Sometime later it entered Miao Wenzi’s collection. It was at first in Xiang Molin’s collection then it went to Gao Jiangcun, and was recorded in his Xiaoxia lu. That was why he painted this scroll, which naturally differed from his other works. At that time, Yunlin was friends with Zhang Boyu, Ke Jingzhong and Wang Shuming, but was particularly close to Yu Shengbo, the eighth-generation descendant of Duke Yong. This painting for Shengbo, accompanied with a poem, shows his artistry even better. His painting and calligraphy, therefore, exhibit an untrammeled subtlety that is unrivaled in the past or the future. : Dongzhuang 元倪雲林《江渚風林圖》真跡,戊寅春吳湖帆題籤。 : 東莊 Colophon Yu Hang 俞沆 (active early 19th c.), 8 columns in standard script, dated 1826: Of the so-called Four Masters of the Yuan Dynasty, Yunlin was the purest in character. In the spring of the wuyin year, Wu Hufan inscribed the label. On the fifteenth day of the ninth month in the guimao year of the Zhizheng era I playfully painted this for Mr. I lean on my staff – the brushwood gate is closed and silent I think of my friend – the glow is nearly gone from the hills. Inscription: Artist’s inscription and signature (4 columns in standard script) On the river bank, the evening tide begins to fall The frost-covered leaves of the windblown grove are sparse. To experts illuminate this artwork's story I lean on my staff-the brushwood gate is closed and silent I think of my friend-the glow is nearly gone from the hills. His inscription reads: On the riverbank, the evening tide begins to fall The frost-covered leaves of the windblown grove are sparse. Painted the same year Ni's wife died, it may also express the artist's growing sense of isolation. by following your ideas and feelings." This painting, made for fellow scholar-artist Yu Kan (active 14th century), reflects Ni's spontaneous manner. Compared to his Wuxi days, this was "another lifetime," but the family was able to settle down to an existence of "simple sustenance, harmony, and happiness." His paintings and calligraphy from this period are more assured and relaxed consequently, they sometimes appear sketchy, a characteristic Ni consciously sought: "Try to do things in a sketchy manner. Between 13 Ni Zan led a refugee's life, residing with his family southwest of Suzhou at a place he nicknamed the Snail's Hut.
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