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Flowers of Four Seasons, with Poems, 1531. Creator: Wang Guxiang (Chinese, 1501-1568)
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Flowers of Four Seasons, with Poems, 1531. Creator: Wang Guxiang (Chinese, 1501-1568)
Flowers of Four Seasons, with Poems, 1531. In this painting, flowers are loosely arranged by the seasons: narcissus and peony represent early spring; yellow loquat and lotus, summer; chrysanthemum, autumn; and the plum and evergreen bamboo, winter. The artist added to each flower a poetic line of calligraphy associating each plant with a historic or legendary figure. For example, the chrysanthemum, along with the line " The untrammeled joy at the eastern fence, " refers to the poet Tao Yuanming (died AD 427) who enjoyed chrysanthemums at the eastern fence in his garden. The scroll illustrates Wang Guxiangs mastery of free brushwork, combining light monochrome ink with transparent colours. In his inscription, Wang says he used the " boneless" style without outlines as developed during the Yuan dynasty (1279-1368). Wang was a native of Changzhou, a city in southeast China known for its rich flora and fauna, and flower-and-bird painting tradition
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Media ID 19629095
© Heritage Art/Heritage Images
1368 1644 Handscroll Ink And Light Colour On Silk Ming Dynasty
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This print showcases the exquisite artwork of Wang Guxiang, a renowned Chinese artist from the 16th century. Titled "Flowers of Four Seasons, with Poems" this painting beautifully captures the essence of each season through its loosely arranged flowers. As we delve into this masterpiece, we are transported to early spring with delicate narcissus and peony blossoms. The vibrant yellow loquat and lotus then symbolize the warmth and abundance of summer. Moving on to autumn, we encounter the elegant chrysanthemum, accompanied by a poetic line that connects it to Tao Yuanming, an esteemed poet who found joy in these flowers at his garden's eastern fence. Finally, winter is represented by plum blossoms and evergreen bamboo. Wang Guxiang's mastery shines through in his use of free brushwork and a harmonious blend of light monochrome ink with transparent colors. His inscription reveals that he adopted the "boneless" style without outlines developed during the Yuan dynasty. Hailing from Changzhou, known for its rich flora and fauna as well as its flower-and-bird painting tradition, Wang was deeply influenced by his surroundings. This print not only serves as a visual delight but also offers us a glimpse into China's artistic heritage and appreciation for nature's beauty throughout the seasons.
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