alb3630090

LU GUANG. Spring Dawn Over the Elixir Terrace

Spring Dawn Over the Elixir Terrace. Artist: Lu Guang (Chinese, ca. 1300-after 1371). Culture: China. Dimensions: Image: 24 1/4 x 10 1/4 in. (61.6 x 26 cm)
Overall with mounting: 87 1/2 x 17 5/8 in. (222.3 x 44.8 cm)
Overall with knobs: 87 1/2 x 20 5/8 in. (222.3 x 52.4 cm). Date: ca. 1369.
To escape the turbulence of the closing years of the Yuan dynasty, Lu Guang traveled far from his native city of Suzhou. He painted Spring Dawn after his return to the Lake Tai area, following the establishment of the Ming dynasty in 1368. The reference to the Elixir Terrace in the title of the painting indicates the artist's interest in both Daoist alchemy and the pursuit of immortality; the poem, which describes "elixir rays emitted from a well turning into [auspicious] clouds at dawn," expresses Lu's optimism in the new era. In the city of Wuxing in 1369, Lu Guang saw and inscribed an important painting attributed to Yan Wengui (act. ca. 980-1010). Although Spring Dawn, which was painted about the same time, shows the influence of Yan Wengui's monumental composition, Lu Guang's brushwork is utterly different from the Northern Song descriptive style. The loosely directed kinesthetic brush-strokes, building layer after layer upon themselves, evoke landscape forms as might a tone poem.

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Auteur:

LU GUANG (ca. 1300-after 1371)

Titre:

Spring Dawn Over the Elixir Terrace

Légende: Voir la traduction automatique

Spring Dawn Over the Elixir Terrace. Artist: Lu Guang (Chinese, ca. 1300-after 1371). Culture: China. Dimensions: Image: 24 1/4 x 10 1/4 in. (61.6 x 26 cm) Overall with mounting: 87 1/2 x 17 5/8 in. (222.3 x 44.8 cm) Overall with knobs: 87 1/2 x 20 5/8 in. (222.3 x 52.4 cm). Date: ca. 1369. To escape the turbulence of the closing years of the Yuan dynasty, Lu Guang traveled far from his native city of Suzhou. He painted Spring Dawn after his return to the Lake Tai area, following the establishment of the Ming dynasty in 1368. The reference to the Elixir Terrace in the title of the painting indicates the artist's interest in both Daoist alchemy and the pursuit of immortality; the poem, which describes "elixir rays emitted from a well turning into [auspicious] clouds at dawn," expresses Lu's optimism in the new era. In the city of Wuxing in 1369, Lu Guang saw and inscribed an important painting attributed to Yan Wengui (act. ca. 980-1010). Although Spring Dawn, which was painted about the same time, shows the influence of Yan Wengui's monumental composition, Lu Guang's brushwork is utterly different from the Northern Song descriptive style. The loosely directed kinesthetic brush-strokes, building layer after layer upon themselves, evoke landscape forms as might a tone poem.

Technique/matériel:

Hanging scroll; ink on paper

Période:

early Ming dynasty (1368-1644)

Musée:

Metropolitan Museum of Art, New York, USA

Crédit:

Album / Metropolitan Museum of Art, NY

Autorisations:

Modèle: Non - Propriété: Non
Questions sur les droits?

Taille de l'image:

3098 x 4400 px | 39.0 MB

Taille d'impression:

26.2 x 37.3 cm | 10.3 x 14.7 in (300 dpi)

Mots clés:

ART ASIATIQUE • ASIA • CHINA • ENCRE • LU GUANG • METROPOLITAN MUSEUM OF ART, NEW YORK, USA