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Lot Essay
The Dewy Distillation of Fragrance — The Finest Bloom by Yun Shouping
During the early Qing dynasty, the simultaneous flourishing careers of the “Four Wangs” [Wang Shimin (1592-1680), Wang Jian (1598-1677), Wang Hui (1632-1717), and Wang Yuanqi (1642-1715)], Wu Li (1632-1718), and Yun Shouping (1633-1690) created a scene of multiple leading artists without a clear front runner. Early in his career, Yun Shouping studied and painted landscapes. But in his discussion with his friend Wang Hui, he lamented that he was “shamefully the number two hand of landscape under heaven.” Consequently, Yun Shouping dedicated himself to refine his techniques in painting flowers and birds, a feat that distinguished him from the other five contemporaries. His “boneless” rendition of flowers traces its roots to Xu Chongsi of the Northern Song. According to Yun Shouping, in addition to formal verisimilitude, the key to his success is to whole-heartedly capture the essence of flowers as they exist in nature.
In late spring of 1688, Yun Shouping, at the age of fifty-six, emulated Xu Chongsi’s style and created The Fragrance of a Nation in Clearing Spring. The five flowers blossom in various stages and colours, echoing each other from different branches. Our gaze is drawn to a large lavender bloom in the centre; its petals and stamens are so vivid, as if we can smell the emanating fragrance.
Yun Shouping’s inscription of his own poem combined with Wang Hui’s account of the “boneless” technique, is a testament to not only art history of the flowers painting genre but also to their friendship. Before 1776, the painting belonged to Lu Shihua’s uncle, “Jie’an.” Lu Shihua recorded it in his publication and it was passed down to his son Lu Yuqing. It entered the collection of Chen Kuiling in the late Qing, who included it in his painting catalogue. In the 20th century it was obtained by notable collectors Zhang Congyu, Wu Puxin, and Wong Nan-ping. As a fellow native of Changzhou like Yun Shouping, Wong Nan-ping was especially fond of his works and treasured them for decades. The painting, with its silk in almost pristine condition, bears two seals of Wong Nan-ping, who rarely did so out of humility and respect for the original works. Whose home shall this dewy distillation of fragrance perfume comes next spring?
During the early Qing dynasty, the simultaneous flourishing careers of the “Four Wangs” [Wang Shimin (1592-1680), Wang Jian (1598-1677), Wang Hui (1632-1717), and Wang Yuanqi (1642-1715)], Wu Li (1632-1718), and Yun Shouping (1633-1690) created a scene of multiple leading artists without a clear front runner. Early in his career, Yun Shouping studied and painted landscapes. But in his discussion with his friend Wang Hui, he lamented that he was “shamefully the number two hand of landscape under heaven.” Consequently, Yun Shouping dedicated himself to refine his techniques in painting flowers and birds, a feat that distinguished him from the other five contemporaries. His “boneless” rendition of flowers traces its roots to Xu Chongsi of the Northern Song. According to Yun Shouping, in addition to formal verisimilitude, the key to his success is to whole-heartedly capture the essence of flowers as they exist in nature.
In late spring of 1688, Yun Shouping, at the age of fifty-six, emulated Xu Chongsi’s style and created The Fragrance of a Nation in Clearing Spring. The five flowers blossom in various stages and colours, echoing each other from different branches. Our gaze is drawn to a large lavender bloom in the centre; its petals and stamens are so vivid, as if we can smell the emanating fragrance.
Yun Shouping’s inscription of his own poem combined with Wang Hui’s account of the “boneless” technique, is a testament to not only art history of the flowers painting genre but also to their friendship. Before 1776, the painting belonged to Lu Shihua’s uncle, “Jie’an.” Lu Shihua recorded it in his publication and it was passed down to his son Lu Yuqing. It entered the collection of Chen Kuiling in the late Qing, who included it in his painting catalogue. In the 20th century it was obtained by notable collectors Zhang Congyu, Wu Puxin, and Wong Nan-ping. As a fellow native of Changzhou like Yun Shouping, Wong Nan-ping was especially fond of his works and treasured them for decades. The painting, with its silk in almost pristine condition, bears two seals of Wong Nan-ping, who rarely did so out of humility and respect for the original works. Whose home shall this dewy distillation of fragrance perfume comes next spring?