James, I love you and thank you for being the wonderful people that you are. Finally I am grateful for the love and support from my husband, without whom 2 I could not have achieved my full potential and who, I know in my heart, is always with me. For Lester Jiang Guo Wei 江江江 国国国 威威威 (1949 – 2004) Figure 2 The Jiang family 2002 Left rear : Brendon, Lihsia, David. Centre: James. Front: Margaret and Lester 3 TABLE OF CONTENTS Chinese and Painting: .......................................1 For Lester ........................................................................................................3 LIST OF FIGURES ..........................................................................................5 PREFACE ........................................................................................................7 INTRODUCTION ...........................................................................................14 The Lingnan 岭南 School........................................................................19 The mentor/protégé or master/apprentice relationship ...........................24 CHAPTER 1 ..................................................................................................28 XIE HE’s WRITINGS’ AND THE CORNERSTONES OF PAINTING. ..28 The Six Fa of Xie He...............................................................................34 1. The potential of existence. ......................................................................34 2. The potential of beauty: building structure through brushwork. ........42 3. Semi- abstraction and real / unreal. Zhen 真, Ziran 自然 or Jing 景58 4. Appropriate colouring. Tones of ink and hues of colour. ....................64 5. Composition and conceptualisation as a process ...............................71 6. Xie He’s sixth and final fa. Transcribing and copying. ........................77 CHAPTER 2 .................................................................................................84 Intertextuality. .........................................................................................84 Intertextuality and master painter Professor Fang Chuxiong .................89 Intertextuality and Huang Yongyu . .............................................................95 Intertextuality and the Lingnan 岭南 School..........................................103 Guan Shanyue (1912 – 2000) ...................................................................109 Li Xiongcai (1910-2001) .............................................................................111 New Zealand Intertextuality ..................................................................113 CHAPTER 3 ................................................................................................122 Methods of Mounting and Presentation of Paintings.............................122 The Significance and Symbolism of Mounting and Presenting Work. 129 Long Horizontal scrolls ...............................................................................130 Fan .................................................................................................................133 Vertical scroll ................................................................................................135 Album Leaves ..............................................................................................137 Book ..............................................................................................................139 CHAPTER 4 ................................................................................................142 Symbolic meaning and spirituality. ...........................................................142 Perspective ...................................................................................................145 Seeing ...........................................................................................................148 CHAPTER 5 ................................................................................................152 Ritual and Process................................................................................152 Completing a painting, inscriptions, signature and seals. .....................154 CONCLUSION .............................................................................................157 GLOSSARY .................................................................................................158 BILIOGRAPHY ............................................................................................160 4 LIST OF FIGURES FIGURE ...................................................................................................PAGE Figure 1........................................................................................................................1 Figure 2 .........................................................................................................................3 Figure 3 Figure 4 ................................................................................................6 Figure 5 .........................................................................................................................9 Figure 6…………………………………………………………………………… 13 Figure 7 .......................................................................................................................16 Figure 8 .......................................................................................................................17 Figure 9 .......................................................................................................................18 Figure 10 Figure 11. ...........................................................................................18 Figure 12 .....................................................................................................................27 Figure 13 .....................................................................................................................33 Figure 14 .....................................................................................................................38 Figure 15 ...............................................................................40 Figure 16 .....................................................................................................................46 Figure 17 .....................................................................................................................48 Figure 18 .....................................................................................................................53 Figure 19 .....................................................................................................................56 Figure 20 .....................................................................................................................60 Figure 21 .....................................................................................................................61
Load more

Recommended publications
  • INSCRIPTIONS on CHINESE PAINTINGS and SCHOLAR OBJECTS EXHIBITION DATES: SEPTEMBER 10 - 17, 2010 GALLERY HOURS: MONDAY – FRIDAY, 11 – 5 Or by APPOINTMENT
    CHINA 2 0 0 0 F I N E A R T LITERATI MUSING: INSCRIPTIONS ON CHINESE PAINTINGS AND SCHOLAR OBJECTS EXHIBITION DATES: SEPTEMBER 10 - 17, 2010 GALLERY HOURS: MONDAY – FRIDAY, 11 – 5 or BY APPOINTMENT China 2000 Fine Art takes great pleasure in presenting “Literati Musing: Inscriptions on Chinese Paintings and Scholar Objects” which will be shown in the gallery at 434A East 75th Street in Manhattan and in an online exhibition on our website at China2000FineArt.com. Like the contemporary twitter, ancient inscriptions on Chinese art were the momentary (and now art historically monumental) thoughts about society, relationships, politics, and aesthetics of the literati. For our exhibition, we have gathered together objects for the scholar’s desk and Chinese paintings that bear inscriptions by eminent scholars and calligraphers of Chinese history. Their words literally etched in stone or wood or written with indelible ink on paper provide clues to where they were at particular times in their lives and offer their knowledge about the object or the painting upon which they inscribe their thoughts. Just to illustrate a few of the exhibits, Deng Shiru, a very important calligrapher and seal carver from the 18th century, has carved a Ming dynasty poem on a soapstone seal-paste box, Ding Jing, another important 18th century calligrapher, has carved a Tang dynasty poem on an Anhui inkstone, Chang Dai-chien, the great 20th century painter, has inscribed a painting by a wonderful artist whose works are not generally known but who was with him in Dunhuang in 1941, Lu Yanshao, another famous name in 20th century Chinese art, has inscribed his thoughts on a western style painting of his contemporary, Wu Hufan has given authentication to a painting by Xiao Junxian, and Pu Ru, a great artist and member of the Manchu imperial family, has inscribed a poem on a masterpiece painting by his student, An Ho.
