Wind in Pines Among a Myriad Valleys
Wind in Pines Among a Myriad Valleys
National Treasure Intro
Wind in Pines Among Myriad Valleys is a painting on a hanging silk scroll by Li Tang, a painter during the Northern Song dynasty.
Li Tang was born in the late Northern Song dynasty and served in the Art Academy of both the Huizong Emperor of the Northern Song Dynasty and the Gaozong Emperor of the Southern Song dynasty. Li Tang was gifted at landscape painting, his early paintings used strong strokes to illustrate the magnificent beauty of the mountains and rivers in the north. In his later years, his style became simpler, using an uncomplicated and refined composition, which created a new style of painting in the Southern Song dynasty.
Along with Fan Kuan’s Travelers Among Mountains and Streams and Guo Xi’s Early Spring , this work is known as one of the iconic pieces of the Northern Song monumental landscape tradition. However, in comparison to those two paintings, Wind in Pines Among Myriad Valleys avoids depicting vast and spectacular scenery, instead it uses the scene of a deep valley.
The lack of people or buildings in the painting has the effect of better highlighting the atmosphere of the valley. This painting combines the monumental landscapes of the Northern Song dynasty and the close-up landscape of the Southern Song dynasty. This painting is seen as a masterpiece of landscape painting that combines the essence of the painting styles of the two Song dynasties. It is now in the collection of the National Palace Museum, in addition to being one of the “Trio of National Treasures,” it was also designated as a national treasure in 2012.
- Ni Tsaichin, “Divine Paintings: The National Palace Museum’s Trio of National Treasures,” Art & Collection, 174, 2007, pp. 80-85.
- Yu Hui, On Chinese Traditional Landscape Painting in and after Li Tang’s Times, The National Palace Quarterly, 30:4, 2013, pp. 43-103.
- Li Peishi, “The Glory and Clues Behind Seals: Research on the Three Compilations and Seals of the Shiqu Baoji.” Art & Collection, No. 208: 2010, pp. 84-93.
- Chen Yun-Ru and He Yan-Chiuan, Grand View: Special Exhibition of Northern Sung Painting and Calligraphy, Taipei: National Palace Museum, 2006.
- Lin Boheng, The Essential Collection of the National Palace Museum: Paintings, Books and Documents, Taipei: National Palace Museum, 2006.
- Cai Meifen, Splendid Treasures: A Hundred Masterpieces of the National Palace Museum on Parade, Taipei: National Palace Museum, 2011.2
- Liu Fang-ju, Pu Li-An and Chen Yun-Ru, National Treasures of the Museum: Masterpiece Paintings by Fan Kuan, Guo Xi and Li Tang, Taipei: National Palace Museum, 2021.
The National Palace Museum (NPM) was established on October 10, 1925, when there were tens of thousands of paintings and pieces of calligraphy in the collection of the Qing court, which could be seen in the Forbidden City in Beijing. After the outbreak of the Sino-Japanese War in 1937, the NPM moved its cultural relics to the south of China. The war ended in 1945, however in 1948, because of the ongoing civil war between the Kuomintang (KMT) and Communist Party, the KMT moved the artifacts in the NPM to Taiwan, then temporarily placed them in Beigou, Wufeng, Taichung. Later, a new museum in Waishuangxi, Taipei, started to be built. The new building was completed in August 1965 and formally opened to the public in November. In December 2015, the Southern Branch of the National Palace Museum in Chiayi officially opened.
The NPM’s collection of artifacts were inherited from the Song, Yuan, Ming, and Qing courts. Later, the artifacts transported to Taiwan from the Preparatory Department of the National Central Museum were incorporated into the NPM’s collection. The NPM houses hundreds of thousands of collected and acquired artifacts. These have gradually been digitized and are available on the “National Palace Digital Archive.” Some digital image files of artifacts are available on the “Open Data ” and can be used by the public under a Creative Commons license.
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