Courtesy Name: Qinan
One of the Four Masters of Ming Dynasty painting and leaders of the Wu School
Born in 1427 into a wealthy family in Changzhou (Modern Suzhou), Jiangsu province. He passed in 1509.
Instead of taking up an official post like his relatives, Shen Zhou involved himself in the arts such as poetry, painting and calligraphy.
He was recognised as one of the most influential artists of the Ming Dynasty as he contributed greatly to the Wu School in Suzhou. The Wu School explored paintings and art as more of a form of self-expression and stood out from the somewhat stringent style of scholar-painter art that stuck to a certain structure.
He was greatly inspired by many artists who practised the Yuanti style of Literati Art. His friend Liu Jue was also one of his inspirations. Shen Zhou has also established a flower painting tradition amongst the literati artists. People of the time often classified Shen Zhou art as ‘boneless’ meaning his work had no typical structure and system. Unlike the Zhe school which had mainly followed the Southern Song style of painting, focusing on the imperial painting academic skills, the Wu School followed a more expressionistic and freedom approach towards their pieces.
Thus I wanted to greatly mention how Shen Zhou had greatly impacted the art scene in the Mid Ming Dynasty. Taking an approach and changing the perspective and tradition of how people viewed art. Allowing for a more emotional connection and emotive depictions of works.
Lofty Mount Lu (Hanging scroll, ink and colours on paper)
This piece was completed in honour of the 70th birthday of Chen Kuan (陳寬), Shen Zhou’s teacher.
This painting has showcased that Shen Zhou has earned his name as one of the Four Masters of the Ming Dynasty. His attention to detail and the different textures he has illustrated depict the likeliness and life of nature. His practice of Shan Shui paintings showcases his methods and technique in this painting. The flow and balance, and the gentle deductions of each object and their element.
Shen Zhou had a well-developed control of his brush. Developing value and texture with the different strokes and ink values. He has constructed and balanced his work in a way where it looks harmonious.
The mountains and slopes were first modelled with fine light strokes and tinted with light ink.
Layers of dark ink were added to build up the slopes. The mists and the colouring of the mountains are particularly luminous and well done. A waterfall flows down into the valley, the ripples in the water are then illustrated with light ink washes creating a gentle and soothing transition.
At the very bottom of the painting, if seen closer, Shen Zhou has drawn in a scholar, standing at the edge of the river admiring the view. This comparison and distinct difference in size illustrate the grandness and vastness of the scenery he illustrated.
Looking at it from a literary view, Shen Zhou incorporated a lot of emotion and vulnerability into his work. As we glance upon the era where Ming Dynasty paintings have taken more of an artistic and expressionistic side with the start of the Wu School by Shen Zhou, we can see that each piece holds much more emotion and value. The lightness of the brush and the precision of each stroke, bold or thick, hold much more depth and thought than simply replicating a scenic view.
Chrysanthemum (Hanging scroll, ink on paper)
The poem he depicts along with this painting talks about the calmness and appreciation of a cold evening. As autumn arrives the scent of chrysanthemums are carried in the air. Even though the flower itself, colour pale, it resembles the feeling of emptiness and nothing as one rests and enjoys the evening head blank and free of thought.
A more poetic and literature focus piece Chrysanthemum is showcased Shen Zhou ability in literature as well. The expression although not as impactful and deep as one would experience when reading the authentic piece still holds thought and causes us to ponder when read. He pairs this along with a few stalks of a chrysanthemum flower. Even though the drawing literal, accompanies and complements the visceral emotion that Shen Zhou wishes to showcase in his work.
Appreciating potted chrysanthemum in tranquillity (handscroll, ink and colour on paper)
The painting is a depiction of the culture and the way he often spent his time. The hut he illustrated contained probably his friends (poets and artists). Shen Zhou handling of ink and brush strokes showcased his expression and intention of wanting to create this sort of tranquillity and peace. The mild washed colours of a cold green almost a jade, turquoise colour. The spotted brush dashes of colour like yellow, pink and white represent the chrysanthemum flowers in the garden.
Shen Zhou had painted it with the idea of wanting to capture the moment and was able to as well incorporate his own emotions and feelings while painting it. This serene calm and the cold view was evoked through his varying brushstrokes and choice of colours. The simplicity of the scenery and time had illustrated full of emotion and showcase of his feelings.
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