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| Xiao Yuncong, Marvelous Verses Without Sounds, Qing Dynasty @ 1660-73 - in Cycle Four of the Met's two-year exhibition of Landscapes Without End. Museum Link |
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| Wang Jian's Landscapes in the Styles of Old Masters (Qing). There are quite a few of these copy album collections in the show, along with |
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| A series of prints from Huangshan, Yellow Mountains. |
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| By Xiao Yuncong. |
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| Then startlingly this print from 1980 by Li Huasheng, who writes of tourism and the workers who serve them. |
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| Xuezhuang, a Qing Dynasty monk, built Cloud Palace in Huangshan and itemized the locations throughout the mountain; see below: |
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| Early Wang Meng! he wants to paint emptiness, but cannot help but connect each element! |
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| Foretelling a natural proclivity to pile it on...in fantastical landscapes that never cease to inspire. |
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| Ni Tsan, his opposite, whose neutral, dry brush epitomizes Francois Jullien's notions of the Bland, the neutral that permits all phenomena to circulate, without flavor or attachment to any one outcome. Ni Tsan foresook his considerable estate during the Mongol invasion and freed himself, as a nomad, for the remainder of his life. |
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| My biggest crush at the moment, competing with Shanghainese painter Cheng Jialing, whose wild lotus works are defined as something "girls will like": Wu Guanzhong's brilliant ink paintings, here shown in Seascape at Beidahe, 1977. |
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| Hongren, later 1700s |
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| A series of beautiful landscapes by Dai X. |
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| Lu Hui, Waterfalls off a Cold Cliff |
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| Wen Zhemeng~ a favorite. |
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| Luo Ping's effervescent touch! |
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| Wu Tao |
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| Guo Tan? Not sure I have that right, but what a painting! |
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| Two paintings, one by the uncle, one by the nephew. |
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| The endless improvisations in scroll painting reveal powers of concentration that are formidable. It's really a performance art; teacher I-Hsiung Ju writes well of composing and performing, suggesting each play a vital role in creation. |
