Landscape in Ni Tsan Style / Hine Taizan

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About this Item

Record Details

Accession Number
1983/2.247
Title
Landscape in Ni Tsan Style
Artist
Hine Taizan
Artist Nationality
Japanese
Artist Life Dates
1813-1869
Medium and Support
hanging scroll, ink on silk
Object Creation Date
1867
Object Creation Place
Asia (continent)
Japan (nation)
Creation Place 1
Asia (continent)
Creation Place 2
Japan (nation)
Style/Group/Movement
literati, ink
Inscription
Signed: Hineno;
Three seals of the artist: Seiten hakujitsu kozan taisen (blue sky, white sun; lofty mountain, great river, at upper right corner); Zansei-ji taiko, Nitsucho-nyo shonen (The mountain in tranquality looks like it is in the ancient times; a long, long day is as if a short year. After signature)
Inscription: Ni Zan dvocated that painting should be painted with free brushes and light ink. The untrammelled strokes are not executed for the purpose of realistic depiction. To paint is only to amuse oneself. This is the true "archaic taste." Therefore, I painted after him. Fall, Aug. 8, 1867.
Also translated: Ni Yunlin [a.k.a. Ni Zan, 1301–1374] advocated that painting should be done with free brushes and light inks. Untrammeled brushwork does not seek to imitate reality; [painting] is done to amuse oneself. This is true “archaic taste.” Therefore [I have done this painting] following his intent. 1867, autumn, 8th month. Hine.
Dimensions
174.5 cm x 86 cm (68 11/16 in. x 33 7/8 in.)
Century
19th century
Primary Object Classification
Painting
Primary Object Type
hanging scroll
Secondary Object Classification
Painting
Secondary Object Type
landscape
Physical Description
A lone pavilion sits among trees in the foreground. Birds flock nearby, and in the background are more trees and rocky formations. Calligraphic texts in in the upper right corner.
Subject Matter
This landscape is in direct homage to Ni Zan, one of the so-called “four masters” of Yuan literati painting. Ni was known for his fastidious personality, which is reflected in his spare compositions—often split between a foreground island with an empty pavilion and distant hills—and his grudging use of ink. Ni’s paintings tend to be relatively small works on paper that communicate as deeply personal statements; here, Taizan elevates Ni’s style to iconic and public status by reworking it at a monumental scale.
Secondary Keywords
upward
animals
animals and creatures
architecture
asia
asian
buildings and the land
descriptors
forms
garden structures
geography
image-making processes and techniques
inorganic material
landforms
landforms and landform components
landforms by shape or position
landscapes (environments)
locality
making art
materials
materials by composition
natural landscapes
objects we use
plants
processes and techniques
processes and techniques by specific type
settlements and landscapes
single built works
single built works by location or context
single built works by specific type
text-based art
the natural world
transportation vehicles
vegetation and vegetation components
vegetation components
vehicles
watercraft
watercraft by general type
waterscapes
woody plants
writing (processes)
Rights
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Technical Details

Image Size
721 x 1395
File Size
86 KB
Record
1983/2.247
Link to this Item
https://quod.lib.umich.edu/m/musart/x-1983-sl-2.247/1983_2.247.jpg

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https://quod.lib.umich.edu/cgi/i/image/api/manifest/musart:1983-SL-2.247:1983_2.247.JPG

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Full citation
"Landscape in Ni Tsan Style; Hine Taizan." In the digital collection University of Michigan Museum of Art. https://quod.lib.umich.edu/m/musart/x-1983-sl-2.247/1983_2.247.jpg. University of Michigan Library Digital Collections. Accessed April 25, 2024.
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