Enjoying the Wilderness in an Autumn Grove. Artist: Ni Zan (Chinese, 1306-1374). Culture: China. Dimensions: Image: 38 5/8 x 27 1/8 in. (98.1 x 68.9 cm) Overall with mounting: 106 7/8 x 35 7/8 in. (271.5 x 91.1 cm) Overall with knobs: 106 7/8 x 40 in. (271.5 x 101.6 cm). Date: dated 1339. Until the early 1340s, Ni Zan lived the life of a wealthy dilettante, spending his time among the precious books, antiques, and flowers of his Pure and Secluded Pavilion. His painting style at the time, as seen here, exhibits a studied archaism in which his interest in descriptive detail is at odds with hi

- Image ID: PA94BW
Enjoying the Wilderness in an Autumn Grove. Artist: Ni Zan (Chinese, 1306-1374). Culture: China. Dimensions: Image: 38 5/8 x 27 1/8 in. (98.1 x 68.9 cm) Overall with mounting: 106 7/8 x 35 7/8 in. (271.5 x 91.1 cm) Overall with knobs: 106 7/8 x 40 in. (271.5 x 101.6 cm). Date: dated 1339. Until the early 1340s, Ni Zan lived the life of a wealthy dilettante, spending his time among the precious books, antiques, and flowers of his Pure and Secluded Pavilion. His painting style at the time, as seen here, exhibits a studied archaism in which his interest in descriptive detail is at odds with hi
Album / Alamy Stock Photo
Image ID: PA94BW
Enjoying the Wilderness in an Autumn Grove. Artist: Ni Zan (Chinese, 1306-1374). Culture: China. Dimensions: Image: 38 5/8 x 27 1/8 in. (98.1 x 68.9 cm) Overall with mounting: 106 7/8 x 35 7/8 in. (271.5 x 91.1 cm) Overall with knobs: 106 7/8 x 40 in. (271.5 x 101.6 cm). Date: dated 1339. Until the early 1340s, Ni Zan lived the life of a wealthy dilettante, spending his time among the precious books, antiques, and flowers of his Pure and Secluded Pavilion. His painting style at the time, as seen here, exhibits a studied archaism in which his interest in descriptive detail is at odds with his self-conscious use of calligraphic "hemp fiber" brushstrokes in the manner of tenth-century masters. Ni's gentleman seated in a rustic pavilion is shorthand for the scholar in his studio. His florid poem exhibits a similarly precious quality of one entirely absorbed in his immediate surroundings. It reads, in part: In the bright days, bamboo wave in the breeze; In the dark nights, parasols of fir hold up the moon. Burning incense I use [a censer in the form of] a gilded duck; Gathering scattered petals, I place them inside my pillow. (trans. Wen Fong). Museum: Metropolitan Museum of Art, New York, USA.