Who painted Zhou Maoshu Admiring Lotuses?

Zhou Maoshu Admiring Lotuses was painted by Kaihō Yūsetsu in 1650-01-01.

Where can I see Zhou Maoshu Admiring Lotuses?

Zhou Maoshu Admiring Lotuses is held by Metropolitan Museum of Art.

What movement is Zhou Maoshu Admiring Lotuses?

Zhou Maoshu Admiring Lotuses is associated with Nihonga.

Can I buy a print of Zhou Maoshu Admiring Lotuses?

Museum-quality prints of Zhou Maoshu Admiring Lotuses are available made-to-order from Artifact World Gallery.

Artwork

Zhou Maoshu Admiring Lotuses

Kaihō Yūsetsu , 1650

Zhou Maoshu Admiring Lotuses is an unspecified painting by the Nihonga artist Kaihō Yūsetsu. It dates from 1650 and is held in the collection of the Metropolitan Museum of Art.

About this work

History & Provenance

The work is held in the collection of the Metropolitan Museum of Art in New York, where it is catalogued as a painting depicting a boat and a man.

Zhou Maoshu Admiring Lotuses is a painting dated to 1650, created by the Japanese artist Kaiho Yusetsu in Japan. The work is held in the collection of the Metropolitan Museum of Art in New York, where it is catalogued as a painting depicting a boat and a man. No accession or inventory number is disclosed in the available records, and no details regarding its commission, earlier ownership, or exhibition history are provided in the available sources.

Overview

Kaihō Yūsetsu's painting, Zhou Maoshu Admiring Lotuses, created around 1650, is housed in The Metropolitan Museum of Art. This work portrays the renowned Song dynasty scholar Zhou Maoshu reclining in a small boat, surrounded by blooming lotus flowers. A young attendant stands at the stern, guiding the vessel. The composition evokes a sense of tranquility, inviting viewers to reflect on the scene's contemplative mood.

Subject & Meaning

The painting illustrates the esteemed Song dynasty philosopher Zhou Maoshu (1017–1073), celebrated for his essay "On the Love of the Lotus." In this text, Zhou praises the lotus for its purity, emerging unsullied from mud, a metaphor for a virtuous scholar maintaining integrity in a corrupt world. Yūsetsu's depiction captures this ideal, showing the scholar in quiet contemplation of the flowers, embodying a profound connection to nature and moral rectitude.

Technique & Style

Yūsetsu employs a restrained palette, primarily featuring soft greens and browns, which contribute to the painting's peaceful atmosphere. The delicate brushwork renders the lotus leaves and the scholar's robe with subtle texture, adding depth without disrupting the scene's tranquility. The artist's careful execution creates a serene environment, where the gentle expression of Zhou Maoshu and the harmonious blending of colors encourage quiet observation and contemplation.