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and established dominance over all the areas that had traditionally been considered China. The Yuan rulers did not trust many of the
Confucian scholars and instead preferred to appoint Mongolians and Muslims to administrative positions. Ni Zan was born into an elite family who could afford the cost
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Ni Zan's landscapes after 1345 all take very much the same form: ink-monochrome paintings of widely separated riverbanks rendered in sketch brushwork and foreground trees silhouetted against the expanse of water. His sparse landscapes never represent people and defy many traditional concepts of
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Ni Zan travelled around southern China during the collapse of the Yuan
Dynasty and spent his time painting. During his lifetime, his work was highly valued and in itself was enough to pay for the hospitality provided by his friends as he travelled. He returned to his hometown in 1371 after the
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education for him in spite of the unavailability of high-paying governmental jobs that traditionally were the reward for such an education. He was one of a number of wealthy scholars and poets who were part of a movement that radically altered traditional conceptions of
Chinese painting. Their
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During the 1340s a number of droughts and floods caused a famine throughout Ni Zan's region, which subsequently led to peasant revolts. These revolts peaked in 1350 due to the government’s use of forced labor to repair the dikes on the
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Chinese painting. Many of his works hardly represent the natural settings they were intended to depict. Indeed, Ni Zan consciously used his art as a medium of self-expression. In 1364, he said “I use
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and travelled throughout the relatively peaceful southeast while various revolutionary parties tore through his region of origin. It was at this time that Ni Zan developed his distinctive style.
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paintings depicted representations of natural settings that were highly localized, portraying personally valued vistas that reflected their individual feelings.
516:, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Ni Zan (see list of paintings)
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Siren, Osvald. Chinese
Painting: Leading masters and principles. Vol. IV. New York: Hacker Art Books, 1973. 79-84.
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Fong, Wen C. Beyond
Representation: Chinese Painting and Calligraphy 8th-14th Century. New Haven: Yale UP, 1992.
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to write out the exhilaration in my breast, that is all. Why should I worry whether it shows likeness or not?”
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467:. Hills Beyond a River: Chinese Painting of the Yuan Dynasty: 1279-1368. New York: Weatherhill, 1976. 114-120.
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Ci hai bian ji wei yuan hui (辞海编辑委员会). Ci hai (辞海). Shanghai: Shanghai ci shu chu ban she (上海辞书出版社), 1979.
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were Yun Lin Zi (雲林子), Huan Xia Sheng (幻霞生), and Jing Man Min (荊蠻民). He was born after the death of the
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483:. Three Thousand Years of Chinese Painting. New Haven: Yale UP, 1997.
454:(page 90), by Rhonda and Jeffrey Cooper, Todtri Productions, 1997.
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