    [Show full text]
  • The Case for 1950S China-India History
    Before 1962: The Case for 1950s China-India History The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ghosh, Arunabh. 2017. Before 1962: The Case for 1950s China-India History. The Journal of Asian Studies 76, no. 3: 697-727. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41288160 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP DRAFT: DO NOT CITE OR CIRCULATE Before 1962: The Case for 1950s China-India History Arunabh Ghosh ABSTRACT China-India history of the 1950s remains mired in concerns related to border demarcations and a teleological focus on the causes, course, and consequence of the war of 1962. The result is an overt emphasis on diplomatic and international history of a rather narrow form. In critiquing this narrowness, this paper offers an alternate chronology accompanied by two substantive case studies. Taken together, they demonstrate that an approach that takes seriously cultural, scientific and economic life leads to different sources and different historical arguments from an approach focused on political (and especially high political) life. Such a shift in emphasis, away from conflict, and onto moments of contact, comparison, cooperation, and competition, can contribute fresh perspectives not just on the histories of China and India, but also on histories of the Global South. Arunabh Ghosh ([email protected]) is Assistant Professor of Modern Chinese History in the Department of History at Harvard University Vikram Seth first learned about the death of “Lita” in the Chinese city of Turfan on a sultry July day in 1981.
    [Show full text]
  • Why China Cannot Adopt Capitalism
    A CHINESE WEEKLY OF NEWS AND VIEWS Why China Cannot Adopt Capitalism Peace and Disarmament m Construction Site. Photo by Sun Chengyi Beijing HIGHLIGHTS OF THE WEEK VOL. 30, NO. 13 MARCH 30, 1987 CONTENTS NOTES FROM THE EDITORS 4 Macao to Return to China EVENT5AREN0S 5-9 'Sunday Engineers' Help Farmers p. 24 p. 20 Prosper Managers Receive In-Service Training Skvserapcrs Pose Problems lo Deng on the Recent Events Boning Self-Scrvice Stores: Can They • This article from the enlarged edition of Deng's Selected Survive? Works, deals with two major events — student unrest and the Energy Building in ihc Rural replacement of the Party General Secretary. In spite of these Areas events, there will be no change in the Party's line, principles and Weekly Chronicle (March 16-22) policies, says Deng (p. 33). INTERNATIONAL 10-13 Macao's Return Is Finalized Debt Problem: Mutual Compro-, • After eight months of negotiations, China and Portugal mise: the Only Way Out finally reached an agreement on the question of Macao, (Moup of 77: r.con(>niic Strategy another step towards the reunification of China (p. 4). In ihc Making Albania: Focus on Fconomic Developtnent China Spells Out Its Stand on Disarmament The United States: Weinberger s lli-Fated Visit • At a Beijing World Disarmament Campaign meeting sponsored by the UN, Chinese Vice-Foreign Minister Qian Qichen expounded China's nuclear policy and expressed the Worlfl Peace and Disarmament 14 government's concern about the spread of the arms race into NPC: Its Position and Roie 17 outer space. He also pointed out the relationship between The Election Process In Ttanjin 22 nuclear and conventional disarmament and urged the Why Capttafism is Impractical in superpowers to take the lead in all types of disarmament (p.
    [Show full text]
  • Cataloguing Chinese Art in the Middle and Late Imperial Eras
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections.
