Despite the absence of artist's inscription, signature, or seal, experts consider Night-Shining White as the most famous work of Han Gan (韓幹; active CA. 742–756), a leading horse painter of the Tang dynasty (唐618–907). To Grace Glueck of The New York Times, Night-Shining White is “one of the most appealing animals in Chinese art” (Glueck, 1997). This painting reveals a window to reach a further understanding of Chinese culture, as it points out the socio-political role that art played through the ages, and still influences the mindset of these people.
Subspecies of the Asian wild horse are a native of the steppes of Central Asia. Nomadic horse peoples dominate these temperate grasslands that connect vast lands from Eastern Europe to South Asia. …show more content…
The figure stands alone in the middle of the composition with negative space surrounding it, which implies that the intention of studying the horse anatomy was greater than the interest in building a scene. There is a pillar behind the animal. The geometric form of the pillar opposes to the organic shape of the horse. The pillar pushes the main figure in front, creating an illusion of space. Its rigidity emphasizes the animal´s mobility. In addition, it drags the attention to the main figure. The contrast of the pillar and the horse also infers that the animal has pale …show more content…
And now the mounted handscroll is twenty feet long (14 in. x 37 ft. 5 1/8 in) as a result of the addition of more than a thousand years of seals and colophons that “offers a vivid testimony of the work's transmission and its impact on later generations” (The Metropolitan Museum of Art). Whereas some colophons and marks of ownership are zealously placed on extended borders, others are added directly onto the painting. The Freer Gallery of Art, in Washington D.C., affirms that “once poetic inscriptions had become an integral part of a composition, the recipient of the painting or a later appreciator would often add an inscription as his own response. Thus, a painting was not finalized when an artist set down his brush, but it would continue to evolve as later owners and admirers appended their own inscriptions or
Subspecies of the Asian wild horse are a native of the steppes of Central Asia. Nomadic horse peoples dominate these temperate grasslands that connect vast lands from Eastern Europe to South Asia. …show more content…
The figure stands alone in the middle of the composition with negative space surrounding it, which implies that the intention of studying the horse anatomy was greater than the interest in building a scene. There is a pillar behind the animal. The geometric form of the pillar opposes to the organic shape of the horse. The pillar pushes the main figure in front, creating an illusion of space. Its rigidity emphasizes the animal´s mobility. In addition, it drags the attention to the main figure. The contrast of the pillar and the horse also infers that the animal has pale …show more content…
And now the mounted handscroll is twenty feet long (14 in. x 37 ft. 5 1/8 in) as a result of the addition of more than a thousand years of seals and colophons that “offers a vivid testimony of the work's transmission and its impact on later generations” (The Metropolitan Museum of Art). Whereas some colophons and marks of ownership are zealously placed on extended borders, others are added directly onto the painting. The Freer Gallery of Art, in Washington D.C., affirms that “once poetic inscriptions had become an integral part of a composition, the recipient of the painting or a later appreciator would often add an inscription as his own response. Thus, a painting was not finalized when an artist set down his brush, but it would continue to evolve as later owners and admirers appended their own inscriptions or