{"id":965,"date":"2021-03-25T14:26:08","date_gmt":"2021-03-25T19:26:08","guid":{"rendered":"http:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=965"},"modified":"2021-12-31T19:48:28","modified_gmt":"2022-01-01T00:48:28","slug":"summer-mountains","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/image\/summer-mountains\/","title":{"rendered":"Summer Mountains"},"content":{"rendered":"\n

Artist:<\/strong> Originally attributed to Qu Ding (Chinese, active ca. 1023\u2013ca. 1056)<\/p>\n\n\n\n

Period:<\/strong> Northern Song dynasty (960\u20131127)<\/p>\n\n\n\n

Date:<\/strong> ca. 1050<\/p>\n\n\n\n

Medium:<\/strong> Hand-scroll; ink and color on silk<\/p>\n\n\n\n

Dimensions:<\/strong> 17 7\/8 \u00d7 45 3\/8 in. (45.4 \u00d7 115.3 cm)<\/p>\n\n\n\n

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The mountains tower over the entire scene, and the light brushwork extends the mountain range as it disappears in the distance. Looking at this painting through the bone method, the frontal mountains are darkly outlined and the blending of ink provides the detail that captures the sublimity of creation. The Vegetation also provides this framing of the coexistence of the land and the water that run along this coast. As we draw our attention to the bottom right, we see boats and people roaming along the coast. Once again, trying to capture how humans inhibit such a diverse and thriving planet. Through the extensive details were are able to see the roots of trees ground themselves, the small homes, and the waterfalls throughout the mountains. This painting does an incredible job of not only capturing the essence of nature but also the coexistence between people and the landscape. <\/p>\n\n\n\n

Sources: <\/p>\n\n\n\n

https:\/\/www.metmuseum.org\/art\/collection\/search\/39915<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Artist: Originally attributed to Qu Ding (Chinese, active ca. 1023\u2013ca. 1056) Period: Northern Song dynasty (960\u20131127) Date: ca. 1050 Medium: Hand-scroll; ink and…<\/p>\n","protected":false},"author":8,"featured_media":864,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[12,14],"class_list":["post-965","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-image","tag-china","tag-painting","wpcat-18-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/965","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=965"}],"version-history":[{"count":4,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/965\/revisions"}],"predecessor-version":[{"id":3567,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/965\/revisions\/3567"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/864"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=965"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=965"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=965"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}