This thesis examines the various sources of the landscape style of Shen Zhou 沈周 (1427-1509), one of the most prominent figures in the history of Chinese literati painting. Shen Zhou has been credited with reviving the Yuan literati painting styles, which stagnated in the early Ming period for nearly a century, and with the founding of the Wumen School of painting (wumen huapai 吳門畫派). Most studies of Shen Zhou’s landscape painting have focused its stylistic link with the Four Great Masters of the Yuan, meaning Huang Gongwang 黃公望 (1269-1354), Wu Zhen 吳鎮 (1280-1354), Ni Zan 倪瓚 (1301-1374), and Wang Meng 王蒙 (1308-1385). However, Shen Zhou’s landscape style is actually based on much broader sources than the Yuan literati painting.

The aim of this thesis is to investigate and discuss...[ Read more ]

This thesis examines the various sources of the landscape style of Shen Zhou 沈周 (1427-1509), one of the most prominent figures in the history of Chinese literati painting. Shen Zhou has been credited with reviving the Yuan literati painting styles, which stagnated in the early Ming period for nearly a century, and with the founding of the Wumen School of painting (wumen huapai 吳門畫派). Most studies of Shen Zhou’s landscape painting have focused its stylistic link with the Four Great Masters of the Yuan, meaning Huang Gongwang 黃公望 (1269-1354), Wu Zhen 吳鎮 (1280-1354), Ni Zan 倪瓚 (1301-1374), and Wang Meng 王蒙 (1308-1385). However, Shen Zhou’s landscape style is actually based on much broader sources than the Yuan literati painting.

The aim of this thesis is to investigate and discuss in depth the various artistic styles that Shen Zhou had studied other than those of the Yuan literati masters. The first chapter focuses on Shen Zhou’s study of the Song paintings. Through a close examination of Shen’s practice in studying Song paintings, therefore, it looks into Shen Zhou’s own understanding of the painting history and clarify the importance of Song academic traditions in his development. The second chapter considers Shen Zhou’s link with the ‘non-orthodox’ painters, mostly the Ming academy and Zhe School painters. An investigation of Shen Zhou’s association with contemporary professional painters will help to draw a more accurate picture of Shen Zhou’s situation in that specific artistic environment. The third chapter reexamines the different opinions on evaluating Shen Zhou and Dai Jin in Ming painting literature. By asking what were theoretical bases of those critics, and what were the central criteria behind their comments, the development of the Ming literati painting theory will be further illuminated.