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Handscroll

A handscroll is a traditional East Asian format for paintings and calligraphy, consisting of a long, narrow horizontal scroll typically made of silk or paper and measuring several meters in length, designed to be unrolled gradually from right to left for intimate, section-by-section viewing by one or a few individuals.^[1] Originating in China by the Han dynasty (206 BCE–220 CE), with early painted examples from the 4th–7th centuries CE and notable uses including portable Buddhist scriptures from the 8th–9th centuries in the Dunhuang Caves, handscrolls evolved into a prominent artistic medium by the Song dynasty (960–1279), where they facilitated narrative depictions of landscapes, historical events, and daily life in a sequential, film-like progression.^[2] During the Ming dynasty (1368–1644), they gained popularity for elegant social gatherings, allowing artists to improvise works collaboratively, often incorporating poetry, calligraphy, and seals as part of the "three perfections" of Chinese art.^[3] Key features of handscrolls include protective elements such as silk wrappings, wooden rollers, and storage boxes to shield against environmental damage like dust and moisture, ensuring longevity for these delicate artifacts.^[2] Unlike hanging scrolls intended for display, handscrolls emphasize private appreciation, with viewers unrolling portions—usually a shoulder's width at a time—to reveal unfolding stories or scenes, often enhanced by frontispieces, colophons (appreciative commentaries from later owners), and personal seals that document the artwork's provenance and cultural dialogue over time.^[1] This format's adaptability allowed collectors to extend scrolls by adding sections, inscriptions, or seals, transforming them into living historical documents that blend art with ownership narratives.^[4] Handscrolls hold significant cultural value in East Asian art traditions, which spread to Japan and Korea via Buddhism, influencing local variants such as emakimono in Japan, while remaining a cornerstone of Chinese painting for their role in storytelling and aesthetic innovation, as seen in masterpieces like Tang Yin's The Water Margin (early 16th century), which captures episodic adventures in vivid detail.^[3] Their intimate nature contrasts with monumental formats, prioritizing contemplative engagement and portability, and they continue to inspire modern interpretations in contemporary East Asian art.^[2]^[5]

Historical Development

Origins in Ancient China

The handscroll format originated in ancient China as an evolution from earlier writing systems using bamboo or wooden slips bound together with cords, a practice that dates back to at least the Spring and Autumn period (770–481 BC). During this era, texts such as the I Ching (Book of Changes) were inscribed on these slips, which were strung together to form rudimentary scrolls for storage and reading, allowing for sequential unrolling. This method facilitated the recording and transmission of philosophical and historical works, marking the initial development of the continuous, horizontal format that would later define handscrolls.^[1]^[6] A significant transition occurred during the Eastern Han dynasty (25–220 AD), when the invention and widespread adoption of paper, alongside the continued use of silk, replaced bamboo slips as the primary substrates. This shift enabled the creation of longer, more flexible continuous formats, as paper was lighter and silk provided a smoother surface for ink application, supporting extended narratives without the bulk of bound slips. The change not only improved portability and durability but also laid the groundwork for handscrolls to serve as versatile mediums for both calligraphy and emerging artistic expressions.^[1] The earliest artistic applications of the handscroll format appeared during the Jin dynasty (265–420 AD), where it expanded beyond textual records to include paintings that depicted scenes, figures, and landscapes in a sequential manner, as seen in works attributed to Gu Kaizhi such as Admonitions of the Instructress to the Court Ladies. This period marked the handscroll's role as a dedicated painting medium, allowing artists to compose dynamic, unfolding compositions that invited gradual viewing, distinct from static wall art. Archaeological evidence from Han dynasty tombs, such as the Mawangdui site in Changsha (dated to around 168 BC), supports this evolution, with discoveries of silk banners featuring illustrations like cosmological diagrams and funerary scenes painted in mineral pigments. These artifacts, including T-shaped silk banners draped over coffins, demonstrate early integration of illustrative elements on silk substrates, foreshadowing the handscroll format's artistic potential.^[7]^[8]^[9]

