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"BUREAU ART GALLERY . COM - 23 YEARS ON BUSINESS"
This is a magnificent painting Attributed to the and skilled chinese painter Ni Tsan (1301-1374), this is an amazing item with a very good cotation and the artist is presented in famous art books around the world. Our experts and the Bureau Art Gallery (20 yers on business) can assure you the quality of this wonderfull masterpiece and it is sent with a document and photos expedited by the art institute of our country attributing it to the artist. The Chinese painter Ni Tsan (1301-1374) was one of the "Four Great Masters" of the Yan dynasty. He was famous for his poetry and calligraphy and, above all, for his cool, serene landscapes painted in monochrome ink. Ni Tsan was born in Wu-hsi in Kiangsu Province, the birthplace of many scholarly painters. His family were wealthy merchants, and Ni Tsan never embarked on an official career. Instead, he devoted himself to literature and scholarship, poetry and art. He was an ardent collector and connoisseur, with a passion for cleanliness. In the middle of the 14th century the alien Yan (Mongol) government was beginning to lose control over China and resorting to crippling taxation, which fell most heavily on the landed gentry of the Chekiang-Kiangsu region. About 1350, to escape the rapacious tax collectors and the deepening social chaos, Ni Tsan gave his fortune away to his relatives and left home. For the next 20 years he drifted in a houseboat among the lakes, rivers, and canals of Kiangsu, lodging sometimes in temples, while he continued to enjoy the pleasures of painting and connoisseurship. He led a simple life and dressed as a Taoist monk, refusing to sell his paintings but giving them away to anyone who appreciated them. While Ni Tsan found some inspiration in the masters of the 10th century, such as Li Ch'eng and Tung Yan, he so transformed their styles as to create landscapes unique in the history of Chinese painting. Again and again he used variations of the same simple composition, in which a group of trees and perhaps an empty hut stand on a rocky spur in the foreground, separated from distant hills by a clear expanse of water. Ni Tsan often wrote a poem or long inscription on the upper part of the picture, thus forming a subtle union of painting and calligraphy. He painted in monochrome ink on paper, very seldom adding any color, and using ink, as his contemporaries said, as sparingly as if it were gold. His brush-work is dry, sensitive, and bland. W
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