Large bronze sculpture resembling a headless human figure. The surface texture is very rough with deep voids and coarse patches of metal. The brown patina has a whitish tinge.
This is one of three Doner sculptures installed together- Angry Neptune, Salacia and Strider.
"Angry Neptune was made as a statement about the obscene gestures the human species has repeatedly made toward the sea. Robbing the shores of fish, sending plastics into the deep seas, spilling toxins into the water, etc. I feel his rage is palpable."
Drawing of militaristic angels approaching two men fighting at sea. One angels holds a bow and above and to the right are three more angels carrying clouds. On the left of the image is a serpent curled around a tree.
Inscription and signature of the artist: "On the Dragon Boat Festival Day [the 5th day of the 5th month] of the bingzi year (1696) of Kangxi's reign. Yu Zhiding of Guanglin. [followed by two seals of the artist]
This is a dense but muted landscape painting. The lines are very well defined. The colors consit of muted greens and browns, with a bid of red in some places. There is a river flowing through the center of the painting, running down the landscape and toward the viewer. There is a figure sitting on a gnarled tree-raft towards the bottom left of the painting, with another figure looking upon the scene from the opposite bank of the river. There are ornate buildings present toward the top of the panting. The viewer can see a lone figure in an interior covered by stylized clouds.
This painting refers to the legend of Zhang Qian (active 139–87 BCE), who was ordered by the emperor to find the source of the Yellow River, the second longest in China. Zhang Qian navigated up the river on a raft, eventually reaching the Milky Way. There he met two celestial beings, the Herd Boy/cowherd with his buffalo (the figures at right) and the Weaver Maiden (the woman in the pavilion), whose stars appear together in the sky on only one night of the year—the seventh day of the seventh lunar month. When a court astronomer of the time observed a change in the configuration of these stars, it was taken as a sign that Zhang Qian had accomplished his mission.
Yu Zhiding came from a humble background with no documented formal training in painting. He rose quickly, however, to become a portrait painter of elite scholars and high officials. His mastery of portraiture may be seen here in the clearly defined features of the human faces and the exquisite brushwork of the buildings, figures, trees, and rocks.