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Hanging scroll

A hanging scroll is a traditional format primarily in Chinese painting and calligraphy, and more broadly in East Asian art traditions, consisting of a vertical composition created with ink or ink and color on paper or silk, which is then mounted on a backing of silk and fitted with wooden elements for display and storage.^[1]^[2] The mounting typically includes a thin wooden strip (tiangan) at the top attached to a cord for hanging on a wall, and a weighted wooden rod (digan) at the bottom to ensure smooth unrolling and to prevent curling during viewing.^[1]^[2] Unlike handscrolls, which are unrolled horizontally for private contemplation, hanging scrolls are designed for temporary public or ceremonial display, often in homes, temples, or during festivals, and are rolled up afterward to protect the delicate materials from light and dust.^[1]^[3] The origins of hanging scrolls trace back to ancient China, with the format becoming prominent during the Song dynasty (960–1279 CE), when landscape painting evolved as a scholarly pursuit emphasizing the artist's inner world and philosophical ideals.^[3] By the Yuan (1271–1368) and Ming (1368–1644) dynasties, hanging scrolls flourished as a medium for literati artists to express personal retreat from worldly affairs, often featuring vertical landscapes with layered compositions—foreground elements like trees or paths leading the eye to distant mountains and misty backgrounds.^[3] This tradition continued into the Qing dynasty (1644–1911) and beyond, with artists like Bada Shanren (ca. 1699) and modern painters such as Chang Dai-chien (1965) adapting the form to convey cultural and spiritual values.^[3] Key features of hanging scrolls include their modular mounting process, where the painted silk or paper is pasted onto a silk backing, bordered with brocade or plain silk, and reinforced for durability, a craft that requires years of specialized training.^[1] Culturally, they embody the integration of art, poetry, and calligraphy—often inscribed with colophons or poems—serving not only as aesthetic objects but as symbols of refinement and intellectual heritage in East Asian societies.^[2]^[3] Today, hanging scrolls remain influential in contemporary Chinese art, bridging historical techniques with modern expressions.^[3]

Introduction

Definition

A hanging scroll is a vertical artwork featuring painting or calligraphy, typically executed in ink on paper or silk and mounted for temporary display by hanging on a wall.^[1] This format allows the entire composition to be viewed at once, emphasizing its role in East Asian artistic traditions where it serves as a portable and versatile medium for aesthetic appreciation.^[4] Unlike handscrolls, which are horizontal rolls unrolled sequentially from right to left to reveal narrative scenes section by section, hanging scrolls are designed for upright, full-view display.^[1] They also differ from screen paintings, which use fixed or folding panels for permanent interior decoration rather than temporary hanging.^[4] Hanging scrolls are primarily associated with Chinese, Japanese, and Korean artistic practices, where they originated in ancient China as a key format for ink wash painting, calligraphy, and accompanying poetry.^[4] These works typically measure 1 to 2 meters in height, with widths varying to accommodate single panels or multi-panel arrangements.^[5]^[6]

Key Characteristics

Hanging scrolls feature a vertical orientation that facilitates their suspension from walls via a top-mounted rod and hanging cords, enabling the full composition to be displayed and appreciated in a single view, unlike handscrolls which require sequential unrolling.^[7] This format typically measures between two and six feet in height, rendering them lightweight and portable as temporary wall decorations.^[7] In traditional and modern collections, hanging scrolls are subject to rotation in display—often limited to six months of exposure under low light levels before extended storage—to mitigate fading from ultraviolet and visible light damage, a practice that reinforces the art form's inherent emphasis on impermanence and transience.^[8]^[7] Central to their design is the seamless integration of the primary artwork with poetic inscriptions, artist seals, and collector marks, which occupy shared space on the painting surface or adjacent areas, transforming the scroll into a multifaceted record of creation, interpretation, and provenance.^[7] These elements, often added post-completion from the 11th century onward, particularly by scholar-artists, elevate the work beyond mere imagery to a dialogic expression of literary and personal insight.^[7] Aesthetically, hanging scrolls prioritize harmony among the visual image, inscribed text, and mounting components, such as silk borders and wooden elements, to evoke literati ideals of natural equilibrium and introspective communion with the environment.^[9] This balanced interplay reflects core principles of the literati tradition, where painting, calligraphy, and poetry converge to convey subtle emotional and philosophical resonances inspired by nature.^[9]

