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Landscape After Huang Gongwang with Calligraphy by Shi Zhili
Handgeschilderde olieverfreproductie vanaf $181 26 × 38 cm
Landscape After Huang Gongwang with Calligraphy by Shi Zhili (1774) is het beroemdste schilderij van Wang Chen, in de collectie van het Yale University Art Gallery in New Haven. Album Leaf, from "Landscapes from Nature, Poetry, and Art" (1774) en Album Leaf, from "Landscapes from Nature, Poetry, and Art" (1774) zijn de volgende twee werken die de wereld het beste kent. Van de 14 werken van Wang Chen in onze catalogus zijn dit de 14 meest bekeken werken door verzamelaars en museumbezoekers, inclusief het jaar, het museum en het verhaal achter elk werk.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
De 2 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Wang Chen | Schilderijen uit deze lijst |
|---|---|---|---|
 Minneapolis Institute of Art |
Minneapolis | 13 | Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art" |
 Yale University Art Gallery |
New Haven | 1 | Landscape After Huang Gongwang with Calligraphy by Shi Zhili |
Wang Chen was 18 jaar actief, van 1774 tot 1791: hier is die lange carrière jaar voor jaar, aan de hand van de bekendste schilderijen.
Landscape After Huang Gongwang with Calligraphy by Shi Zhili (1774), Yale University Art Gallery, New Haven. Daarna volgen Album Leaf, from "Landscapes from Nature, Poetry, and Art" (1774) en Album Leaf, from "Landscapes from Nature, Poetry, and Art" (1774).
54 jaar oud: Landscape After Huang Gongwang with Calligraphy by Shi Zhili dateert uit 1774 en Wang Chen werd geboren in 1720.
Landscape After Huang Gongwang with Calligraphy by Shi Zhili, Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf from "Landscapes from Nature, Poetry, and Art" en Album Leaf, from "Landscapes from Nature, Poetry, and Art". De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 14 werken van Wang Chen, gedateerd van 1774 tot 1791.
De meeste bevinden zich in Minneapolis Institute of Art (Minneapolis) en Yale University Art Gallery (New Haven). De bovenstaande tabel somt de musea één voor één op.
In 1774: 13 van de 14 werken op deze pagina dateren uit die periode, waaronder Landscape After Huang Gongwang with Calligraphy by Shi Zhili.
De oudste op deze pagina is Landscape After Huang Gongwang with Calligraphy by Shi Zhili (1774), de nieuwste Landscape in the Orthodox Manner (1791).
Album Leaf, from "Landscapes from Nature, Poetry, and Art", Album Leaf, from "Landscapes from Nature, Poetry, and Art" en Album Leaf, from "Landscapes from Nature, Poetry, and Art" behoren tot de 13 werken op deze pagina die in het Minneapolis Institute of Art, Minneapolis worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
The brush moves with the authority of a bloodline. Born in 1720 in Taicang, Jiangsu, Wang Chen carries the heavy mantle of the Wang family tradition. He is the great-grandson of Wang Yuanqi and a sixth-generation descendant of Wang Shimin. This is no mere coincidence of birth; it is a biological inheritance of aesthetic principles. He enters the landscape not as an outsider, but as a practitioner of a deeply rooted visual language, navigating the space between the formal likeness of the physical world and a more abstract, spiritual interpretation of nature.
His hand operates through a specific, disciplined tension. He employs dry brush and heavy ink to build texture, a technique that favors the rugged over the smooth. The ink does not merely sit on the silk; it builds a sense of antiquity, a quality of being "ancient" that bypasses the immediate present. His landscapes exist in a state of controlled abstraction, where the essence of a mountain or a stream is captured through the strength of the stroke rather than a photographic imitation of reality.
The influence of the Yuan dynasty masters dictates the rhythm of his compositions. He looks backward to move forward, specifically channeling the methods of Huang Gongwang. This devotion to the old masters defines his technical approach:
In works like Landscape After Huang Gongwang with Calligraphy by Shi Zhili, the connection to the past becomes a dialogue. He does not simply copy; he inhabits the style. His ink work creates a sense of desolation and quietude, a hallmark of the scholar-painter tradition. The landscape is a mental construct, a place for the mind to wander away from the complexities of the Qing dynasty social order.
Nature in Wang Chen's work is often a site of seclusion. In Pavilion by a Creek, the ink captures a sense of stillness. The inscriptions accompanying his work speak to this desire for a life of quietude, suggesting that true immortality is found not in alchemy, but in a single day of leisure amidst the mountains and streams. He lived through the mid-to-late 18th century, a period where the tension between tradition and individual expression was constant. By the time of his death in 1797, he had solidified his place as a significant figure within the "Small Four Wangs," a group that defined the landscape aesthetic of his era. His legacy remains held in the collections of institutions like the Minneapolis Institute of Art, where his ink on silk continues to hold the weight of his family's long history.