In the lower right corner is a wall surrounding a residence blocked
from our view. The greenery and peach blossoms in the scene indicate the season as spring.
Judging from the darkness, it appears to be late in the day. A scholar is shown knocking at the door as a servant
approaches from within holding a light, illustrating the poetic idea of a master returning
late from a spring outing. Depicted also is an expanse of water with a small path upon which local farmers shoulder hoes and return
home.In the distance, womenfolk are feeding the fowl. Although the figures are small, the
details of local life reveal the artist's skill at observation and depiction.
Although Tai Chin based the style here on those of Ma Yuan and Hsia
Kuei in the Southern Sung (1127-1279), his daring brushwork emphasizes expressiveness for
an impressive style that is spirited and varied. The compositional formula of leaving a
large portion of the surface blank also derives from the Southern Sung academic mode.
However, the surface is flatter with the distances appearing in the same plane. This
emphasis on surface rather than space is a distinctive feature of Che School painting.
Although bearing no signature or seal of the artist, the style belongs to that of Tai Chin
and was probably painted by him when he was in
Peking.
Although Tai Chin's style was influenced by various Sung and Yuan
styles, it appears to derive most clearly from the Southern Sung court style. However, he
was not constrained by any particular style as he developed his own mode of painting. His
daring yet mature brushwork yielded a variety of ink effects. Spirited and free, but not
uncontrolled, this is a classic example of Tai Chin's style. |