    [Show full text]
  • China Daily 0803 D6.Indd
    life CHINA DAILY CHINADAILY.COM.CN/LIFE FRIDAY, AUGUST 3, 2012 | PAGE 18 Li Keran bucks market trend The artist has become a favorite at auction and his works are fetching record prices. But overall, the Chinese contemporary art market has cooled, Lin Qi reports in Beijing. i Keran (1907-89) took center and how representative the work is, in addi- stage at the spring sales with tion to the art publications and catalogues it two historic works both cross- has appeared in.” ing the 100 million yuan ($16 Though a record was set by Wan Shan million) threshold. Hong Bian, two other important paintings by His 1974 painting of former Li were unsold, which came as no surprise for Lchairman Mao Zedong’s residence in Sha- art collectors like Yan An. oshan, the revolutionary holy land in Hunan “Both big players and new buyers are bid- province, fetched 124 million yuan at China ding for the best works of the blue-chip art- Guardian, in May. ists, while the market can’t provide as many Th ree weeks later his large-scale blockbust- top-notch artworks and provide the reduced er of 1964, Wan Shan Hong Bian (Th ousands risks that people expect. of Hills in a Crimsoned View), was sold for a “Th is is because in the face of an unclear personal record of 293 million yuan at Poly market, cautious owners would rather keep International Auction. those items, which achieved skyscraping Li, a prominent figure in 20th-century prices, rather than fl ip them at auction,” Yan Chinese art, is recognized for innovating the says.
    [Show full text]
  • Environmental, Social and Governance Report 2020 SHAPING CITIES and HOMES with RESPONSIBILITY and SINCERITY
    Environmental, Social and Governance Report 2020 SHAPING CITIES AND HOMES WITH RESPONSIBILITY AND SINCERITY START CONTENTS ABOUT THE REPORT 4 MESSAGE FROM THE BOARD 6 ABOUT LOGAN GROUP 8 BRAVELY FIGHT AGAINST THE PANDEMIC 11 BUSINESS PRINCIPLES OF SUSTAINABLE DEVELOPMENT 17 EMPLOYEE CARE AND GROWTH 31 URBAN RENEWAL AND HARMONIZATION BETWEEN HUMAN HABITATION AND NATURE 44 ENVIRONMENT PROTECTION AND HARMONY 59 COMMUNITY DEVELOPMENT AND PUBLIC WELFARE 71 STATISTICS SUMMARY 80 INDEX OF REPORTING INDICATORS 84 START 4 LOGAN GROUP COMPANY LIMITED ABOUT THE REPORT Logan Group Company Limited (the “Company”, together with its subsidiaries, “Logan”, the “Group” and “We”, “Us”) is a leading integrated town services provider in China who supports the national ABOUT THE REPORT THE ABOUT strategy in building an ecological civilization in Chinese society. The Group has spared no effort to fulfill corporate social responsibility in the past 25 years with a view to carving out the future and kindling hope. We are pleased to present the 5th Environmental, Social and Governance (“ESG”) Report (the “Report”) of Logan Group to illustrate our progress and achievements in sustainable development throughout 2020 and share our journey towards a more sustainable future with you. REPORTING SCOPE This Report covers the ESG performance of the Group from 1 January 2020 to 31 December 2020 (the “Reporting Period”, or the “Year”). The Board has determined to report our core real estate business in Mainland China based on the revenue significance and geographical presence of our principal businesses. In order to better demonstrate the Group’s commitments and achievements in sustainable development, the reporting scope for the Year will continue to cover our businesses such as real estate development, construction and fitting-out, land development, property leasing and related administrative work.
    [Show full text]
  • Behind the Thriving Scene of the Chinese Art Market -- a Research
    Behind the thriving scene of the Chinese art market -- A research into major market trends at Chinese art market, 2006- 2011 Lifan Gong Student Nr. 360193 13 July 2012 [email protected] Supervisor: Dr. F.R.R.Vermeylen Second reader: Dr. Marilena Vecco Master Thesis Cultural economics & Cultural entrepreneurship Erasmus School of History, Culture and Communication Erasmus University Rotterdam 1 Abstract Since 2006, the Chinese art market has amazed the world with an unprecedented growth rate. Due to its recent emergence and disparity from the Western art market, it remains an indispensable yet unfamiliar subject for the art world. This study penetrates through the thriving scene of the Chinese art market, fills part of the gap by presenting an in-depth analysis of its market structure, and depicts the route of development during 2006-2011, the booming period of the Chinese art market. As one of the most important and largest emerging art markets, what are the key trends in the Chinese art market from 2006 to 2011? This question serves as the main research question that guides throughout the research. To answer this question, research at three levels is unfolded, with regards to the functioning of the Chinese art market, the geographical shift from west to east, and the market performance of contemporary Chinese art. As the most vibrant art category, Contemporary Chinese art is chosen as the focal art sector in the empirical part since its transaction cover both the Western and Eastern art market and it really took off at secondary art market since 2005, in line with the booming period of the Chinese art market.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g^ maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission.
