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347:(Hikkoen) collection): both feature perfectly balanced diagonal composition, in which the void and the solid mass play equally important roles, and a formidable ink technique. Xia's techniques are even more impressive in his hand scrolls; however, few of these have survived. The most well known is the 9 meter (30 feet) long
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visited China in the 15th century and was influenced by works and followers of Xia Gui. Sesshū Tōyō made himself fen-pen (draft copy/study copy of the old masterpieces) of Hua Kei landscape fans with Sesshū Tōyō's signature. Two of them survived in Japan. Sesshū's numerous followers, the so-called
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is a work on paper, which absorbs ink quickly, and so must be an example of such spontaneous creation. Xia was also praised for his technical skill in drawing architecture and similar objects freehand, rather than using a ruler. Some sources mention the painter's preference for brushes with worn
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Academy art of the
Southern Song was not so appreciated during later periods, i.e. during the later 16th century and afterwards; hence Xia's popularity declined. However, a few critics felt that his paintings were among the better works of the Song Dynasty, and some Chinese artists were still
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351:(ink on paper). This work is preserved incomplete, missing a final section which bore the artist's signature. Extremely subtle, graded ink washes and overlapping brushstrokes created complex atmospheric effects of mist, sky, and infinity.
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Xia served in the
Imperial Painting Academy (Yuhuayuan 廷畫院) in the same city, the way most major artists did at the time. His teachers are unknown, but the surviving works suggest strong influence of
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The discussion in
Proceedings of the International Symposium on Chinese Painting Taipei 18–24 June 1970, Taipei, Taiwan, 443-463p, Edited by Nelson Wu and Richard Barnhart and Wai-Kam Ho and Others
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The vast majority of Xia's surviving works are small album leaves, the favorite genre of Song academy painters. The genuine work all scholars in the
Proceeding 1970 agreed is the album leaf,
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Although Xia was popular during his lifetime, his reputation suffered after his death, together with that of all
Southern Song academy painters. Nevertheless, a few artists, including the
251:. Very little is known about his life, and only a few of his works survive, but he is generally considered one of China's greatest artists. He continued the tradition of
559:, an exhibition catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Xia Gui (see list of paintings)
298:, a prominent academy painter whose style was a prominent influence on virtually all 12th-century Chinese landscape painters. Xia Gui and his contemporary,
537:
Siren, Osvald. (1974) Chinese
Painting: Leading Masters and Principles, vol. 2 (1956, reissued 1974). New York: Hacker Art Books. pp. 119–124.
302:, were among the most influential painters of their time; they had numerous followers who are now referred to as belonging to the Ma-Xia school.
565:, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Xia Gui (see index)
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from the
Kawasaki collection in Japan is now considered a copy. There are two possibly authentic hanging scrolls kept in the
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tips, used to avoid excessive smoothness, and "split" brushes, which allowed making two or more strokes at the same time.
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No information survives on Xia's birth and death dates, background, or education. He was most probably born in
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The full scroll measures 46.5 × 889.1 centimeters (18.309 × 350.04 inches) and is on display in the
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Old documents describe Xia as a painter who worked very fast, and with great ease.
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Unkoku-rin School, sometimes imitated the style their teacher adopted from Xia.
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An untitled album leaf by Xia Gui, from the collection of Tokyo
National Museum
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508:(1960, reissued 1985). Phoenix: Phoenix Art Museum. pp. 79–87.
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Bridge of dreams: the Mary Griggs Burke collection of
Japanese art
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The discussion in
Proceedings of the International Symposium, 1970
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391:, which only survives in an unreliable 16th century copy, and
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553:, Museum of Fine Arts, Boston, Accession Number 12.891
290:, then capital of Southern Song. During the reign of
515:, vol. 7. New York: McGraw-Hill. col. 650–654.
49:. Unsourced material may be challenged and removed.
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368:Pure and Remote View of Streams and Mountains.
442:Pure and Remote View of Streams and Mountains
349:Pure and Remote View of Streams and Mountains
139:Pure and Remote View of Streams and Mountains
523:. Oxford: Phaidon Press. pp. 207–211.
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109:Learn how and when to remove this message
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141:, one of Xia Gui's most important works
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389:Ten Thousand Miles of the Yangzi River
387:Other hand scrolls by Xia Gui include
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511:Lee, Sherman E. (1963) "Xia Gui." in
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343:(one of which is from the famous
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599:13th-century Chinese painters
513:The Encyclopedia of World Art
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427:Rapids in a Mountain Valley
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449:See also
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