Period:Unknown Production date:1925
Materials:paper
Technique:painted
Subjects:buddha
Dimensions:Height: 109.10 centimetres (image) Height: 226.30 centimetres (mount) Width: 48.50 centimetres (image) Width: 75.10 centimetres (mount)
Description:
Hanging scroll. Buddha in the mountains, under trees, holding a stupa. Vibrantly painted in ink and colours on paper. Inscription and seals.
IMG
![图片[1]-hanging scroll; painting BM-1966-0725-0.16-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_00844263_001.jpg)
![图片[2]-hanging scroll; painting BM-1966-0725-0.16-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_00844266_001.jpg)
![图片[3]-hanging scroll; painting BM-1966-0725-0.16-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01111988_001.jpg)
Comments:Wang Zhen was a major art patron and a devout Buddhist. His Buddha Amitâyus wears a red robe and holds a pavilion, an attribute that presumably alludes to the architecture of the Pure Land, also called Western Paradise. The inscription cites a passage from a Sutra text. Wang studied painting with two major Shanghai School artists of the time, Ren Bonian and Wu Changshi. Wang Zhen became Wu’s student in 1911 and Wu Changshi occasionally used him as a ghostpainter. His vigorous calligraphy, his firm bruststrokes and strong colours are all reminiscent of Wu Changshi’s style. The relatively soft, elaborate and complex brushstrokes in this painting, however, suggest that it was executed by Wang’s student Gao Jun.
Materials:paper
Technique:painted
Subjects:buddha
Dimensions:Height: 109.10 centimetres (image) Height: 226.30 centimetres (mount) Width: 48.50 centimetres (image) Width: 75.10 centimetres (mount)
Description:
Hanging scroll. Buddha in the mountains, under trees, holding a stupa. Vibrantly painted in ink and colours on paper. Inscription and seals.
IMG
Comments:Wang Zhen was a major art patron and a devout Buddhist. His Buddha Amitâyus wears a red robe and holds a pavilion, an attribute that presumably alludes to the architecture of the Pure Land, also called Western Paradise. The inscription cites a passage from a Sutra text. Wang studied painting with two major Shanghai School artists of the time, Ren Bonian and Wu Changshi. Wang Zhen became Wu’s student in 1911 and Wu Changshi occasionally used him as a ghostpainter. His vigorous calligraphy, his firm bruststrokes and strong colours are all reminiscent of Wu Changshi’s style. The relatively soft, elaborate and complex brushstrokes in this painting, however, suggest that it was executed by Wang’s student Gao Jun.
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
