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  • Thumbnail for Fan painting - Orchids, rocks and mushrooms - detail of inscription
    Fan painting - Orchids, rocks and mushrooms - detail of inscription by Shen Rong (act. 1820-1850)

    To the right are two five character quatrains comparing the orchid to the fragrance of a woman. At the end is the dedication and signature. Shen Rong, zi Shixiang, has a minimal presence in the literature. He was known for his flowers, as well as landscape in the manner of the Loudong School, associated with the early Qing master Wang Yuanqi. The single work cited in Sirén is also of an orchid, and Sirén states that he was active around 1830. To the right are two five-character quatrains comparing the orchid to the fragrance of a woman. At the end is the dedication and signature. The literary and pictorial conceit of the wild orchid is a very old one in China, and one that a student could follow in an essay on the topic. The orchid is inobtrusive, not at all showy like many seen in greenhouses today, yet its fragrance pervades the air. This is a metaphor for the proper Confucian gentleman, whose character influences others although he may be retired socially. The long pliant leaves of the plant allow the calligraphic possibilities of the brush to come into play, and the solidity of the rock contrasts with the softness of the plant. The mushroom is always a symbol of longevity, sometimes associated with Daoist practices.

  • Thumbnail for Fan painting - Orchids, rocks and mushrooms
    Fan painting - Orchids, rocks and mushrooms by Shen Rong (act. 1820-1850)

    To the right are two five character quatrains comparing the orchid to the fragrance of a woman. At the end is the dedication and signature. Shen Rong, zi Shixiang, has a minimal presence in the literature. He was known for his flowers, as well as landscape in the manner of the Loudong School, associated with the early Qing master Wang Yuanqi. The single work cited in Sirén is also of an orchid, and Sirén states that he was active around 1830. To the right are two five-character quatrains comparing the orchid to the fragrance of a woman. At the end is the dedication and signature. The literary and pictorial conceit of the wild orchid is a very old one in China, and one that a student could follow in an essay on the topic. The orchid is inobtrusive, not at all showy like many seen in greenhouses today, yet its fragrance pervades the air. This is a metaphor for the proper Confucian gentleman, whose character influences others although he may be retired socially. The long pliant leaves of the plant allow the calligraphic possibilities of the brush to come into play, and the solidity of the rock contrasts with the softness of the plant. The mushroom is always a symbol of longevity, sometimes associated with Daoist practices.

  • Thumbnail for Kanizawa
    Kanizawa by Hiroshige, Ando

    Woodblock print, 17.25 x 11.5 inches, by Ando (or Utagawa) Hiroshige; a modern copy printed with different size blocks. It shows three figures at night, one, perhaps a merchant seated on a horse and smoking a pipe, with two others standing alongside, near a fire. The village lies before them. Hiroshige (1792-1858) was one of the most important Ukiyo-e artists. His woodblock prints always have corners that are indented as here.