Historical Development

Origins

The hanging scroll emerged in ancient China during the Han dynasty (206 BCE–220 CE), evolving from earlier writing and display formats such as bamboo strips and silk banners used for texts and illustrations. These precursors provided a vertical orientation suitable for unrolling and viewing, laying the groundwork for the scroll's portable and displayable form. Archaeological evidence from the Mawangdui tombs near Changsha, Hunan Province, dated to around 168 BCE, reveals some of the earliest known silk paintings on banners that resemble proto-hanging scrolls, featuring embroidered or painted scenes of immortals, landscapes, and funerary motifs intended for ritual display in tombs. These silk banners, often suspended vertically during ceremonies, influenced the hanging scroll's development by combining decorative imagery with practical mounting for viewing. By the late Han period, this tradition transitioned from primarily funerary and ritual objects—such as banners honoring the deceased or invoking deities—to more secular decorative art, with scrolls increasingly used to adorn interiors rather than solely for burial contexts. In the imperial courts and among scholarly elites of the Han dynasty, hanging scrolls began to serve as mediums for showcasing calligraphy and simple landscape paintings, allowing for temporary exhibition and appreciation in elite settings like palaces and studies. This initial adoption highlighted the scroll's role in cultural expression, emphasizing themes of nature, poetry, and moral philosophy that resonated with Confucian and Daoist ideals. The format spread beyond China to Korea and Japan through Buddhist transmission networks starting in the 6th to 7th centuries CE, where it adapted to local artistic traditions while retaining its vertical, unrolled presentation for religious icons and sutras. In these regions, hanging scrolls integrated into temple displays and aristocratic collections, facilitating the exchange of artistic techniques across East Asia.

Evolution Across Dynasties

During the Tang dynasty (618–907 CE), hanging scrolls solidified as a primary format for Chinese painting, establishing aesthetic standards that emphasized grandeur and harmony with nature, particularly through monumental landscape compositions that symbolized moral and cosmic order.^[3] These works, often executed in ink and color on silk, reflected the era's cultural flourishing and the desire for withdrawal into enduring natural realms amid political instability.^[3] The Song dynasty (960–1279 CE) marked a pivotal shift with the popularization of literati painting on hanging scrolls, favoring intimate, poetic styles that prioritized personal expression and calligraphic brushwork over courtly realism.^[10] Scholar-officials, distancing themselves from the Imperial Academy's detailed depictions, created monochrome landscapes evoking scholarly retreat and self-cultivation, as seen in the spontaneous, archaic-inspired compositions that blended poetry with visual subtlety.^[3] This approach transformed hanging scrolls into vehicles for philosophical introspection, contrasting earlier monumental scales with more contemplative, human-centered scenes.^[10] In the Yuan (1271–1368 CE) and Ming (1368–1644 CE) dynasties, hanging scrolls expanded in format and stylistic diversity, incorporating paired couplets—vertical inscriptions or paintings hung side by side—to enhance decorative and thematic symmetry in scholarly spaces.^[11] Literati artists in the Yuan developed "mind landscapes" that internalized emotional and historical references through abstracted brushwork, while Ming painters reinterpreted these with renewed emphasis on self-expression and regional variations.^[3] By the Qing dynasty (1644–1912 CE), hanging scrolls reached a peak in collector culture, with elite connoisseurs like Wang Shimin amassing vast archives of ancient works to inform orthodox styles that synthesized Song and Yuan traditions.^[12] Imperial patronage under the Kangxi Emperor further elevated their status, turning scrolls into prized artifacts of cultural lineage and aesthetic orthodoxy.^[12] Hanging scrolls adapted in Japan from the Heian period (794–1185 CE), evolving into kakejiku for displaying Buddhist imagery and later Zen-inspired art that emphasized meditative simplicity and seasonal themes in interior decoration.^[13] Introduced via Chinese influences, these vertical formats suited temple and tea room alcoves (tokonoma), promoting contemplative viewing aligned with Zen aesthetics.^[14] In Korea, during the Joseon dynasty (1392–1897 CE), variations served scholarly display, with literati using hanging scrolls to showcase landscapes and moral allegories that reinforced Confucian ideals in private studies and gatherings.^[15] These works, often in ink on paper, highlighted intellectual pursuits and harmonious natural motifs tailored to elite education.^[16] The 20th century brought a decline in traditional hanging scrolls across East Asia, driven by Western artistic influences, modernization, and the collapse of imperial systems that eroded demand for classical formats.^[17] However, a revival has occurred in contemporary East Asian art markets, where artists blend traditional mounting with modern themes, sustaining their role in auctions and exhibitions as symbols of cultural heritage.^[17]