Spread and Evolution in East Asia

The handscroll format, originating in China, underwent significant evolution during the Tang (618–907) and Song (960–1279) dynasties, transitioning from courtly and religious applications to a medium for personal expression in literati painting. In the Tang era, handscrolls often featured elaborate narrative scenes and landscapes executed in ink and color on silk, reflecting the dynasty's cosmopolitan influences from Central Asia and India through the Silk Road. By the Song dynasty, the format became central to literati painting (wenrenhua), where scholar-artists like Su Shi and Mi Fu emphasized spontaneous brushwork, poetic inscriptions, and philosophical themes, often unrolling the scroll privately to evoke introspection rather than public display.^[10] This shift prioritized amateur aesthetics over professional polish, with handscrolls serving as intimate exchanges among elites, as seen in works like Emperor Huizong's Birds by a Stream, which blended meticulous detail with literati ideals.^[11] The handscroll's dissemination to Korea occurred during the Goryeo dynasty (918–1392), where it integrated with indigenous ink painting traditions to produce refined Buddhist and landscape works. Adopted through diplomatic and cultural ties with the Song court, Korean artists adapted the format for sutra illustrations and monochromatic landscapes, employing delicate ink washes and mineral pigments on silk to convey spiritual elegance and natural harmony.^[12] Exemplifying this fusion is the use of handscrolls in depicting Pure Land themes, such as Amitabha triads, where local innovations like intricate gold detailing enhanced the Chinese-derived narrative structure, reflecting Goryeo's devout patronage of Buddhism.^[13] In Japan, the handscroll—known as emakimono—was introduced in the 8th century by Buddhist monks returning from Tang China, who brought illustrated sutras as teaching tools to propagate the faith.^[5] Early examples of Japanese handscrolls include 8th-century illustrated sutras depicting episodes from the life of the Buddha, while the 12th-century Illustrated Sutra of the Lotus (Hoke Kyō) exemplifies this adoption, featuring vivid scenes of the Buddha's life in ink and color on paper to narrate doctrinal stories for monastic education. Over time, Japanese artists evolved the format during the Heian (794–1185) and Kamakura (1185–1333) periods, incorporating native yamato-e styles with gold flecks and dynamic compositions for secular tales, as in the Genji Monogatari Emaki.^[5] The Mongol invasions of the 13th century profoundly influenced handscroll production through enforced cross-cultural exchanges across East Asia under the Yuan dynasty (1271–1368). As Mongol forces conquered the Song in 1279, they facilitated the blending of Chinese literati techniques with Central Asian motifs, evident in handscrolls like those by Zhao Mengfu, which incorporated Persianate elements such as blue-and-white ceramics and equestrian scenes.^[14] These invasions also spurred artistic transmission to Korea and Japan; in Korea, Yuan oversight during the 13th century introduced new ink landscape conventions, while Japan's repulsion of Mongol fleets in 1274 and 1281 inspired defensive emakimono like the Mōko Shūrai Ekotoba, documenting the events in a hybrid Sino-Japanese style.^[15] This era's Pax Mongolica thus expanded the handscroll's thematic scope, embedding motifs of conquest and resilience into regional artistic dialogues.^[16]

Format and Production

Materials and Construction

Handscrolls are typically constructed using silk or paper as the primary substrate for the artwork. Silk, valued for its durability and smooth surface that resists water after sizing, was historically preferred for high-status paintings, allowing for layered ink and color applications without excessive bleeding. Paper, in contrast, offers greater absorbency, making it ideal for spontaneous ink works where the medium's diffusion creates expressive effects. Both materials require sizing with a glue-like substance to control ink and pigment absorption prior to painting.^[17] The assembly process begins with mounting the painted silk or paper onto a backing for structural support. The artwork is first lined with a primary layer of paper (such as xuan paper), followed by additional linings of xuan paper or silk using wheat-based paste—thicker for silk to ensure adhesion and thinner for paper to maintain flexibility. This backed painting is then integrated into a horizontal format with silk borders separating sections: a brocade-wrapped head cover on the right, the frontispiece (a title slip often inscribed with the artwork's name and artist), the main painting area, and an end section for colophons (inscriptions by owners, collectors, or artists). Wooden staves are attached to the ends, with the right stave reinforced for handling, and a roller (often ivory or wooden) added to the left for unrolling; the scroll is sealed along edges with paste and sometimes a silken cord with a jade or ivory toggle for securing when rolled.^[18]^[19] Historical variations in materials reflect imperial preferences and technological advances. During the Ming dynasty (1368–1644), gold-flecked paper emerged in elite commissions, where fine gold particles were sprinkled or printed onto the substrate to enhance luminosity and prestige, as seen in works like Wen Zhengming's Autumn Mountains handscroll.^[20] Such innovations were often reserved for court or scholarly productions, contrasting with the more standard silk or plain paper used in earlier periods.

