Period:Ming dynasty Production date:1368-1644
Materials:paper
Technique:painted
Subjects:landscape tree/bush
Dimensions:Height: 165 centimetres (image) Height: 242 centimetres (scroll) Width: 48 centimetres (image) Width: 63.30 centimetres (scroll)
Description:
Hanging scroll. Landscape. Mountains with huts and tree. Ink and colour on paper. Signature, seal, inscription.
IMG
Comments:Jones 1990Landscape, Imitator of Huang Gongwang,This painting bears the signature of Huang Gongwang (AD 1269-1354), one of the four landscape masters of the Yuan dynasty. Although a similarity to the work of Huang is evident in the piled-up landscape forms, in the long dry strokes texturing the mountains, and in the naturalism of the trees, the overall stylistic regularity of the painting strongly resembles the idiom of the Orthodox Masters of the early Qing dynasty (AD 1644-1911), whose painting was based on the theories of the late Ming painter and theorist Dong Qichang (AD 1555-1636). It is significant that Huang Gongwang was the foremost of the Yuan masters on whom painters of the Orthodox School based their work. It seems likely, therefore, that this painting was produced by an artist working in this style with the intention of producing a forgery.
Materials:paper
Technique:painted
Subjects:landscape tree/bush
Dimensions:Height: 165 centimetres (image) Height: 242 centimetres (scroll) Width: 48 centimetres (image) Width: 63.30 centimetres (scroll)
Description:
Hanging scroll. Landscape. Mountains with huts and tree. Ink and colour on paper. Signature, seal, inscription.
IMG
Comments:Jones 1990Landscape, Imitator of Huang Gongwang,This painting bears the signature of Huang Gongwang (AD 1269-1354), one of the four landscape masters of the Yuan dynasty. Although a similarity to the work of Huang is evident in the piled-up landscape forms, in the long dry strokes texturing the mountains, and in the naturalism of the trees, the overall stylistic regularity of the painting strongly resembles the idiom of the Orthodox Masters of the early Qing dynasty (AD 1644-1911), whose painting was based on the theories of the late Ming painter and theorist Dong Qichang (AD 1555-1636). It is significant that Huang Gongwang was the foremost of the Yuan masters on whom painters of the Orthodox School based their work. It seems likely, therefore, that this painting was produced by an artist working in this style with the intention of producing a forgery.
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