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Chinese Mountains Scenery Room Divider Screen

Chinese Mountains Scenery Room Divider Screen
Chinese Mountains Senary Room Divider Screen Chinese Mountains Senary Room Divider Screen - Part 2 Chinese Mountains Senary Room Divider Screen - Part 3 Original Painting from Taiwan National Mesuem
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Item No: SN4-MTN

Item Name: Chinese Mountain Painting Room Divider Screen

Material: Wood


Each Panel : 40cm (W) x 185cm (H)

Fully Open : 160cm (W) x 185cm (H)

This gorgeous traditionally painted Chinese screen pays true testament to Chinese hand made craftsmanship. Intricately painted, this hand painted screen can be arranged in any fashion to create a dynamic look, or practical space away from prying eyes. It features a crackled antique finish that simply completes a wonderful piec.

THE REVERSE SIDE has gold bamboo painted on a black background

Original: Old Trees, Level Distance, Northern Song dynasty (960–1127) Guo Xi (Chinese, ca. 1000–ca. 1090) Handscroll; ink and color on silk; 13 3/4 x 41 1/4 in. (34.9 x 104.8 cm) Gift of John M. Crawford Jr., in honor of Douglas Dillon, 1981 (1981.276) Guo Xi was the preeminent landscape painter of the late eleventh century.

Although he continued the Li Cheng (919–967) idiom of "crab-claw" trees and "devil-face" rocks, Guo Xi's innovative brushwork and use of ink are rich, almost extravagant, in contrast to the earlier master's severe, spare style. Old Trees, Level Distancecompares closely in brushwork and forms to Early Spring, Guo Xi's masterpiece dated 1072 (National Palace Museum, Taipei). In both paintings, landscape forms simultaneously emerge from and recede into a dense moisture-laden atmosphere: rocks and distant mountains are suggested by outlines, texture strokes, and ink washes that run into one another to create an impression of wet blurry surfaces.

Guo Xi describes his technique in his painting treatise Linquan gaozhi (Lofty Ambitions in Forests and Streams): "After the outlines are made clear by dark ink strokes, use ink wash mixed with blue to retrace these outlines repeatedly so that, even if the ink outlines are clear, they appear always as if they had just come out of the mist and dew."