倪瓒之后的Wintry树亭 - 美国大都会艺术博物馆展品查阅

品名（中）	倪瓒之后的Wintry树亭
品名（英）	Pavilion amongst Wintry Trees after Ni Zan
入馆年号	2000年，2000.665.1
策展部门	亚洲艺术（Asian Art）
创作者	Qi Zhijia【1627 至 1682】【中国人】
创作年份	公元 1661
创作地区
分类	绘画（Paintings）
尺寸	45 5/8 x 20 英寸 (116 x 50.8 厘米)
介绍（中）	齐志佳是浙江山阴人，同时代人形容他"沉迷于书法、绘画、踢球、钹乐和歌剧"。他曾在明朝短暂担任官员，但在1644年满族征服后退休，过着文人隐士的生活。他是一位著名的诗人和书法家，在山水画方面也表现出色，风格与十世纪大师董源和巨然如出一辙在这幅画中，齐采用了学者艺术家倪赞（1306–1374）的备用山水成语。倪的形象以一片孤立的小树林或一座坐落在严峻的河流景观中的空亭为典型，长期以来一直被认为是蒙元解体期间许多受过教育的精英所经历的流离失所和孤立的象征。明朝灭亡后，许多效忠者有意识地唤起倪的图像，以此表达他们对王朝崩溃的反应。
介绍（英）	Qi Zhijia, whom a contemporary described as being "addicted to calligraphy, painting, kickball, cymbal music, and opera," was a native of Shanyin, Zhejiang Province. He served briefly as an official under the Ming dynasty, but retired after the Manchu conquest of 1644, adopting the lifestyle of a scholar-recluse. Renown as a poet and calligrapher, he also excelled in landscape painting in the styles of the tenthcentury masters Dong Yuan and Juran. In this painting Qi has adopted the spare landscape idiom of the scholar-artist Ni Zan (1306–1374). Typified by an isolated grove of trees or empty pavilion set within an austere river landscape, Ni's images have long been understood as emblematic of the displacement and isolation experienced by many members of the educated elite during the disintegration of the Mongol Yuan dynasty. After the fall of the Ming, many loyalists consciously evoked Ni's pictorial imagery as a way of expressing their response to dynastic collapse.