COLLECTION NAME:
National Palace English
mediaCollectionId
ChineseArtENG~1~1
National Palace English
Collection
true
Work ID:
M01E00257
work_id
M01E00257
Work ID
false
Title:
Self-portrait of Planting Pines
title_e
Self-portrait of Planting Pines
Title
false
Creation Date:
Qing Dynasty
date_creation_e
Qing Dynasty
Creation Date
false
Start Year Date:
A.D.1644
date_creation_start_e
A.D.1644
Start Year Date
false
End Year Date:
A.D.1911
date_creation_end_e
A.D.1911
End Year Date
false
Dynasty:
63 Qing Dynasty (A.D. 1644~1911)
dynasty
63 Qing Dynasty (A.D. 1644~1911)
Dynasty
false
Creator:
Shi Tao
creator_e
Shi Tao
Creator
false
Creation Place:
China
place_creation_e
China
Creation Place
false
Measurements:
40.3 x 170.0 cm
measurements_e
40.3 x 170.0 cm
Measurements
false
Material:
Ink and light color on paper
material_e
Ink and light color on paper
Material
false
Form:
Shou-juan (hand scroll)
form_e
Shou-juan (hand scroll)
Form
false
Type:
Painting
type_e
Painting
Type
false
Subject:
Figure
subject_e
Figure
Subject
false
Repository:
The National Palace Museum, Taipei
repository_e
The National Palace Museum, Taipei
Repository
false
Description:
Painted in light colors, the figure of Shitao grasps a hoe and sits comfortably beneath the pine trees. On the left, a monkey and a monk pool their strength to lift a small pine, roots and all. They bring it to Shitao for replanting. A considerable strangeness characterizes the painting's composition. The bone structure of Shitao's face can be clearly seen and conveys a refined quality. A reddish brown color highlights his face, rendering a lifelike portrait. Shitao uses the baimiao (ink outline) technique to draw the drapery folds, which layer and turn following the contours of the body. The result is numerous, even arcs, wittily suggesting the painting technique of Cao's "drapery pulled out of the water."Shitao once spent some time living at a small temple in Jingjiang, near Huangshan (the Yellow Mountains). While there, he deliberately transplanted pine trees from Huangshan to the temple grounds, and he also raised a monkey for a companion. Thus, we have reason to believe that Self-portrait of Planting Pines is a vivid record of a scene from his life at that time.
description_e
Painted in light colors, the figure of Shitao grasps a hoe and sits comfortably beneath the pine trees. On the left, a monkey and a monk pool their strength to lift a small pine, roots and all. They bring it to Shitao for replanting. A considerable strangeness characterizes the painting's composition. The bone structure of Shitao's face can be clearly seen and conveys a refined quality. A reddish brown color highlights his face, rendering a lifelike portrait. Shitao uses the baimiao (ink outline) technique to draw the drapery folds, which layer and turn following the contours of the body. The result is numerous, even arcs, wittily suggesting the painting technique of Cao's "drapery pulled out of the water."Shitao once spent some time living at a small temple in Jingjiang, near Huangshan (the Yellow Mountains). While there, he deliberately transplanted pine trees from Huangshan to the temple grounds, and he also raised a monkey for a companion. Thus, we have reason to believe that Self-portrait of Planting Pines is a vivid record of a scene from his life at that time.
Description
false
ImageV ID:
M01E00257AS000
imagev_id
M01E00257AS000
ImageV ID
false
Rights:
Lee & Lee Communications
rights
Lee & Lee Communications
Rights
false