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classics rather than other more “feminine” interests. In some cases during this time, men preferred a well-educated wife who not only could relate to her husband's interests but also could educate their children. Chen Shu was able to help her family by selling her paintings for profits and being a teacher to her children. She even took on a few disciples from her family to tutor in painting, one of whom was
202:. This idea is seen by her use of a vertical format with a dense wooded landscape. Though she is referencing this great master, Chen Shu adds her own marks to the painting, for example her," formulaic strokes that create a smooth and orderly pattern on the boulders and foliage." Other imitative paintings of Wang's include,
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intervention." He further describes the supernatural events leading to her interest and success in the field of art. Her son also noted her works of charity by helping to feed the poor, as well as her ability to add wealth to her family through her art, which made her an example of a good
Confucian wife.
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Later in life, Chen Shu focused on landscape paintings. Landscape paintings by women during this time were rare because women were unable to travel as often as men. Though Chen Shu most likely did not have much chance to travel due to her sex, she took the time to study landscape painting of male
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virtue." In his
Biography, Qian Chenqun describes his mother's success in the art world, the cultivation of her talent, and her artistic influence over the next generations of her husband's family. Her skills, he claimed, were from "her distinguished heredity, fine upbringing, and a bit of divine
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province. Having an artist as a father, she was able to self-study in painting as a young girl. Due to mixed feelings about women's education at the time, education was available to only a few women of the elite. Unaccepting of traditional female roles of the time, Chen Shu pursued the arts and
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Nanlou and her literary names "Shangyuan Dizi" and "Nanlou Laoren". She is considered the first female painter of Qing dynasty as well as the inaugurator of
Xiushui School painting style. Apart from her artistic works, she was also known as the mother of Qing statesman and poet
227:. When looking at the style of the mountains, one can also see the influence of Wang Meng still appearing in her works. Chen Shu's next most popular iconography is the depiction of flowers. She painted many images of flowers and birds including works like,
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In both of these works, subtle differences can be found from the originals, this is due to the difference in Chen Shu's style and that she was most likely unable to see the original paintings by Wang Meng. Chen Shu also enjoyed referencing the
101:, he introduced the emperor to his mother's paintings. Through this avenue she became favored by Qianlong, and many of her works were featured in the imperial collection (today in both the
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artists. "At her advanced
Grandmotherly age, she was most likely in the tranquility of her, garden paint as her male literati counterparts did, to amuse herself".
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Like other literati painters of this time, Chen Shu would reference famous artists in her work. For example, in her painting
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who later achieved renown in his own right. She also tutored renowned collector and art historian
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Lu, Ling-en (2011). "Talented
Brushes in the Garden: Four Qing Dynasty Women Painters".
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painting, when this imagery first became popular. Its composition is similar to that of
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Flowering in the
Shadows: Women in the History of Chinese and Japanese Painting
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343:. Honolulu: University of Hawai`i Press. pp. 123–156.
76:; 1660–1735) was a female Chinese painter during the early
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Her son's biography portrays Chen Shu as an "exemplar of
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145:Chen Shu was born into an elite family in
204:Dwelling in the Mountains on a Summer Day
415:United States Government Printing Office
84:(now Jiaxing) and was also known by the
337:"The Conventional Success of Ch'en Shu"
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472:18th-century Chinese painters
467:17th-century Chinese painters
339:. In Weidner, Marsha (ed.).
477:18th-century women painters
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286:"Chen Shu Brief Biography"
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16:Chinese artist (1660–1736)
219:, who were active in the
335:Weidner, Marsha (1990).
284:Palace Museum, Beijing.
103:Palace Museum in Beijing
241:Emperor Huizong of Song
126:Pine and Chrysanthemums
452:Chinese women painters
442:Painters from Zhejiang
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60:traditional Chinese
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21:Chinese name
437:1736 deaths
432:1660 births
25:family name
426:Categories
296:2012-04-24
270:2019-03-20
247:References
166:Later life
160:Zhang Geng
141:Early life
213:Wu School
200:Wang Meng
134:Confucian
117:Biography
151:Zhejiang
105:and the
73:Chén Shū
48:Chen Shu
19:In this
198:artist
147:Jiaxing
82:Xiuzhou
43:(山窗讀易圖)
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217:Suzhou
128:(1705)
111:Taipei
95:zh:钱陈群
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