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368:. He frequently combined experimental elements with the more rigid styles of the Yuan masters. Much of his work was done in collaboration with others, combining painting, poetry, and calligraphy at gatherings with his literati friends. It was upon these ideals that his Wu School was founded. For Wu painters, painting was a meditation, rather than an occupation. Shen Zhou never coveted his paintings, although they were frequently coveted and imitated by others. Through Shen Zhou's eyes, a painting was not a commodity, but the very extension of the painter himself.
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system. This steadily and amply increased the family's wealth, while freeing Shen Liang-ch’en's male descendants from obligatory careers as Ming officials, and allowing them to live the majority of their lives as retired scholar-artists. Upon the death of his father, Shen Heng-chi, Shen Zhou decided
170:. He lived during the post-transition period of the Yuan conquest of the Ming. His family worked closely with the government and maintained its wealthy status. Shen later retired and lived a reclusive life, spending most of his time painting and taking care of his widowed mother.
286:, where he had the ability to cultivate their styles to conform to the paintings of the Song masters. As Hongwu was notorious for his attempts to marginalize and persecute the scholar class, this was seen as an attempt to banish the gentry's influence from the arts.
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that he embodied in his filial life. He is most famous for his landscapes and for his "boneless" renderings of flowers, which are meticulously created in the style of the Yuan masters. However, he did not always paint within strict boundaries.
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It is probable that he never intended to become an official, but refrained from making this obvious until his father had died. He thus renounced the life of official service while still preserving his reputation in an enduring act of
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His paintings depicts soaring mountains and towering trees, while human works are reduced to specks in this immensity. This was made to make nature feel all empowering while dwarfing the human element. His most famous work from 1487,
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Shen Zhou's scholarly upbringing and artistic training had instilled in him a reverence for China's historical tradition that influenced both his life and his art from an early age. He was accomplished in history and the
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province, China. His genealogy traces his family's wealth to the late Yuan period, but only as far as Shen's paternal great-grandfather, Shen Liang-ch’en, who became a wealthy landowner following the dissolution of
270:(1279–1368), painters had practiced with relative freedom, cultivating a more “individualist,” innovative approach to art that deviated noticeably from the more superficial style of the
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Shen possessed a large collection of paintings from the late Yuan and early Ming, which he and his scholar-painter colleagues used as models in forging the revivalist approach of the
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Shen Zhou lived at a pivotal point in the history of
Chinese painting, and contributed greatly to the artistic tradition of
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Liscomb, Kathlyn. "Shen Chou’s
Collection of Early Ming Paintings and the Origins of the Wu School’s Eclectic Revivalism."
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Edwards, Richard. “Shen Chou and the
Scholarly Tradition.” The Journal of Aesthetics and Art Criticism, Vol. 24, No. 1
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This artist should not be confused with another
Chinese artist named Shen Zhou who lived in 1848–1903.
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of painting, a somewhat subversive style that revived the ideal of the inspired scholar-painter in
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Parting at the Shore: Chinese
Painting of the Early and Middle Ming Dynasty, 1368-1580
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and devote his life to the care of his widowed mother, Chang Su-wan.
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by Shen Zhou. Album leaf, ink and color on paper, 35.9 x 60.1 cm.
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The Field of Stones: A Study of the Art of Shen Chou (1427-1509)
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The dominant style of the Ming court painters was called the
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masters who preceded them. However, at the outset of the
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517:Online Exhibition for Shen Zhou's 3 master pieces
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328:by Shen Zhou. 1467, Hanging scroll, 6′ × 3′.
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553:Four Masters of the Ming dynasty
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354:Poetic Feeling of Fallen Flowers
111:Four Masters of the Ming dynasty
615:Ming dynasty landscape painters
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