Mengfu would frequently paint horses similar to the style popular in the Tang Dynasty though he would often break from this subject to also paint other animal groups, bamboo groves, as well as a variety of landscapes. One of the most striking features of his work is that his paintings have very muted and simplified colors and compositions. How is Biology Forums - Study Force different than tutoring? New Topic. Ginjer Ginjer wrote Posts: Rep: 0 0.
He was a high Yuan official. He resigned his position with the Yuan court. He refused association with the Yuan dynasty. He combined poetry and painting. Read times 4 Replies. Replies Answer verified by a subject expert terminated terminated wrote Posts: Rep: 14 0. Ginjer wrote Related Images Latest Blogs Can 1 equal 2?
Spot the error What do chiropractors do? Try it out Deciding how a society's products are distributed among its citizens answers the economic question Join Our Community. Biology Forums - Study Force is the leading provider of online homework help for college and high school students. Open Access. Toward the end of his life, however, he reached the highest peak of this art. I deeply regret that such excellent works are gone forever. When I happened to see your letter to my brother, however, as brilliant as if written by a god, my former pleasure and appreciation were revived.
One day an old woman was going to market with ten-odd hexagonal fans. Wang asked her the price and she answered that each cost twenty coins, whereupon Wang took a brush and wrote five characters on each fan.
Wang told her to tell the buyers that the calligraphy was by Leader of the Right Army Wang [Wang Xizhi] and to ask for one hundred coins each. The old woman went to the market and a crowd gathered and bought them all. She then brought ten—odd more blank fans for Wang to write on. He only smiled and did not answer. Xizhi once wrote a memorial to Emperor Mudi of Jin. The emperor ordered Zhang Yi to make an exact copy. Then the emperor himself wrote a reply upon it.
Xizhi did not notice at first but, after a careful look, recognized the substitution. In Shanyin there was a Daoist monk who had raised a flock of more than ten fine geese. One morning Wang decided to take a small boat and go there. He was delighted with the geese and wanted to buy them, but the monk refused to sell. Wang tried in vain to persuade him.
He had already prepared the silk, but no one was qualified to write it. He asked if Wang would condescend to transcribe two chapters each from the Dao and De sections, for which he would repay Wang with the whole flock of geese. Wang stayed for half a day to write out the chapters, then he caged the geese and returned home.
In the collection of Lanxue Zhai [Shao Songnian]. Viewed by Zhang Yu from Mt. Gouqu [in present—day Gourong, Jiangsu Province]. Indeed, this simple mountain form is not the ideal medium for a highly skilled painter to show his abilities. Although these repeated layers of strokes do not give much variation to the painting surface, they nonetheless impart a sense of relaxation and tranquility.
In fact, they were originally used to describe the rolling scenery of the south, in contrast to the imposing and monumental peaks in Fan Kuan's "Traveling Among Mountains and Streams" Figure 8 of the north.
The similarities between "Autumn Colors on the Qiao and Hua Mountains" and works by Dong Yuan are not limited to the three above features; besides the "grasshopper" boats and fishing nets, the representation of surface and the simple mountain forms all deserve attention.
What is unusual, however, is that Zhao Mengfu chose the Dong Yuan style associated with the south—even depicting the "grasshopper" boats which only appear in the south—to depict Zhou Mi's homeland, which is located in the north. Although Zhao Mengfu certainly considered the external appearance of Mt.
Hua when painting Zhou's homeland, the actual scenery was not his only concern. Zhou Mi, possessing a vast knowledge of painting and calligraphy, certainly understood the classical status that the Dong Yuan style represented in Chinese painting and was able to appreciate the archaic simplicity and blandness of Dong Yuan's paintings.
Zhao Mengfu must have truly understood the background and interests of his friend, so he treated Zhou Mi's homeland in the manner of Dong Yuan's paintings. Although a distant view of the scenery—actually quite far away when he painted it, but Zhao was still able to express Zhou Mi's view of his homeland in intimate terms. Perhaps one could also say that the style and subject represent something in common between these two figures. A painting in the Dong Yuan style therefore served as a metaphor, praising Zhou Mi's homeland as possessing the same peace and tranquility as that found in the works of Dong Yuan.
One could almost imagine Zhou Mi opening this handscroll done by his friend Zhao Mengfu and the mutual feelings that they must have felt towards the past, paintings, and friendship.
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