Layout and Dimensions

Handscrolls are characterized by a standardized height ranging from 25 to 40 centimeters, designed for handheld viewing by one or two individuals, while their lengths vary significantly from approximately 1 meter to over 10 meters, enabling the sequential unfolding of extended narratives or landscapes.^[21]^[22] This proportional design accommodates the format's emphasis on gradual revelation, with shorter scrolls often focusing on single scenes and longer ones depicting panoramic journeys or multi-episode stories.^[1] The layout adheres to a right-to-left progression, aligning with the traditional direction of Chinese script and allowing the viewer to unroll the scroll progressively from the starting end.^[1]^[23] This directional flow structures the composition into distinct sections: an introductory landscape that establishes the spatial and atmospheric context, followed by main narrative panels that advance the sequence of events or motifs, and concluding areas reserved for colophons—brief inscriptions by later owners or scholars—and artist's or collector's seals.^[1]^[24] Early adaptations for portability included wooden or bamboo slips bound together with cords, which were rolled up for compact storage and transport, precursors to the seamless rolled format of later silk and paper handscrolls.^[2] These mechanisms ensured durability during travel while preserving the horizontal reading orientation.^[2] The overall layout thus supports not only aesthetic progression but also practical handling, with the rolled form stored in protective wooden boxes when not in use.^[1]

Artistic Features

Narrative Composition

Handscrolls distinguish themselves through their capacity to unfold a continuous visual narrative, enabling artists to structure stories and scenes in a linear, progressive manner that engages the viewer in a temporal experience.^[1] Unlike the static, singular composition of hanging scrolls, handscrolls employ sequential panels or sections that depict the progression of time, allowing for expansive panoramic landscapes or episodic tales where events build upon one another as the scroll is unrolled from right to left.^[25] This format simulates a journey, with each segment revealing new developments in the narrative, such as shifting scenes of daily life or dramatic events, fostering an immersive storytelling that mirrors the act of reading a sequential text.^[3] A key element of this narrative approach is the seamless integration of text and image, where inscriptions, poems, or captions are incorporated directly onto the scroll to deepen the artwork's interpretive layers.^[1] These textual elements, often composed by the artist or later collectors, provide contextual explanations, poetic reflections, or moral insights that enhance the visual storytelling; for instance, colophons appended over time accumulate layers of commentary, transforming the scroll into a collaborative narrative artifact.^[25] Such interplay ensures that the images are not viewed in isolation but as part of a multifaceted discourse, where words elucidate symbolic meanings or evoke emotional responses tied to the depicted scenes.^[1] Compositional principles in handscroll narratives, particularly those innovated during the Song dynasty, emphasize "scattered perspective" or shifting viewpoints, allowing multiple angles within a single composition to convey depth and dynamism without adhering to a fixed vanishing point.^[26] This technique enables the viewer to "wander" through the scroll, experiencing elevated, bird's-eye, or close-up views that align with the narrative flow, as seen in landscape depictions where distant mountains align horizontally with foreground elements to create a sense of boundless space.^[26] Originating in Song-era innovations, scattered perspective facilitates the portrayal of complex, multi-episodic scenes, enhancing the scroll's ability to represent temporal and spatial continuity in a non-linear yet cohesive manner.^[25] Thematic structures in handscrolls often revolve around journey motifs, particularly in river landscape compositions, where the unrolling format metaphorically enacts a traveler's progression through varied terrains and encounters.^[1] For example, in Zhang Zeduan's Along the River During the Qingming Festival (early 12th century), the narrative traces a journey from rural outskirts to a bustling urban center along a river, using sequential vignettes to illustrate the vibrancy of Song dynasty life, with over 800 human figures and architectural details unfolding in a panoramic sweep.^[27] Similarly, works like Eight Views of the Xiao and Xiang Rivers (ca. 1150) employ river motifs to evoke contemplative travels, blending scenic progression with poetic inscriptions that underscore themes of exile or harmony with nature.^[26] These structures not only advance the story but also invite viewers to project personal journeys onto the artwork, reinforcing its role as a medium for reflective narrative exploration.^[25]

