Suzuki, Kei, and Terakazu Akiyama. Chugoku bijutsu, vol. 1. Tokyo: Kodan-sha, 1973.
","citation":"Suzuki, Kei, and Terakazu Akiyama. Chugoku bijutsu, vol. 1. Tokyo: Kodan-sha, 1973.
, pls. 8,9","date":1973,"id":8183,"uri":"https://search.worldcat.org/title/35154162"},{"boilertext":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)","citation":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), 22 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Wen C. Fong, Images of the mind: selections from the Edward L. Elliott family and John B. Elliott collections of Chinese calligraphy and painting at the Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1984).","citation":"Wen C. Fong, Images of the mind: selections from the Edward L. Elliott family and John B. Elliott collections of Chinese calligraphy and painting at the Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1984)., cat. no. 4","date":1984,"id":6467,"uri":"https://search.worldcat.org/title/770927319"}],"nowebuse":"False","periods":[{"id":12557,"period":"Southern Song dynasty","alphasort":"Southern Song","begindate":1127,"enddate":1279,"displayperiod":"Southern Song dynasty, 1127–1279","displaydate":"1127–1279"}],"department":"Asian Art","attribute_groups":[{"id":2199319,"term":"Asian Art","termtype":"Collecting Area"}],"daterange":"A.D. 1000-1500","dateend":1155,"depicted":[],"titles":[],"hasimage":"true","creditlinerepro":"","objectnumber":"y1984-14 a-b","inscribed":"Frontispiece by Huang Binhong (1864-1955)","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\r\nThe two paintings on view are part of a set of eight that are thought to be the oldest surviving complete version of the Eight Views of the Xiao and Xiang Rivers, a landscape theme that became popular in the late eleventh century. Xiaoxiang refers to the region in present-day Hunan province where the Xiao and Xiang Rivers are located. However, painters of the Eight Views were not interested in representing specific sites along the rivers or in illustrating a particular narrative; rather, they strove to portray in ink and wash the lyrical qualities of dim light and misty atmosphere that are typical of that southern region. Little is known of Wang Hong's life except that the artist was a native of Sichuan; these paintings are his only surviving works. Elements of the eclectic brushwork and the use of color throughout may indicate either a regional connection to other Sichuan paintings or perhaps a revival of an early Northern Song (960–1127) artistic practice.
","remarks":"Asian Art Rotation October 2017"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"The eight paintings in these scrolls are thought to be the oldest surviving complete version of the Eight Views of the Xiao and Xiang Rivers, a landscape theme that became popular in the late eleventh century. Xiao-Xiang refers to the region in present-day Hunan province where the Xiao and Xiang Rivers converge. Painters of the Eight Views were not interested in representing specific sights along the rivers or describing a narrative; rather, they tried to portray in ink and wash the lyrical qualities of dim light and misty atmosphere typical of that region. Each of the poetic titles suggests a time of day, a season, or specific atmospheric conditions — subjects that challenged the abilities of the most talented artists. The Eight Views are: \"Geese Alighting on a Sandy Shore,\" \"Sails off Distant Shores,\" \"Mountain Village in Clearing Mist,\" \"Autumn Moon over Lake Dongting,\" \"Night Rain over Xiao-Xiang,\" \"Evening Bell from a Mist-shrouded Temple,\" \"Sunset Glow over a Fishing Village\" (illustrated here), and \"Evening Snow Blending River and Sky.\" \r\nLittle is known of Wang Hong’s life save that he was a native of Sichuan, and these paintings are his only known extant works. The eclectic brushwork styles and the use of colors on the autumn trees, architectural structures, and wintry mountains may indicate a regional Sichuan painting style, a revival of the Fan Kuan (ca. 960–1030) tradition, or a transitional style between the Northern and Southern Song periods. ","remarks":null}],"datebegin":1145,"sortnumber":"1984 14ya b","published_date":"2026-02-11 10:31:37.122817","objectid":32799,"dimensions":"Painting (each section, average): 23.4 x 90.7 cm. (9 3/16 x 35 11/16 in.)\r\nFrontispiece (a): 23.6 x 87.5 cm. (9 5/16 x 34 7/16 in.)\r\nMount: h. 25 cm. (9 13/16 in.)","on_view":false}