Painting in National Palace Museum, Yuan dynasty part2

Welcome to the National Palace Museum's collection of paintings from the Yuan dynasty! These works of art were created by some of China's most talented painters, and they provide us with a unique insight into Chinese culture during this period. You will find works such as Dwelling in the Fu-ch'un Mountains (Wu-yung Version), Twin Pines, Forest Chamber Grotto at Chu-ch'u, The Jung-hsi Studio, Fishermen Returning on a Frosty Bank, and Kublai Khan Hunting. All of these pieces are incredibly detailed and full of life, and they show us how people lived and interacted during this time period. Come explore these amazing artifacts today!

1. Dwelling in the Fu-ch'un Mountains (Wu-yung Version)

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2. Twin Pines

Wu Chen was a native of Chia-hsing in Chekiang province He was gifted at poetry and prose, and excelled at painting landscapes and bamboo in monochrome ink as well as cursive script calligraphy

3. Forest Chamber Grotto at Chu-ch'u

Wang Meng was a grandson of the famous artist Chao Meng-fu (1254-1322). In the early Ming, Wang Meng was implicated in the case of Hu Wei-yung and subsequently died in prison. His painting followed the styles of Wang Wei 701-761, Tung Yuan fl. first half of the 10th c, and Chu-jan 10th c., establishing a style of his own and becoming one of the Four Great Masters of the Yuan along with Huang Kung-wang 1269-1354, Wu Chen 1280-1354, and Ni Tsan 1301-1374.

4. The Jung-hsi Studio

Ni Tsan (style name Yuan-chen; sobriquets Yun-lin, Yu-weng) was a native of Wu-hsi, Kiangsu Son of a wealthy merchant, he was a bibliophile, collector, amateur poet and painter He remained aloof of any official commitment and spent the later part of his life wandering the streams and lakes of his native province This work was done by Ni at the age of The colophon states that the painting was first given to Ni's friend, Pi-hsuan, who kept it for three years and then gave it to his physician-friend Chung-jen, who asked the artist to inscribe a poem Jung-hsi was the residence of the physician, so the painting was obviously done first before the inscription was later added The brushwork is especially bland and refined, with tonal variations in the trees most carefully built up An upright brush with point-centered energy has been employed more often than a slanted brush, and broken hemp-fiber strokes are more frequent than washes in the modeling of the rocks

5. Fishermen Returning on a Frosty Bank

T'ang Ti was a native of Wu-hsing in Chekiang. When he came of age, his poetry and painting were held in high esteem by the local elite. He initially studied the landscape style of Chao Meng-fu, acquiring his polished and luxuriant manner. He later also turned to the styles of Wei Yen, Li Ch'eng, and Kuo Hsi, his greatest achievements being as a follower of the latter. In this painting are two towering pine trees along with a few withered trees and autumnal trees mixed in. Three fishermen carry their gear as they converse joyfully while walking along a frosty bank. In the middleground is a misty expanse. Rocks were rendered using cloud-head texturing and slopes slightly in hemp-fiber strokes, with more dry strokes. Though some of the brushwork was done with a slanted brush, it was mostly centered with even outlines for a rounded feeling. The foreground water below the large rocky area was not done with hooked texturing, forming a focus on the main motifs with other elements downplayed. This follows the manner also found in the Museum's Kuo Hsi's "Early Spring", including the "crab-claw" branches. The background is done in layers of washes for rich ink tones to make the main scenery stand out.

6. Kublai Khan Hunting

Liu Kuan-tao was a court painter of the Yuan dynasty This painting depicts Kublai Khan and his entourage