Painting Techniques and Styles

Handscroll paintings employ a range of ink wash techniques that emphasize brushwork and tonal variation to create expressive landscapes and narratives. Developed prominently during the Tang (618–907 CE) and Song (960–1279 CE) dynasties, these methods include baimiao (white outline), which uses precise black ink lines without color or wash to define forms, and xieyi (freehand or sketchy style), characterized by spontaneous, expressive strokes that capture the essence rather than literal details.^[28] In Tang landscapes, artists like Wang Wei pioneered ink-only approaches with diluted washes layered to suggest atmospheric depth, laying the foundation for later Song developments in monumental panoramic compositions.^[28] Artists select materials based on the desired aesthetic and context, with mineral pigments applied to silk for vibrant, saturated colors in courtly works, contrasted by monochromatic ink on paper for the subtle, introspective effects favored in literati pieces. Silk's less absorbent surface allows for controlled layering of pigments like malachite green and azurite blue, derived from natural minerals and bound with glue, enabling rich hues that evoke imperial grandeur.^[17]^[29] Paper, more porous after sizing, suits spontaneous ink applications, absorbing tones to produce varied textures ideal for scholar-artists' personal expressions from the Song period onward.^[17] Signature elements enhance the visual impact of these works, such as "flying white" (feibai) brushstrokes in xieyi styles, where pressure on the brush separates the hairs to reveal white streaks amid the ink, conveying movement and vigor in landscapes.^[28] In colored compositions, layered glazing—applying thin washes of pigment smoothed with water in multiple layers—builds depth and luminosity, particularly on silk to avoid bleeding.^[28] The evolution of styles reflects distinctions between patronage and purpose, with gongbi (meticulous brushwork) dominating imperial handscrolls through fine outlines and precise detailing for narrative clarity, as seen in Tang court traditions and Southern Song academy productions.^[28] In contrast, private literati handscrolls favor shuimo (ink-and-water) freehand techniques, prioritizing fluid, calligraphic strokes over realism to evoke philosophical introspection.^[17]

Viewing and Appreciation

Traditional Practices

In traditional Chinese culture, handscrolls were unrolled from right to left on a low table in a private, contemplative setting, allowing viewers to experience the artwork section by section at a controlled pace.^[1] This intimate process, typically involving one or two individuals, emphasized personal engagement over public display, with the scroll revealing its narrative gradually to mimic a journey.^[23] Viewing sessions were kept brief to prevent damage, typically in one sitting to appreciate key portions without exhausting the artwork.^[30] Social customs among literati and scholars involved sharing handscrolls during elegant gatherings, where participants would pause at significant scenes for discussion, poetry recitation, or appreciation of inscriptions.^[31] These occasions fostered intellectual exchange, with the host ceremonially presenting the scroll to highlight its artistic and cultural value.^[32] Preservation practices in ancient China focused on protecting handscrolls from environmental harm, particularly light exposure that could fade inks and pigments.^[23] Scrolls were stored rolled up, wrapped in silk brocade, and housed in wooden boxes to shield them from dust, humidity, and sunlight, ensuring longevity for repeated viewings.^[1]^[33] The act of viewing a handscroll aligned with Confucian ideals of self-cultivation and moral reflection, transforming the experience into a meditative practice that encouraged contemplation of harmony, virtue, and the natural order.^[34] This scholarly ritual promoted ethical education through art, reinforcing Confucian emphasis on deliberate, introspective engagement.^[35]

