Couleurs nature sauvage. Artiste : Shitao représentait (Zhu Ruoji) (Chinois, 1642-1707). Culture : la Chine. Dimensions : Image (chaque feuille) : 10 7/8 x 9 1/2 in. (27,6 x 24,1 cm). Date : ca. 1700. Au milieu-1690s, après une vie d'errance, Shitao représentait s'installe définitivement à Yangzhou, une ville commerciale animée sur le Grand Canal qui Suzhou éclipsé pendant le dix-huitième siècle comme le plus vigoureux centre économique et culturel en Chine. Renoncer à ses vœux monastiques et prenant le nom Dadizi ou 'un', purifiée grandement Shitao représentait s'est tourné vers la peinture comme son unique moyen de subsistance. En pleine nature les couleurs, chaque feuille offre quelque chose

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PB1C77
• Taille du fichier: 40,1 MB (1,6 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 3337 x 4200 px | 28,3 x 35,6 cm | 11,1 x 14 inches | 300dpi
• Photographe: Album

Informations supplémentaires

Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

Wilderness Colors. Artist: Shitao (Zhu Ruoji) (Chinese, 1642-1707). Culture: China. Dimensions: Image (each leaf): 10 7/8 x 9 1/2 in. (27.6 x 24.1 cm). Date: ca. 1700. In the mid-1690s, after a life of wandering, Shitao settled permanently in Yangzhou, a bustling commercial city on the Grand Canal that eclipsed Suzhou during the eighteenth century as the most vigorous economic and cultural center in China. Renouncing his monastic vows and taking the name Dadizi, or "Greatly Purified One, " Shitao turned to painting as his sole means of support. In Wilderness Colors, each leaf offers something unexpected, not only in the painter's choice of subject and compositional arrangement but also in the subtle wit and touching personal insights revealed in the verbal and pictorial imagery. Many of the leaves were inspired by Du Fu (712-770) and Li Bo (701-762) of the Tang dynasty (618-907); others refer to personal experiences. In late-seventeenth-century criticism, an excess of technical versatility in painting was considered as bad as "overcooked" food. Shitao's lighthearted account of eating vegetables raw reveals his intention to maintain an uninhibited style all his own. Once Wang Anjie* presented me with a poem, saying: "Get some spring water in your copper bowl and roast some taro on the earthen stove." He truly understood me. But what a laughable, uncouth person I am! This year I greedily obtained some huge taro roots. They were too large to be roasted in a short time, so I ate them all partly raw. Can you guess what the temperature is inside my stomach?. Museum: Metropolitan Museum of Art, New York, USA.

Recherche dans la banque de photos par tags

• 10 7/8 x 9 1/2
• 1642-1707
• 1644-1911
• 1700
• 18esiècle
• 27,6 24,1 cm
• 2nd millennium a d
• album
• album de douze peintures
• xvii century