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Chine XIXe siècle
Long horizontal painting in ink and colour on silk with the theme "Han
Gong Chun Xiao", 汉宫春晓, "In a Han court palace on a spring morning", from an original painted by Qiu Yin (1494-1552), kept at the National Palace Museum
in Taibei, Taiwan.
More than one hundred figures, including court ladies, eunuchs, children, maids, painters, and others, live among pavilions, courtyards and gardens in the women's quarter of a palace of the Han imperial court (202 pre-220 A.D.).C.), engage in various activities in an atmosphere where daily life appears idyllic.
Some have even wanted to see, in the scene where a painter portrays a young beauty, the story of the court painter
Mao Yanshou and the concubine Wang
Zhaojun. She refused to pay the painter to embellish her, as was the custom, so he painted her uglier than she was, so that she would not be chosen by the emperor. When the emperor realized this, he ordered the execution of the artist.
This painting bears the apocryphal signature of Zhao Mengfu (1254-1322), to whom tradition attributes the first representation of this scene. The Qiu Yin painting was copied or adapted many times during the Qing period, the theme being very popular and considered a perfect guide to good manners.
H. 36.5 cm - W. 471 cm
(Numerous wears, cracks and folds| small tears in the border)
Provenance
The present owner is said to have acquired this work in Prague in 1993 from the widow of a high-ranking official of the Czech Ministry of Culture during the communist period, to whom a representative of the Chinese cultural authorities gave the painting as a gift around 1970.
Similar works
Another scroll is kept in the Walters
Art Museum in Baltimore, dated from the 17th century.
中国 十九世纪初
仕女图 绢本设色
Long horizontal painting in ink and colour on silk with the theme "Han
Gong Chun Xiao", 汉宫春晓, "In a Han court palace on a spring morning", from an original painted by Qiu Yin (1494-1552), kept at the National Palace Museum
in Taibei, Taiwan.
More than one hundred figures, including court ladies, eunuchs, children, maids, painters, and others, live among pavilions, courtyards and gardens in the women's quarter of a palace of the Han imperial court (202 pre-220 A.D.).C.), engage in various activities in an atmosphere where daily life appears idyllic.
Some have even wanted to see, in the scene where a painter portrays a young beauty, the story of the court painter
Mao Yanshou and the concubine Wang
Zhaojun. She refused to pay the painter to embellish her, as was the custom, so he painted her uglier than she was, so that she would not be chosen by the emperor. When the emperor realized this, he ordered the execution of the artist.
This painting bears the apocryphal signature of Zhao Mengfu (1254-1322), to whom tradition attributes the first representation of this scene. The Qiu Yin painting was copied or adapted many times during the Qing period, the theme being very popular and considered a perfect guide to good manners.
H. 36.5 cm - W. 471 cm
(Numerous wears, cracks and folds| small tears in the border)
Provenance
The present owner is said to have acquired this work in Prague in 1993 from the widow of a high-ranking official of the Czech Ministry of Culture during the communist period, to whom a representative of the Chinese cultural authorities gave the painting as a gift around 1970.
Similar works
Another scroll is kept in the Walters
Art Museum in Baltimore, dated from the 17th century.
中国 十九世纪初
仕女图 绢本设色