Role in Collecting and Scholarship

Handscrolls have long occupied a prominent place in imperial collections in China, particularly during the Qing dynasty (1644–1912), where they were prized as symbols of cultural patronage and artistic excellence. The Palace Museum in Beijing houses a substantial portion of these imperial holdings, including renowned examples like the Song dynasty handscroll Along the River During the Qingming Festival (attributed to Zhang Zeduan), originally acquired by Emperor Huizong for the Song imperial collection and preserved through subsequent dynasties, including the Qing. This vast repository, derived from the Ming and Qing royal accumulations, encompasses thousands of handscrolls featuring courtly scenes, landscapes, and narrative compositions, reflecting the emperors' roles as collectors and connoisseurs.^[36]^[37] In the 19th and 20th centuries, political upheavals in China, including the Opium Wars, the fall of the Qing dynasty, and the Republican era, led to the dispersal of many handscrolls through auctions and private sales, facilitating their acquisition by Western institutions. The British Museum, for instance, obtained significant pieces during this period, such as the Admonitions of the Instructress to the Court Ladies handscroll, acquired by a British officer in 1900 amid the Boxer Rebellion and purchased by the museum in 1903 from the Qing imperial collections. These acquisitions, often from European dealers or directly from China, enriched museums like the British Museum, which now holds one of the largest collections of Chinese handscrolls outside Asia, comprising works originally from imperial and private holdings.^[38]^[39] Scholarly authentication of handscrolls relies on a combination of traditional and modern methods, with colophons—historical inscriptions by owners, artists, or collectors—serving as key provenance indicators to verify authenticity and trace ownership lineages. Since the 2000s, scientific techniques like infrared reflectography have enhanced these efforts by revealing underdrawings, pentimenti, and preparatory sketches invisible to the naked eye, aiding in the detection of forgeries or alterations in Chinese scroll paintings. For example, this non-invasive imaging has been applied to traditional handscrolls to uncover hidden layers and compositional changes, providing empirical support for art historical attributions.^[40]^[41] In recent decades, digital technologies such as animations and virtual reality have enabled broader access and new scholarly insights into handscroll narratives, as seen in interactive recreations of works like Along the River During the Qingming Festival.^[27] Conservation of handscrolls presents ongoing challenges, particularly the degradation of silk supports, which are susceptible to acidification and mechanical weakening over time. Fluctuating humidity levels exacerbate these issues, promoting mold growth and fiber brittleness, necessitating strict environmental controls at 40–60% relative humidity to mitigate deterioration in both imperial and museum-held examples. Institutions like the Palace Museum employ specialized techniques, such as controlled humidification and flattening, to address undulations and prevent further damage during storage and display.^[42]^[43]

Cultural Significance

Symbolic and Philosophical Roles

Handscrolls in East Asian art frequently embodied Daoist principles, particularly the concept of impermanence (wu chang), through their unfolding format and thematic content. The gradual revelation of scenes as the scroll is unrolled mirrors the Daoist view of existence as a transient flow, akin to the natural cycles of qi and the ephemeral nature of reality described in texts like the Zhuangzi. In Song dynasty (960–1279) landscape paintings, such as those influenced by Daoist philosophy, misty vistas and shifting forms evoke the dissolution of form into the void, symbolizing the impermanence of material world; for instance, later Yuan dynasty works like Fang Congyi's Cloudy Mountains (ca. 1360–70), a handscroll depicting mountains as a fleeting "dragon vein" vanishing into mist, build on this Song tradition to illustrate Daoist transcendence.^[44] Confucian ideology permeated handscrolls via moral instruction, using historical and didactic scenes to promote ethical behavior and social harmony. The Admonitions of the Instructress to the Court Ladies (Nüshi zhen tu), a renowned handscroll traditionally attributed to Gu Kaizhi (ca. 344–405) but likely from the 6th–8th century, exemplifies this by illustrating Zhang Hua's (ca. 232–300) poetic text, which admonishes empresses and court women on virtue, propriety, and filial piety—core Confucian tenets. Through nine scenes of instructional vignettes and historical exemplars, such as Lady Ban's refusal of imperial favor to uphold moral integrity, the scroll serves as an admonitory tale reinforcing Confucian ideals of self-cultivation and hierarchical order.^[45]^[38] In Japanese emakimono, Zen Buddhist influences manifested in the handscroll's sequential unfolding, symbolizing the gradual revelation of enlightenment (satori) along the path to awakening. Rooted in Chan (Zen) traditions transmitted from China during the Kamakura period (1185–1333), the format's right-to-left unrolling—revealing narrative segments incrementally—paralleled the meditative progression toward insight, contrasting sudden enlightenment while evoking layered Buddhist truths. Works like the Illustrated Sutra of Past and Present Karma (Kamakura period) depict the Buddha's life in episodic scenes, where the viewer's active engagement mimics the contemplative unveiling of dharma, aligning with Zen's emphasis on direct experiential realization.^[5] In Korean traditions, handscrolls during the Joseon dynasty (1392–1910) emphasized Confucian scholarship and moral education, often featuring calligraphy and landscape scenes that reinforced scholarly values and hierarchical society, as seen in works like Yun Baek-ha's calligraphic handscroll, which highlights elite cultural exchange.^[46] Handscrolls also reflected gendered dynamics in East Asian elite culture, predominantly created and owned by males to assert status and scholarly erudition. In mid-Ming Suzhou (1368–1644), literati such as Wen Zhengming and Wu Kuan collaborated on poetry handscrolls like the Poetry Scroll of Planting Bamboo (1494), using calligraphy and mounting styles to document moral exemplars and social bonds, thereby reinforcing male intellectual dominance and lineage prestige. Ownership circulated exclusively among scholar-officials and elites in private gatherings, excluding women from production or possession, thus handscrolls functioned as markers of masculine cultural authority and regional identity.^[32]

