Who painted 明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree?

明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree was painted by After Wu Bing in 1506.

Where can I see 明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree?

明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree is held by Metropolitan Museum of Art.

What movement is 明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree?

明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree is associated with Ming dynasty painting.

Artwork

明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree

After Wu Bing , 1506

明佚名（舊傳）吳炳枇杷扇|Bird on a Loquat Tree is an ink painting by the Ming dynasty painting artist After Wu Bing. It dates from 1506 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

This painting, titled Bird on a Loquat Tree, is an ink and color work on silk, originally created as a fan during China's Ming Dynasty around 1506.

This painting, titled Bird on a Loquat Tree, is an ink and color work on silk, originally created as a fan during China's Ming Dynasty around 1506. While formerly attributed to Wu Bing, it is now considered the work of an anonymous artist. The composition features a small bird perched on a branch laden with ripe loquat fruit, rendered with meticulous detail. It exemplifies the tradition of nature studies in Chinese art.

Subject & Meaning

The artwork presents a solitary bird resting among the vibrant foliage and yellow fruit of a loquat tree. The bird's tilted head suggests a moment of quiet observation or listening within the natural world. Loquats, a fruit native to China, often symbolize prosperity and good fortune. This intimate portrayal of flora and fauna invites viewers to appreciate the subtle beauty and tranquility found in nature's cycles.

Technique & Style

Executed with ink and color on silk, this piece showcases the refined brushwork characteristic of Chinese painting. The artist employed delicate strokes to render the intricate textures of the bird's feathers and the veins of the leaves, creating a sense of lifelike precision. The glowing yellow of the loquats contrasts with the darker greens, highlighting the fruit. Its original format as a fan suggests it was intended for close, personal contemplation.

Context

Originally conceived as a functional fan, this painting was designed for intimate appreciation rather than large-scale display. Such works were often exchanged as thoughtful gifts, reflecting personal taste and cultural refinement. The act of holding and examining the fan allowed for a direct engagement with the artist's detailed execution. This format was popular in medieval China for its portability and the private viewing experience it offered.