Courtesy Name: Bohu
One of Four Masters of Ming Dynasty Painting, Suzhou masters, One of the Four literary masters of the Wuzhong (Suzhou) region/ Four Literary Masters of Jiangnan (south of the Yangtze River)
Pupil of Shen Zhou and friend of Wen Zhengming, student of Zhou Chen
Born 1470 and passed 1524.
A scholar, painter, calligrapher and poet. His works were famous for use of literati art his expression in his poems and his skill for painting. Tang Yin was known for his academic achievements and wanted to achieve a position in the civil service. However, he was denied further advancement of scholarly pursuits due to an act of attempted bribery.
After the halt in his cultivation of becoming an official, he had an easygoing life in which he lived off the money he earned from selling his works.
Tang Yin associated his works with the expression of feminine beauty and followed his pursuit of style. However back then, many artists believed that wanting to pursue one’s style and painting based on inspiration was something that required money. Tang Yin however believed otherwise and decided to not stick to painting scholar and imperial styled art.
His insight and way of expression were thought to be profound and artistic. Unlike his peers Wen Zhengming or Shen Zhou, Tang Yin delved into the expressionistic and emotive side of the painting. His paintings were done based on human emotions and dealt with elements of the time in which he wanted to create and describe. His use of art and literature created a relationship and abundance of descriptive emotions.
A short verse on bamboo (poem):
'The moon sinks in the fourth watch, Paper windows seem transparent; Stirring from wine, I prop my head and read awhile. High thoughts, I force myself, but can't help it; Ten stalks, still green in winter, cast profuse shadows.'
Tang Yin’s poetry although loosely translated holds this predicament and showcase of his emotions. Many people in the time often used poems as a way of communication, expression and storytelling.
This poem tells the story of a night of drinking, the light of the moon so bright as it shines into the room, making the paper of the windows seem almost non-existent. He’s drowsy from the wine but he gets up to read. He starts to think of things induced by alcohol, most likely indistinguishable thoughts. He tries to get rid of them but he can’t help it. He then alludes to how bamboo stalks in the winter remain green and no matter what won't ever cast shadows. It seems to depict that even under the cover of the snow, the true nature of the plant shows. And no matter you will not be able to hide away from the shadows.
I would like to think the way he has written this is in explanation to the true nature of someone at night as they are drowned by their thoughts. With or without the presence of alcohol, one is weighed by these ‘High thoughts’. A true nature that they can never hide no matter the cover, as the shadows of their wrongdoings and sins will be seen under the light.
Thatched Cottage Covered by Snow (Hanging scroll, ink and light colour on paper)
The painting depicts a snowy mountain terrain with the main house situated at the edge of the valley and the side house located further down at the lower mountains. A waterfall flowing through the upper home and down into the below.
Tang Yin uses the idea of blank space and the texture of mountains to shape the snow. Using the different colours to create this blank and white looking atmosphere that would be covered by snow.
The differing shapes of the mountains and the values he has added into the caves and cracks of the mountain to create depth. The bottom of the mountains is painted with more layers and darker ink. The textures are cruder and harsh. At the very bottom of the painting, there is a servant seen walking in the snow path with an umbrella, a little feature I would like to imagine Tang Yin added.
At the bottom right side of the painting, a river can be seen flowing out into the afar. The way Tang Yin has painted this creates the perspective and depth that it is further away. By drawing it with the light shaded ink wash and painting across the base of the painting, he then builds on this terrain for the river to flow and form.
The main house is also surrounded by trees but there is still a small structure of the house we can see the roof of one of the structures. The roof was a significant architectural design of Chinese homes back in the past and very little remain in some of the homes of mainland China houses today.
This scenery Tang Yin has painted depicts the cold yet beautiful winter terrain, The season cold, the little houses situated at the edges of the mountain forming an artistic balance as we look at the painting.
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