Influence on Broader Arts and Traditions

On a global scale, handscroll aesthetics permeated 20th-century Western art through adaptations that emphasized linearity and continuous flow. American artist Mark Tobey, after studying Chinese calligraphy and painting in the 1930s, incorporated scroll-like linearity into his "white writing" style, creating dense, all-over compositions that evoke the rhythmic progression of handscroll narratives, transforming Eastern sequential motifs into abstract expressions of movement and interconnectedness.^[47]^[48]

Notable Examples

Iconic Historical Handscrolls

One of the most revered examples of early Chinese handscroll painting is the Admonitions of the Instructress to the Court Ladies (Nüshi zhen tu), traditionally attributed to the Eastern Jin dynasty artist Gu Kaizhi (c. 344–406 CE), though the surviving version is a later copy likely dating to the 6th–8th century CE. This ink and color on silk handscroll, measuring 24.2 cm in height and 335 cm in length when fully unrolled, illustrates a didactic poem by Zhang Hua (c. 232–300 CE) that admonishes court ladies on proper etiquette and moral conduct within the imperial harem. Its nine surviving scenes emphasize subtle figure painting techniques, portraying elegant women in introspective poses that convey ethical lessons through narrative vignettes, marking it as a foundational work in the development of Chinese portraiture and moralistic art. The scroll is housed in the British Museum in London.^[39]^[45] A pinnacle of Song dynasty realism is Along the River During the Qingming Festival (Qingming shang he tu), created by Zhang Zeduan around 1119–1125 CE during the Northern Song period. This monumental handscroll, executed in ink and light colors on silk and measuring approximately 24.8 cm high by 528.7 cm long, offers a panoramic depiction of daily life in the capital Kaifeng during the Qingming Festival, capturing over 800 figures in a bustling urban landscape that includes merchants, scholars, boats, and bridges to evoke the prosperity and harmony of imperial China. Its continuous composition masterfully transitions from rural outskirts to the crowded city center, showcasing meticulous attention to architectural details and social interactions as a vivid historical document of 12th-century urbanity. The original resides in the Palace Museum in Beijing.^[27]^[36] In Japanese art, the Genji Monogatari Emaki (Illustrated Handscrolls of The Tale of Genji), produced around 1130 CE in the late Heian period, represents a sophisticated fusion of literature and visual narrative. These handscrolls, painted in ink and colors on paper with accompanying calligraphy, adapt Murasaki Shikibu's 11th-century novel about courtly romance and intrigue, alternating between textual passages in elegant script and illustrative scenes featuring aristocratic figures in opulent settings. Surviving fragments, totaling about 10% of the original estimated 137 meters in length, employ the fukinuki zuke (blown-away roof) perspective to reveal interior emotions and relationships, blending poetic text with delicate, expressive paintings that influenced subsequent emakimono traditions. Key sections are preserved in the Tokugawa Art Museum in Nagoya.^[49]^[50]

Modern and Contemporary Works

In the 20th century, the handscroll format experienced a revival among Chinese artists who sought to blend traditional ink techniques with modern subjects and expressive styles, adapting the medium to reflect contemporary life and artistic innovation. Qi Baishi (1864–1957), one of the most influential painters of this era, frequently employed handscrolls to depict everyday motifs such as shrimp, crabs, fruits, and landscapes, infusing classical ink wash methods with bold, simplified forms that appealed to a modern audience.^[51]^[52] His works, like the handscroll Crabs and Shrimps, exemplify this fusion by capturing the vitality of aquatic life through minimalist brushwork, marking a departure from imperial-era formality toward accessible, poetic realism.^[53] In the 21st century, handscrolls have evolved into digital formats, with Chinese artists leveraging technology to create interactive and animated versions that extend the traditional viewing experience into virtual spaces. Since the 2010s, works like Yang Yongliang's digitally composed landscapes, such as his reinterpretations of classical mountain-and-water scenes, mimic the horizontal unfolding of handscrolls while incorporating photographic elements and surreal, futuristic themes to critique urbanization.^[54] These digital handscrolls, often displayed online or in multimedia installations, allow users to "scroll" through narratives, preserving the temporal progression of the format while addressing global environmental concerns through layered, high-resolution imagery.^[55] Global artists have further innovated the handscroll by integrating it with conceptual and cross-cultural elements, expanding its scope beyond East Asian traditions. A prominent example is Xu Bing's Book from the Sky (1987–1991), an installation featuring hand-printed scrolls and books composed of thousands of invented pseudo-characters that resemble classical Chinese script but convey no meaning, challenging viewers' assumptions about language and authority in a post-Cultural Revolution context.^[56] This work, displayed as wall and ceiling scrolls, draws on the handscroll's sequential format to evoke the illusion of readability, blending traditional printing techniques with modern linguistic critique and influencing international contemporary art.^[57] The resurgence of handscrolls in modern and contemporary contexts is evident in major exhibitions and robust market activity, underscoring their enduring cultural and economic value. Shows like the Metropolitan Museum of Art's Ink Art: Past as Present in Contemporary China (2013–2014) highlighted handscrolls by living artists, juxtaposing them with historical precedents to explore innovation in ink media. Auction trends reflect this interest, with 20th-century handscrolls achieving significant prices; historical examples like Wu Bin's Ming dynasty Ten Views of a Lingbi Rock (c. 1610) fetched RMB 512.9 million at Poly Auction in 2020, signaling sustained demand that boosts visibility for newer works.^[58]^[59]

