Taibai Mountain - Wang, Meng
425,99 €
inkl. MwSt.
Versandkostenfrei*
Versandfertig in über 4 Wochen
  • Gebundenes Buch

Handscroll; Color on paper; 552cm(width)*22cm(height) This painting depicts Taibai Mountain and its surrounding scenery in Jing County, Zhejiang Province, focusing on the 20 li of forest in front of the Tiantong Temple. The forest in the painting is dense, setting off the temple pavilion and grass hut, among which horse-riders and monks went their own ways. Trees of dozens of species, with green and crimson leaves intermingled, highlight the serenity of the mountain. The painting was part of Shen Zhou and Xiang Yuanbian's collections in the Ming Dynasty, then of Liang Qingbiao and An Yizhou's collections in the early Qing Dynasty.…mehr

Andere Kunden interessierten sich auch für
Produktbeschreibung
Handscroll; Color on paper; 552cm(width)*22cm(height) This painting depicts Taibai Mountain and its surrounding scenery in Jing County, Zhejiang Province, focusing on the 20 li of forest in front of the Tiantong Temple. The forest in the painting is dense, setting off the temple pavilion and grass hut, among which horse-riders and monks went their own ways. Trees of dozens of species, with green and crimson leaves intermingled, highlight the serenity of the mountain. The painting was part of Shen Zhou and Xiang Yuanbian's collections in the Ming Dynasty, then of Liang Qingbiao and An Yizhou's collections in the early Qing Dynasty.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Autorenporträt
Wang Meng (1308-1385), also known by the aliases Shu Ming and the Woodcutter of the Huanghe Mountains, was from Huzhou (present day Wuxing in Zhejiang Province). His maternal grandfather was Zhao Mengfu, and his maternal grandmother was Guan Daosheng. His uncle Zhao Yong and cousin Zhao Yanzheng were renowned painters of the Yuan Dynasty. His landscape paintings were greatly influenced by his family education and from the masters Dong Yuan and Ju Ran. Eventually, he formed a style of his own, drawing upon the strength of various schools. He was excellent at using flexible crisscrossing lines (like loosened ropes), extremely thin lines (like cow hair), dry and heavy ink, and various-shaped dots to express gloomy forest scenes and landscapes in motion. He is referred to as one of the Four Great Yuan Dynasty painters, alongside Huang Gongwang, Wu Zhen, and Ni Zan.