The Forest Dwelling At Juqu Analysis

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The Forest Dwelling at Juqu, created in the Yuan Dynasty by Wang Meng (1308-1385), ­­is a hanging scroll depicting the Forest Chamber Grotto at Lake T’ai and currently resides in Taipei at the National Palace Museum. Noted for its intricate detail and varying brushwork, The Forest Dwelling at Juqu succeeds in portraying an energetic vitality within its content, yet loses this spirit in its representation of form. Wang Meng’s intentional portrayal of depth in the cliffs that surround the grotto serve to illustrate the magnanimity of the landscape. Using perspective, the cliff heights recede into the far distance, and ascend with no clear end to the viewer. The twisting contour lines of the cliff grow out from the center and in an upward fashion, and enhance the verticality of the painting. The ink wash gradation of the upper cliffs as well as the utilization of pointillism in creating the leaves of the trees located on the highest cliffs, augment the magnitude of the cliffs. The unending peaks that reach upwards toward heaven with vigor demonstrate Wang Meng’s understanding of the cliffs’ true nature and vitality. Wang Meng imbues a life energy in The Forest Dwelling at Juqu through his …show more content…

The largest flaw Wang Meng committed in The Forest Dwelling at Juqu is his representation of waves in Lake T’ai. The lake’s waves are sharp, repetitive spikes that have little difference in height despite the lake’s upward recession. Water itself crashes and recedes, cycling through with its own life energy. However, Wang Meng’s water is stagnant and unchanging, cold and cruel like the reptilian scales it resembles. The pulsating, life-giving water that the villagers center their life upon is foreboding due to Wang Meng’s strokes, and is such a different form than what heaven intends. Wang Meng does not understand the fundamentals of water, and his painting suffers a lack of vital force due to

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