    [Show full text]
  • Chinese Bird-And-Flower Wallpaper from Painting to Decorative Arts
    CHINESE BIRD-AND-FLOWER WALLPAPER FROM PAINTING TO DECORATIVE ARTS A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Yixin Xu December 2020 © 2020 Yixin Xu ABSTRACT This thesis investigates what remains of the Chinese bird-and-flower wallpaper export in Britain today in an attempt to answer the long-existing question of how these wallpapers, as one of the most successful and unique global products in the 18th century, have changed from a type of oriental painting to a Western interior decoration style. Apart from the summary and literature review, this thesis is divided into six parts. The first part introduces the “Chinoiserie” trend popular in Britain in the 18th century and how bird-and-flower wallpapers entered the UK market, while the second part traces the oriental source of inspiration of the Chinese bird-and-flower wallpaper export, known as Chinese bird-and-flower painting. The third part investigates how the emerging assembly line painting workshop in Canton, China, where most export wallpapers were produced, promoted the birth of this unprecedented global commodity, and the fourth part analyzes the impact of the enthusiasm for oriental plants in Britain on the market demand for Chinese bird-and-flower wallpapers and discusses the relationship between bird-and-flower wallpapers and the export of botanical paintings. The fifth part examines how Chinese painters created large decorative art based on traditional art under the influence of Western customers from the perspective of artistic style, proving that both Chinese producers and Western consumers contributed to the birth of bird-and- flower wallpapers.
    [Show full text]
  • Qi Baishi: a Master of Many Arts
    QI BAISHI: A MASTER OF MANY ARTS Qi Baishi was equally renowned for his achievements in seal carving as for his contributions to modernizing traditional literati painting; he was also a master calligrapher and poet. He was born to a poor farming family in Xiangtan, Hunan Province, and learned Chinese characters from his grandfather, who used a stick to trace them in the dirt. Physically unsuited to farming tasks, he was apprenticed to a woodcarver, but at nineteen he came across a book that would change his life: the Mustard Seed Garden Manual, a classic early Qing dynasty (1644–1911) treatise illustrating traditional techniques of literati painting. Qi taught himself to paint from it, refining his skills and studying the arts of seal cutting, poetry, and calligraphy with the many teachers he met as an itinerant woodcarver. His life spanned a period of great upheaval and reform in Chinese culture, but his unique style and politically neutral subjects allowed him to remain in favor through different regimes and cultural shifts. At the end of his life, he was lauded as the “People’s Artist,” elected honorary Chairman of the National Association of Fine Arts, and given the International Peace Award by the World Peace Council. With the resurgence of interest in ink painting in contemporary China, Qi Baishi, sometimes referred to as “China’s Picasso,” is celebrated as one of the leading artists of the twentieth century and his paintings are highly sought after by collectors and museums. Qi Baishi China, 1864–1957 Crabs circa 1930 Album leaf, ink on paper Gift of Katsuizumi Sotokichi, University of Michigan Museum of Art, 1949/1.199 inscribed: To Mr.
    [Show full text]
  • Masterwork by Li Keran to Take Centre Stage in Christie’S Hong Kong Modern Chinese Paintings Sale
    For Immediate Release 7 May 2007 Press Contact: Victoria Cheung 852.2978.9919 [email protected] Dick Lee 852.2978.9966 [email protected] MASTERWORK BY LI KERAN TO TAKE CENTRE STAGE IN CHRISTIE’S HONG KONG MODERN CHINESE PAINTINGS SALE Li Keran (1907-1989) All the Mountains Blanketed in Red Scroll, mounted and framed Ink and colour on paper 131 x 84 cm. Dated autumn, September 1964 Estimate on request Fine Modern Chinese Paintings 28 May 2007 Hong Kong – An impressive selection of works by leading Chinese artists including Li Keran will be offered in the Fine Modern Chinese Paintings sale at Christie’s Hong Kong on 28 May. The works on offer will amaze art collectors with their exceptional quality and captivating themes. Also included in the sale are paintings of impeccable provenance from private collections. In this Spring auctions series, Christie's Hong Kong will introduce a real-time multi-media auction service Christie’s LIVE™, becoming the first international auction house in Asia to offer fine art through live online auctions. Christie’s LIVE™ enables collectors around the world to bid from their personal computers while enjoying the look, sound and feel of the sale. The star lot of the sale is All the Mountains Blanketed in Red by Li Keran (1907–1989) (Estimate on request, Lot 1088). From 1962 to 1964, Li produced a series of seven paintings that took on the theme of ‘All the mountains are blanketed in red and forests are totally dyed’, a phrase from Mao Zedong’s (1892–1976) poem Chang Sha (To the Tune of Spring Beaming in a Garden).
    [Show full text]
  • The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
    The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401．Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art.
    [Show full text]