Period:Unknown Production date:19thC
Materials:paper
Technique:painted
Subjects:landscape tree/bush
Dimensions:Height: 27.10 centimetres Width: 41 centimetres
Description:
Painting, hanging scroll. Chinese landscape with mountains, trees and hut. Ink on paper. Sealed. With inscribed paulownia storage box.
IMG
![图片[1]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_00808789_001.jpg)
![图片[2]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01278087_001.jpg)
![图片[3]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01278088_001.jpg)
![图片[4]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01278089_001.jpg)
![图片[5]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01278090_001.jpg)
![图片[6]-painting; hanging scroll; storage box BM-1913-0501-0.148-China Archive](https://chinaarchive.net/Unknown/Paintings/mid_01278091_001.jpg)
Comments:(Kawai Masatomo, 4/1999) Red seal of Masanobu in tripod. The use of indigo blue in the trees and the large ‘axe-cut’ brush strokes mean the artist was trying to demonstrate the modes of depiction used by Masanobu. In terms of the composition, however, there are elements mixed in which are later than Motonobu, say, from around the period of Shoei. The imitative brush techniques and impoverished grasp of the motifs suggest this a forgery dating after the 18th century, probably from the 19th C.
Materials:paper
Technique:painted
Subjects:landscape tree/bush
Dimensions:Height: 27.10 centimetres Width: 41 centimetres
Description:
Painting, hanging scroll. Chinese landscape with mountains, trees and hut. Ink on paper. Sealed. With inscribed paulownia storage box.
IMG
Comments:(Kawai Masatomo, 4/1999) Red seal of Masanobu in tripod. The use of indigo blue in the trees and the large ‘axe-cut’ brush strokes mean the artist was trying to demonstrate the modes of depiction used by Masanobu. In terms of the composition, however, there are elements mixed in which are later than Motonobu, say, from around the period of Shoei. The imitative brush techniques and impoverished grasp of the motifs suggest this a forgery dating after the 18th century, probably from the 19th C.
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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)