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Street Scenes in Times of Peace 太平風會圖
This impressive handscroll depicts more than four hundred figures that together represent a broad variety of professional occupations, social types, public ...Missing: gatherings | Show results with:gatherings
[28]
[PDF] The Material Practices and Social life of the Handscroll Culture in ...
bamboo slips in the Han dynasty. The upper limit to a silk scroll's length was 40 chi, approximately 13.3 meters. It could be made into seamless long scroll ...
[29]
The Art of Mounting Calligraphy and Painting in the Court of Qianlong
Jun 11, 2025 · Handscroll, ink on paper with silk brocade; silk wrapper; rosewood box with jade inlay. Various dimensions. Palace Museum, Beijing. The ...
[30]
Scroll Painting | Research Starters - EBSCO
The technique of scroll painting was introduced to Japan from China during the eighth century. Departing from the Chinese model, which mainly depicted Confucian ...Missing: 8th | Show results with:8th
[31]
The Educational Value of Confucian Art
Jan 27, 2016 · Confucian art, by comparison, has been viewed as providing an ethical and educational function for society.
[32]
Along the River during the Qingming Festival - China Online Museum
The original painting, which measures 24.8 by 528 cm, is now in the collection of the Palace Museum in Beijing. This long handscroll has three major sections:.<|separator|>
[33]
[PDF] The Beijing Qingming Scroll - History
Those who have done so follow a tradition extending back to the twelfth century, in which artists used the format of a handscroll to depict an urban landscape.
[34]
Admonitions of the instructress to the court ladies | British Museum
1736–1795). The British Museum purchased the Scroll from Captain Clarence Johnson (1870–1937) who was in Beijing in 1900 during the Boxer Rebellion (1899–1901) ...Missing: 19th 20th
[35]
handscroll (mounted on panels); painting | British Museum
Description: Handscroll painting in nine scenes (originally twelve) illustrating the 'Nüshi zhen' (Admonitions of the Instructress to the Court Ladies), ...Missing: museums 20th
[36]
handscroll; painting | British Museum
Description: Handscroll. Painting in ink and colours on silk depicting insects and plants. Calligraphic frontispiece in seal-script and five colophons ...Missing: analysis infrared reflectography
[37]
An automatic hyperspectral scanning system for the technical ...
For traditional Chinese scroll paintings, painters often make ... Infrared reflectography was used to reveal preparatory sketches and changes in painting.Missing: handscroll | Show results with:handscroll
[38]
how to conserve chinese scroll - Wei Yang, Ph.D., Asian Art Appraiser
If the needed conservation is postponed, the greater harm the physical damage brings to the object, and the greater the loss in value in all aspects. In a ...
[39]
Key to the conservation of calligraphy and painting relics in collection
May 25, 2023 · As an important supporting material for calligraphy and painting relics in collections, the silk substrate is generally in acidification.
[40]
Daoism and Daoist Art - The Metropolitan Museum of Art
Dec 1, 2011 · Landscape representations often evoke Daoist themes, such as Spring Dawn over the Elixir Terrace ( 1982.2.2 ) by the literati artist Lu Guang, ...
[41]
Admonitions Scroll, attributed to Gu Kaizhi - Smarthistory
The parody takes a moralizing tone, attacking the excessive behavior of an empress. The protagonist is the court bab who guides the ladies of the imperial harem ...Missing: moral instruction<|separator|>
[42]
[PDF] Narrative Techniques in Representational Chinese Handscroll ...
Abstract. This article examines the problems of temporality in narrative theory within the specific frame of Chinese pictorial narratives in handscroll ...
[43]
