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Yang Guifei an einem Gartenfelsen mit Päonien, [Yang Guifei an einem Gartenfelsen mit Päonien] (japanese: 楊貴妃図 Yan koifei zu) Bild 128,0 x 51,0 cm Farben auf Seide
InscriptionSignatur, oben rechts: Gan'iku sha Siegel, oben rechts, Transkription: Gan'iku & Baitei
Köln, Museum für Ostasiatische Kunst, , A 71
LiteratureJapan Society, Catalogue of Japanese Art in Foreign Collections 8, 1999, S. 74, Kat.-Nr. 202, Abb. 202 (SW-Tafel) Hide Painting in the Museum of East Asian Art, Colognein: Catalogue of Japanese Art in Foreign Collections edited by The Japan Society for the Conservation of Cultural Property (= Catalogue of Japanese Art in Foreign Collections, Volume 8) Nara 1999 Köln MOK, Splendid Impressions, 2011, IV-7, S. 250 f. Hide Doris Croissant, Yukio Lippit, Melissa McCormick, Matthew P McKelway und Josua S. & Trede, Melanie Mostow, Splendid Impressions: Japanese Secular Painting 1400-1900 in the Museum of East Asian Art, Cologneedited by Doris Croissant edited by Museum für Ostasiatische Kunst & Hotei Publishing Leiden 2011 RBA 529/2011Paul Klee und der Ferne Osten, Bern 2012, Abbildung S. 42 Hide Osamu Okuda und Marie Kakinuma, Paul Klee und der Ferne Osten. Vom Japonismus zu Zenedited by Zentrum Paul Klee, Bern & Museum für Ostasiatische Kunst Bern 2012 S. 151 ExhibitionsPaul Klee und der Ferne Osten, Bern 2012 Hide Vom Japonismus zu Zen. Paul Klee und der Ferne Osten 19.01.2013-12.05.2013 Bern, Zentrum Paul Klee Goldene Impressionen, Köln 2011 Hide Splendid Impressions. Japanese secular painting 1400-1900 & Goldene Impressionen. Japanische Malerei 1400-1900 29.10.2011-.0..0. 201 Köln, Museum für Ostasiatische Kunst Explanations for this objectYang Guifei (719-756) is depicted in Chinese court attire, leaning against a garden rock, looking at the butterflies and peonies at her feet. The right hand is hidden in the sleeve and raised to her mouth in a gesture that is known as the ‘tear-wet sleeve’, a formula in painting and poetry expressing emotion, yearning or sadness. Yang Guifei assumed the role of seductress who was held responsible for the emperor Minghuang’s neglect of the affairs of state and the ultimate downfall of the Tang dynasty. The painting is in the tradition of Chinese professional painting transmitted via Nagasaki to Japan by Shen Nanpin (c.1682- c.1789). |
Permalink: https://mok.kulturelles-erbe-koeln.de/documents/obj/05082377
Dok-Nr.: obj 05082377
