学生作品ガイド
著作権 この作品はパブリックドメインです。Meishengは1865に没し、著作権は没後70年まで保護されるため、1935に終了しました。
文脈において
Silkworm — Meisheng
原寸は 18 × 53 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 54。
作家が 48 歳の時に制作。 そのアーティストは54まで生きました。 0 of the 1 dated works by this artist in our catalogue came earlier.
背景色：Meishengの生涯 (1811–1865) ▲ 本作品、1859 年代ごとに並ぶ、すべての制作年入り作品
画像から抽出したカラーパレット
メインカラー
Rosy Brown #bbb7a2
保存済みパレット
アーティストのパレット全体を構成するこれらの色彩 色から他の絵画を探す
この作品について
Silkworm — Meisheng
Ju Chao left Guangdong to serve as secretary to the official Zhang Jingxiu in Guangxi during the uprisings of the Taiping. After Zhang"s retirement in 1856, Ju Chao and his cousin Ju Lian lived at Zhang"s celebrated garden estate in Guangdong and taught painting to Zhang"s young nephew. In his fifties, Ju Chao returned to his own villa and maintained a quiet life painting and studying Han seals.This tightly drawn depiction of silk moths and of silkworms on mulberry leaves reveals Ju Chao"s playful and observant interest in unconventional subjects. He and his cousin were criticized by a contemporary Guangdong critic for choosing to paint such insignificant subjects as flies, fireflies, mosquitoes and ants. Zheng Qi, for instance, wrote:Certain artists only specialize in these to demonstrate their technical proficiency. How could they have taken such a crooked path; how can we discuss the principles of painting with them?
アーティストと美術館
生誕地 Panyu, China
Born in Panyu, within the Guangdong Province, Meisheng lived through a period of profound change in China. Known also by his name Ju Chao, he was a man of scholarly pursuits who found a quiet rhythm in the life of a literati painter. His early years were shaped by classical education, providing him with the intellectual tools to engage deeply with the traditions of poetry and calligraphy. He did not live a life of isolation; instead, his path crossed with influential figures like the official Zhang Jingxiu.
During the Taiping Rebellion, Meisheng moved from Guangdong to serve as a secretary for Zhang in Guangxi. This period of upheaval placed him in the middle of significant social shifts, yet he remained focused on his artistic and scholarly interests. After Zhang retired in 1856, Meisheng settled at a garden estate in Guangdong alongside his cousin, Ju Lian. In this peaceful setting, he shared his knowledge by teaching painting to the next generation, specifically to Zhang’s young nephew.
While many painters of the Qing Dynasty sought grand landscapes or noble subjects, Meisheng found meaning in the overlooked corners of nature. He possessed a keen eye for the minute details of life, often focusing on insects and small flora. His work frequently featured silk moths and silkworms resting upon mulberry leaves, rendered with a precise and observant hand. This interest in unconventional subjects was not without its detractors; some contemporary critics found his choice of flies, fireflies, and ants to be too insignificant for serious art.
Despite such criticisms, Meisheng and his cousin developed a technique that would influence later generations. They experimented by adding water and pigment to still-damp ink washes, creating a fresh approach to the mogu style. This method helped lay the groundwork for the Lingnan school of painting. His ability to find elegance in the small and the common allowed him to create works that felt deeply connected to the natural world.
Meisheng’s contributions extended beyond the brush. He was a man of letters who composed poetry, leaving behind collections such as Poems of Shouxie Shi and Yanyu Ci. His life in his later years was spent in a quiet villa, where he balanced his painting with the study of Han seals. This dedication to the various facets of Chinese scholar-artistry defined his character.
His death in 1865 marked the end of a life lived with a steady, contemplative focus. Through his work, he bridged the gap between traditional Song and Yuan techniques and a more modern, observational approach. He remains a figure of note for those studying the evolution of Chinese silk and bird-flower painting, remembered for bringing a sense of lightness and newness to the classical tradition.
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Silkworm — Meisheng
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