Qian Xuan作、Ode on Returning Home ( (401))、熟練の絵師による手描きの油彩画複製画
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Ode on Returning Home 手描きの油彩画複製画

寸法
107.0cm x 26.0cm

Explore the art of Qian Xuan (1235-1305), a prominent Song Dynasty painter known for landscapes, 'fur & feathers,' & blending realism with archaic styles. Discover his legacy at WahooArt!

手描き油彩複製画

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¥ 47011

Ode on Returning Home

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合計金額

¥ 47011

Qian Xuan was a celebrated Song loyalist who, following the Mongol conquest, supported himself through painting. Toward the end of his life, however, he complained that his works were being forged. Here, both the calligraphy and painting are modeled closely on Qian"s style, suggesting that the work is a faithful copy.Qian"s composition was inspired by Tao Qian"s (365–427) poem "Returning Home," written in 405 after Tao resigned from public office. In it, Tao expresses his preference for poverty over the compromises and constraints of official life, establishing forever the ideal of the home and garden as a personal retreat. Clearly, Qian saw Tao"s poem as a reflection of his own life in reclusion. Using the archaic "blue-and-green" style in a new, purposefully naive manner, he created a dreamlike environment that exists outside the realm of temporal troubles. His poem, written to the left of the picture, is both an appreciation of Tao and an expression of his state of mind:In front of his gate he plants five willows,By the eastern fence, he picked chrysanthemums.In his long chant is a lingering purity,There is never enough wine to sustain him.To live in this world it is necessary to become deeply drunk,To take office would only bring shame.In a moment of inspiration he composes "Returning Home"The poem of one thousand years.

Q&A

「Ode on Returning Home」において、コントラストと調和はどのように組み合わさっているのでしょうか?

Qian Xuan作「Ode on Returning Home」 の色彩分析は、Serene なコントラストと Unified Palette な調和を捉えています。

Qian Xuanには、他にどのような別名や通称がありますか?

「Ode on Returning Home」の作者であるQian Xuanには、他にShun Ju, Yu Tan, Xi Lanweng, Zha Chuanwengといった名称でも記録されています。

Qian Xuanによる「Ode on Returning Home」はパブリックドメインに含まれますか?また、その理由は何ですか?

Qian Xuan作「Ode on Returning Home」はパブリックドメイン(著作権消滅)です。著作権の保護期間は、1305年に亡くなった作家の没年から起算されます。


作家プロフィール

The Poet Painter of Wuxing: The Soul of a Song Loyalist

In the turbulent transition between the Southern Song and the Yuan Dynasty, few figures embody the quiet resilience of the Chinese scholar-official as poignantly as Qian Xuan. Born around 1235 in the serene landscape of Zhuzhou, within the modern Wuxing District, Qian Xuan’s life was a profound study in the tension between worldly ambition and spiritual retreat. Initially, he sought to climb the rigorous ladder of the Song bureaucracy, yet the shifting tides of history—specifically the Mongol conquest of 1276—forever altered his destiny. Rather than submitting to the new political order, Qian Xuan chose a path of dignified reclusion, turning away from the halls of governance to find solace in the delicate strokes of a brush and the rhythmic beauty of poetry.

This transition from aspiring official to dedicated artist was not merely a change in occupation but a profound philosophical shift. As a Song loyalist, his heart remained tether and tethered to the fallen dynasty, a sentiment that infused his work with a subtle, melancholic grace. He became one of the celebrated "Eight Talents of Wuxing," a group of intellectuals who found in art a way to preserve the cultural essence of a vanishing era. His life, marked by this refusal to compromise his principles, transformed him into a master of the literati tradition, where every landscape and every petal served as an expression of inner integrity.

A Mastery of Fur, Feathers, and Archaic Elegance

Qian Xuan’s artistic technique is celebrated for its breathtaking synthesis of disparate eras. He possessed a rare ability to marry the meticulous realism of the Song Dynasty with the more stylized, archaic aesthetics of the Tang Dynasty. This fusion gave rise to his reputation as a master of the "fur and feathers" style, a method characterized by an almost supernatural precision in depicting the textures of nature. Whether it was the soft down of a bird or the delicate sheen of a petal, his work breathed with a lifelike vitality that felt both immediate and timeless.

His repertoire was remarkably diverse, spanning several specialized genres:

  • Bird-and-Flower Painting: Where he utilized fine lines and subtle washes to capture the ephemeral beauty of the natural world.
  • Landscape Painting (Shan Shui): A genre in which he explored deep emotional resonances, often using landscape as a metaphor for political longing or personal peace.
  • Character Painting: Demonstrating his skill in capturing the essence and dignity of the human form through portraiture.

One of his most profound technical achievements was his use of the "blue-and-green" style, an ancient method he revitalized with a purposefully naive and dreamlike quality. This approach allowed him to create environments that felt detached from the temporal troubles of the Mongol occupation, offering viewers a sanctuary of pure, unblemated beauty.

Legacy and the Echoes of Home

The historical significance of Qian Xuan lies in his ability to use art as a vessel for memory and identity. His landscapes were rarely just depictions of scenery; they were emotional topographies. In works such as Home Again, one can sense a profound yearning for the restoration of native Chinese rule, a sentiment that resonated deeply with the displaced intellectuals of his time. Similarly, his ability to interpret the styles of predecessors, such as his breathtaking Landscape in the Style of Ni Zan, demonstrates a deep reverence for the lineage of Chinese art and an ability to weave historical continuity into his own unique vision.

Even as he faced the challenges of a changing world—and even lamented toward the end of his life that his works were being forged—Qian Xuan remained a steadfast guardian of aesthetic purity. His legacy is not found merely in the physical beauty of his paintings, but in the spirit of reclusion and loyalty he championed. Through his brush, the lost splendor of the Song Dynasty was preserved, ensuring that the delicate balance of realism and archaic elegance would continue to inspire generations of artists and scholars long after the dust of conquest had settled.

Qian Xuan

Qian Xuan

1235 - 1305 , China

プロフィール概要

  • Artistic Movement Or Style: Fur and feathers painting; Song realism blended with archaic Tang style
  • Artists Or Movements Influenced By This Artist: ['Ni Zan']
  • Artists Who Influenced This Artist:
    • Wang Xizhi
    • Zhao Mengfu
  • Date Of Birth: 1235
  • Date Of Death: 1305
  • Full Name: Qian Xuan
  • Nationality: Chinese
  • Notable Artworks:
    • Dwelling in the Floating Jade Mountains
    • Lotus Seeds and Three Rats
  • Place Of Birth: Zhuzhou, China