Performing Images: Opera in Chinese Visual Culture
This exhibition and its catalogue reveal how Chinese visual and performing traditions were aesthetically, ritually, and commercially intertwined.<|separator|>
[44]
Introducing the world of Noh : Origins and History
Sarugaku noh was largely based on mimetic movements while dengaku noh was more associated with symbolic movement. And while dengaku noh was accepted by the ...Missing: handscroll | Show results with:handscroll
[45]
Mark Tobey Paintings, Bio, Ideas - The Art Story
Jan 3, 2021 · Tobey set time aside to study Chinese calligraphy with Teng, discovering "that one could experience a tree in dynamic line as well as in mass ...Missing: handscroll | Show results with:handscroll
[46]
[PDF] The influence of oriental thought on postwar American painting
A broad focus is taken and the influence of Eastern thought on a wide variety of artists is examined: Tobey, Graves, Noguchi, Lassaw, Reinhardt,. Stamos, ...
[47]
The World of Khubilai Khan: Chinese Art in the Yuan Dynasty
Sep 28, 2010 · Chinese art produced during the Yuan dynasty is characterized by a sharing of themes and motifs between media such as ceramics, metalwork, and ...
[48]
Attributed to Zhang Zeduan, Along the River during Qingming ...
Dec 28, 2021 · Attributed to Zhang Zeduan, Along the River during Qingming Festival (detail), handscroll, ink and color on silk, 11th–12th century, ...
[49]
Illustrated scroll from the Tale of Genji - Smarthistory
Illustrated scrolls or emaki were introduced to Japan from China during the spread of Buddhism. They usually depict historical events and religious teachings or ...
[50]
Illustrated scroll from the Tale of Genji (article) | Khan Academy
Azuyama scene (detail), Genji Monogatari Emaki (源氏物語絵巻), c. 1130, ink and color on paper, 22 x 23 cm (Tokugawa Art Museum, Nagoya).
[51]
Qi Baishi - China Online Museum
The subjects of his paintings include almost everything, commonly animals, scenery, figures, vegetables, and so on. In his later years, many of his works depict ...Missing: themes | Show results with:themes
[52]
Qi Baishi (1864-1957) - Staatliche Museen zu Berlin
Current display in the Gallery of Modern Chinese Painting Qi Baishi was one of the most important Chinese artists of the 20th century and no other painter ...Missing: themes | Show results with:themes
[53]
Superb Chinese Handscroll Painting by Qi Baishi - Bidsquare
A Qi Baishi hand-painted scroll entitled "Crabs and Shrimps" that measured 40 1/2 x 13 3/8 inches sold for $254,783 at Sotheby's Hong Kong on April 2, 2019 - ...
[54]
'Ink Art,' the Met's First Big Contemporary Chinese Show
Dec 12, 2013 · The grabbiest is an exquisite hand scroll by Yang Yongliang, who was born in 1980 and trained in traditional Chinese landscape painting before ...
[55]
https://www.whitestone-gallery.com/blogs/gallery-exhibitions/hk-q-yang-yongliang-112019
[56]
Xu Bing, Book from the Sky - Smarthistory
Xu Bing, Book from the Sky, c. 1987-91, hand-printed books and ceiling and wall scrolls printed from wood letterpress type, ink on paper.Missing: handscroll | Show results with:handscroll
[57]
Xu Bing - Carved type for Book from the Sky - China
These pearwood blocks of movable type—here set within a gridded frame—are among the hundreds hand-carved by Xu to print the various scrolls and books for ...Missing: handscroll | Show results with:handscroll
[58]
Top 5 Most Expensive Chinese Scroll Paintings at Auction
Jun 12, 2025 · Qi Baishi's iconic Twelve Landscape Screens, painted in 1925 was sold by Poly Auction, Beijing in 2017 for RMB 931.5 million (around £105 ...<|separator|>
[59]
The Top 15 Most Expensive Artworks Sold at Auction in 2020
Dec 15, 2020 · Ten Views of Lingbi Rock (ca. 1610) ... In October, Beijing's Poly Auction sold a rare Chinese handscroll for RMB 446 million after a fierce ...Missing: 2020s | Show results with:2020s