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Five Dynasties Period Zhao Gan (ca. late 10th c.)

Early Snow on the River

Early Snow on the River

  • Handscroll, ink and colors on silk
  • 25.9 x 376.5 cm

Zhao Gan, a native of Jiangning in Kiangsu, was a student at the Painting Academy of the Southern Tang ruler Li Yu (937-978) during the Five Dynasties period. According to Xuanhehuapu (Painting Catalogue of the Hsuan-ho Era), his paintings were mostly of southern scenery in the Jiangnan area. This is possibly his only surviving work. At the right margin at the beginning of this scroll is an inscription by Li Yu giving the title and artist's name and position, indicating that it was probably done by Chao while working in the Painting Academy.

The life of fishermen takes place on the water and by the banks in this painting. The artist captured all manners of daily life, including paddling, setting nets, and even cooking . Various naturalistic expressions, even figures shivering in the cold , add to the imagination of the scenery here. Like other authentic Five Dynasties works, the description of the earthen areas was done using washes and without a texture stroke method, apparently a feature of the pre-Northern Song painting. This also appears in the rendering of the trees, which do not reflect any influence of the "crab-claw" branches  fmethod found in the early Northern Song style of Li Cheng and Guo Xi. The simple treatment of the trees and earthen areas  therefore indicates that this painting could not have been done later than the Northern Song. In this work, the hardships  of fishermen in an early snow fall into a genre of painting describing the life of common people. An attached end piece  for the scroll is a record by eleven officials of different ethnic backgrounds from the Kuizhang  Pavilion  who presented this work in 1329. This event took place after Emperor Wenzong (Tegtemur) established the Kuizhang Pavilion, where officials served as connoisseurs for the Mongol rulers and presented this work.

This work, which had also passed through the imperial collection of the previous northern dynasty-the Chin, later came into the possession of the Ming court, such later famous collectors as An Qi  and Liang Qing -piao, and finally the Qing court.

 
Paddling, setting nets, and even cooking

Paddling, setting nets, and even cooking
Shivering in the cold

Shivering in the cold
"Crab-claw" Branches

This technique in painting is named for the way in which forms are akin to those of intertwining branches, like fingers extending from an open palm. It was a technique commonly ascribed to the painting school of Li Cheng and Guo Xi.

Trees and earthen areas

Trees and earthen areas
【解說小字典】

Hardships:

Hardships
Attached End Piece

In the mounting of painting and calligraphy in China, a piece of blank paper was often attached at the end, which could be used for inscribing poetry or records. Because a handscroll is gradually unrolled from right to left, the attached piece does not appear until the very end..

Kuizhang Pavilion

The Kuizhang Pavilion was established in 1329 and comprised three rooms in the Xingsheng Hall at the inner court. One room was for storage, and the other two were offices that included an imperial throne and a display room for treasures. Originally a consultative agency at court, it was later placed in charge of palace library objects and became a place where the emperor and his close officials could exchange ideas. Important officials in this agency included Yu Ji, Ke Jiusi, and Ya Hu. Its golden period lasted only two years as its officials were gradually impeached starting in its third year. After Emperor Wenzong died, the Kuizhang Pavilion declined even further and was formally abolished in 1340.

Pavilion

Pavilion
An Qi

An Qi (1683-?) was of Korean descent and later entered the Manchu banner system of the Qing dynasty, living in Tianjin. Passed away between 1744 and 1746, he was a noted connoisseur of painting and calligraphy at the time. An Qi came from a wealthy family that had a monopoly in salt-selling. Studying since he was a youth, he also appreciated painting and calligraphy. When other connoisseurs of his time passed away, he often bought the masterpieces in their collections. Most of his treasured collection were recorded in his Moyuanhuiguan (Catalogue of Works Seen).