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.
Label Copy
Taizan was a native of Hine Village, on the outskirts of Osaka. He initially studied the classical court style of the Tosa School, but switched his alliegance to Chinese literati painting under the influence of the famous calligrapher and scholar Nukina Kaioku (see no. 1).
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.
Maribeth Graybill, for the exhibition "Japanese Visions of China," 9/21/02 - 1/26/03
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.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
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.
Label Copy
Taizan was a native of Hine Village, on the outskirts of Osaka. He initially studied the classical court style of the Tosa School, but switched his alliegance to Chinese literati painting under the influence of the famous calligrapher and scholar Nukina Kaioku (see no. 1).
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.
Maribeth Graybill, for the exhibition "Japanese Visions of China," 9/21/02 - 1/26/03
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.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The girl on the right is looking at the colorful butterfly in the middle of the printing, there are a few more butterflies flying around the girl. The background is composed of plain patterns and lines.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Red lacquered wooden duck-shaped container wth lid
Subject Matter
This duck-shaped container was probably used at weddings, perhaps to serve rice or some other food. Red is the color of happiness, appropriate for a wedding. Mandarin ducks, believed to mate for life, are symbols of marital bliss and conjugal fidelity.
Label Copy
Lacquered boxes and containers, long holding a place of importance in Chinese material culture, were often used as to hold all kinds of precious gifts and items as part of the trousseau or dowry of the bride. This duck-shaped container was probably used at weddings, perhaps to serve rice or some other food. Red is the color of happiness, appropriate for a wedding while mandarin ducks, believed to mate for life, are symbols of marital bliss and conjugal fidelity.
(Label for UMMA Chinese Gallery Opening Rotation, March 2009)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The heads of horses, deer, mules, and other animals which represented the status or rank of the owner often decorated knives of the nomadic tribes. Such knives were often exchanged with Chinese traders at the border in the Bronze Age.
Maribeth Graybill, Senior Curator of Asian Art
Exhibited in "Flora and Fauna in Chinese Art," April 6, 2002 - December 1, 2002.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
