Browse Items (25 total)

This work Artificial Wonderland takes reference from Yan Wengui’s Buildings Among Mountains and Rivers from the Song Dynasty. Yang’s work reinterprets the landscape of the old master, following the traditional mode of referencing past works.

This print is the second in the Artificial Wonderland series and is an example of the vertical landscape style. In this work, Yang has copied the imagery of the traditional master but has removed all of the calligraphic elements. By removing the…

Buildings Among Mountains and Rivers
Yan Wengui 燕文贵, Song Dynasty (960-1279)
Buildings Among Mountains and Rivers 江山楼观图
Handscroll, ink and color on silk, 31.9 x 161.2 cm

This handscroll by Yan Wengui exemplifies the artist’s style, as he was…

An example of a great Northern Song dynasty landscape painting by the great master Xu Daoning. Traditionally, the handscroll would be unrolled from right to left by the viewer seated at a table, which allows for close examination of the painting…

Zhao Mengfu’s ink on paper work served as the inspiration for Yang Yongliang’s Horse Training. Zhao is remembered as an exception painter of horses in the style of Tang Dynasty master Han Gan, but he also painted a number of different animal groups,…

This print comes from the Peach Blossom Colony series, which was Yang’s initial foray into placing human figures into his works, using actors as stand-ins for members of the literati class. Rather that attempting to recreate a landscape painting,…

This hanging scroll is the only work in the collection not from the Song or Yuan Dynasty, but is from the later Ming Dynasty. As this piece Lofty Mount Lu was referenced earlier in Yang’s career, the artist may have used his work Phantom Landscape…

Wang Ximeng’s One Thousand Li of Rivers and Mountains is the only surviving work by the artist. The artist was one of the most well-known court painters of the Northern Song Dynasty and this painting is one of the largest paintings in Chinese…

The earliest of Yang’s works in the exhibition, this piece represents the beginnings of Yang’s stylistic experimentation. In viewing his earlier work, it becomes apparent how his later works more strongly exemplify the aesthetic and emotional…