Palaces among Autumn Mountains Unidentified artist During the Yuan dynasty, the archaic blue-and-green landscape style was revived by scholar-artists in the south, who sought new modes of self-expression through a conscious return to models of the past. The rich mineral pigments that characterize this style also made it a favorite of professional and court painters, who never entirely stopped producing decorative works in this fan painting and its mate, Village and Temples in Jiangnan, typify late fourteenth- and early fifteenth-century interpretations of this decorative style. The

Palaces among Autumn Mountains Unidentified artist During the Yuan dynasty, the archaic blue-and-green landscape style was revived by scholar-artists in the south, who sought new modes of self-expression through a conscious return to models of the past. The rich mineral pigments that characterize this style also made it a favorite of professional and court painters, who never entirely stopped producing decorative works in this fan painting and its mate, Village and Temples in Jiangnan, typify late fourteenth- and early fifteenth-century interpretations of this decorative style. The prominent use of “hemp-fiber wrinkles” to texture rock surfaces reflects the late Yuan preference for the brush idiom of Dong Yuan (active 930s–960s) and Juran (active 960–95); the complex composition and confident rendering of three-dimensional forms in space closely parallel the landscape murals (dated 1358) at the Yonglegong Palaces among Autumn Mountains 45664

How we Work

Contribute

Legal

Contact Us