Asian Art Chapter 8

Dong Yuan, Wintry Groves and Layered Banks, Southern Tang Dynasty, 950 CE, hanging scroll, ink and color on silk

Li Cheng, A Solitary Temple Amid Clearing Peaks, Northern Song Dynasty, 960 CE, hanging scroll, ink and color on silk

Guo Xi, Early Spring, Northern Song Dynasty, 1072 CE, hanging scroll, ink and color on silk

Li Gonglin, Five Tribute Horses, Northern Song Dynasty, 1090 CE, handscroll, ink on paper

Ma Yuan, Viewing Plum Blossoms by Moonlight, Southern Song Dynasty, fan mounted as album leaf, ink and color on silk

Fachang Muqi, Evening Bell From Mist-Shrouded Temple, Southern Song Dynasty, handscroll, ink on paper

Angie, White Stupa, Yuan Dynasty, 1279, stone with stucco and bronze

Zhao Mengfu, Sheep and Goat, Yuan Dynasty, 1300-1305 CE, handscroll, ink on paper

Huang Gongwang, Dwelling in The Fuchun Mountains, Yuan Dynasty, 1347-50 CE, handscroll, ink on paper

Fan Kuan, Travelers Among Mountains and Streams, Northern Song Dynasty, 1000 CE, hanging scroll, ink and color on silk

colophon

inscription mounted after a painting 

mineral pigments

colored media that come from mineral sources such as azurite, malachite, cinnabar

Landscape

a painting composed of mountain and water elements

Dong-Ju Tradition

named for Dong Yuan and Juran, feature hemp-fiber strokes, alum lumps to indicate vegetation and tree trunks exposed from root to tip

hemp-fiber strokes

long ropy brushstrokes used to indicate texture in Dong-Ju tradition

alum lumps

rock formations in Dong-Ju painting tradition that resemble lumps of potassium aluminum sulfate

Li-Guo Tradition

painting tradition named after Li Cheng and Guo Xi, features serpentine mountain ridges, trees with crab-claw branches and representations of level distance

ruled line style

method of using straight-edges to depict buildings in paintings

plain-outline style

originated with Li Gonglin, elements are depicted with simple outlines and no color. 

Ma-Xia School

group of painters influenced by Ma Yuan and Xia Gui that used one corner composition, ink wash, axe-cut stroke and angular branches

one-corner composition

composition weighted towards one of the bottom corners leaving negative space in opposite corner for inscription

axe-cut stroke

triangular brushstroke that suggests texture of wood chopped by axe