Author:

Size:Length:92 x Width:46 (cm)

Size description：178x64x5.5(含框)

Introduction：Tseng Chi (1922–2015) was born in Minhou, Fujian Province. Her courtesy name is Wen-chen, and she is an ink painter. She graduated from the Fujian Provincial Teachers' Training School of Arts and Crafts. She studied painting under Pu Hsin-yu as one of his inner-circle female students, and was a teacher favorite; she was later a member of the group responsible for handling Pu Hsin-yu's estate. She excels in landscape, figure, and bird-and-flower painting, and occasionally produces figure and court lady works. Her style is close to that of Pu Hsin-yu—refined and meticulous. Tseng has held five solo exhibitions, and her works are held in the collection of the National Museum of History. In 1992 she served on the staff of the National Palace Museum, and she is a member of the Taiwan Chinese Painting Society, China Art Association, Chia-chen Painting Society, and Literary Arts Fellowship. In 1978 she was included in the International Biographical Centre (Cambridge, UK) publication Women of the World.

Pu Hsin-yu was a member of the former Qing imperial family, a man of refined and cultured elegance with a rich scholarly background; his painting placed great importance on the study of classical works, particularly those of Ma Yuan, Ni Zan, and Tang Yin. His delicate and distinctive brushwork also influenced students such as Chiang Chao-shen and Tseng Chi. This work depicts the mountain scenery surrounding the Lishan Guest House. The Lishan Guest House is a palace-style hotel situated at an elevation of 1,935 meters above sea level; completed in 1965, it once served as one of President Chiang Kai-shek's retreat residences, and its classical, antique appearance has made it a landmark along the Central Cross-Island Highway.

In this work, the artist used a base of brownish-yellow paper, applying lead white to the cloud, mist, and gable-wall areas, and creating additional layers of depth within the blank spaces. To vividly depict the scene of snow-cloaked white, the artist applied abundant wet brushwork to cun-texture the stone walls, adding a quality of moisture and richness. The meticulously depicted pavilions and buildings are positioned at the mountainside in the middle ground, surrounded by forest covered in clouds, mist, and white snow. Although the artist depicts the mountain forest with a free and unrestrained style, the contrast between the spare, simplified forest and the detailed rendering of the guest house creates an appropriate principal-and-secondary relationship, and the artist's creative intent is all the more readily understood for it.

Accession Number:PT06911200

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