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In the inscription, the artist criticized the carefree life that the last monarch of the Former Shu State (891-925) led with palace ladies. After the inscription he affixed two name seals. The painting has been known as Palace Ladies of the Later Shu State (the State of Latter Shu State was ruled under the Meng Family, 925-965) since it was first titled by Wang Keyu (b. 1587) in his painting catalogue Coral Net: Painting Catalogue. However, according to recent studies, what the painting depicts took place in the inner court of the Former Shu under the reign of Wang Yan (r. 918-925). Therefore, it is now titled Palace Ladies of the Former Shu State. A figural painting with vivid colors and fine lines, it depicts palace ladies with clear eyes, bright teeth, made-up faces with rosy cheeks. The fine yet dynamic brush lines and the bright colors give the painting a noble ambience. The artist applied layers of white powder to the foreheads, noses, and chins of the ladies, accentuating their heavy and exquisite makeup. The ladies wear golden lotus corona and Taoist robes decorated with colorful motifs. They are plump yet still look graceful and charming. The brush lines are long, thin, and sinuous, like lute strings dropped on the table. The gorgeous dress reflects the jealousy and competition between palace ladies. The painting incorporates the Tang dynasty (618-907) lady painting style which was invented by Zhang Xuan and Zhou Fang, while demonstrating the delicate and dainty style of women typical of the Ming dynasty (1368-1644). Indeed it is a masterpiece of Tang Yin's paintings of women. (Editor:admin) |
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