Materials and Components

Base Materials

The base materials for hanging scrolls primarily consist of paper and silk, selected for their compatibility with ink and brushwork as well as their longevity in humid environments. Paper serves as a versatile substrate, while silk offers a luxurious alternative with distinct surface qualities. These materials are sourced from specific regions in East Asia, where traditional production methods ensure their suitability for artistic applications.^[7] Xuan paper, a rice-based material renowned for its absorbency, is the predominant choice for Chinese hanging scrolls, allowing ink to spread naturally for expressive effects. Derived from the bark of the Pteroceltis tatarinowii tree (commonly called the sandalwood tree) mixed with rice straw, it originates from Anhui province in China and is characterized by its alkaline pH, fine texture, and resistance to aging when properly prepared. In Japan, kozo paper, made from the long fibers of mulberry bark (Broussonetia papyrifera), provides enhanced durability for hanging scrolls, with its strength stemming from low lignin content that prevents discoloration and brittleness over time.^[18]^[7]^[19] Silk varieties for hanging scrolls include plain weave types like habutai, which offer a smooth, even surface ideal for detailed painting, and satin weaves that impart a subtle sheen to enhance visual depth. Sourced historically from Sichuan and Jiangsu provinces, these silks are valued for their flexibility and lower porosity compared to paper, making them suitable for layered ink applications. Sichuan silk, in particular, has been noted in historical texts for its quality in artistic mounts, while Jiangsu production in the Yangtze River delta contributed to refined fabrics during the Ming and Qing dynasties.^[7]^[20]^[21] Preparation of these base materials involves sizing to achieve ink resistance and structural integrity. Both paper and silk are treated with a mixture of alum and animal glue, which seals the surface to control absorbency and prevent excessive bleeding of pigments. Aging techniques, such as controlled exposure to air and humidity, further stabilize the materials by reducing the risk of cracking during repeated rolling and unrolling. These processes are essential for adapting the substrates to East Asian climates, where high humidity demands materials like sized silk that resist water damage and microbial growth.^[7]^[18] Once prepared, these base materials are integrated into the broader structural elements of hanging scrolls to form a cohesive artwork.^[1]

Production Techniques

Artwork Creation

The creation of artwork for hanging scrolls begins with the application of ink and pigments using specialized techniques that emphasize spontaneity, expression, and harmony with nature. In traditional Chinese painting, ink wash techniques, known as shui-mo or xieyi (freehand style), are commonly employed for landscapes, where artists dilute black ink to varying concentrations to achieve tonal gradations, from dense darks for foreground elements to pale washes suggesting misty distances.^[22] Brushwork for calligraphy integrates seamlessly, employing calligraphic strokes to inscribe poems or titles directly on the surface, capturing the artist's rhythmic energy in fluid lines.^[23] For colored elements, mineral pigments such as cinnabar for reds or malachite for greens are ground and mixed with animal glue, applied in layered washes to enhance focal areas without overpowering the ink's subtlety.^[7] Composition in hanging scrolls adheres to principles of vertical hierarchy, designed to guide the viewer's eye upward in a contemplative ascent, often placing dominant focal points like towering mountains at the upper register to evoke grandeur and spiritual elevation, while subordinate figures or architecture occupy the lower sections for grounded narrative balance.^[1] This structure draws on Taoist and Confucian ideals of harmony, incorporating empty space (voids) to imply infinity and using S-shaped curves to create dynamic flow between elements.^[22] Poetry is integrated via the artist's own hand, with verses calligraphed alongside or within the painting to form the "three perfections" of poetry, calligraphy, and painting, enriching thematic depth—such as a landscape poem evoking seasonal transience.^[23] Essential tools include wolf-hair brushes (lang hao), crafted from weasel hair for their resilience and ability to produce sharp, expressive lines or broad washes depending on pressure and ink load.^[24] Ink stones, typically made of slate or soapstone, serve to grind solid ink sticks into liquid form, allowing artists to sequence palettes by controlling dilution for layered effects, from heavy saturation in initial outlines to lighter tones in subsequent glazes.^[7] The artist's workflow typically starts with conceptual planning and preliminary sketching on thin draft paper to outline composition and proportions, ensuring precision before transfer.^[25] This is followed by direct application on the base material—unsized rice paper for absorbent, spontaneous effects in xieyi styles or sized silk for smoother, layered gongbi work—to minimize distortion during later handling, with strokes executed in a single, irreversible session to preserve vitality.^[24]

Mounting Processes

The mounting process for hanging scrolls assembles the completed artwork with its supporting elements, ensuring flexibility for rolling, unrolling, and display while preserving the piece's integrity. This technical procedure, distinct from the initial creation of the artwork, relies on adhesives and precise alignment to create a durable format. Professional mounting specialists, often referred to as shifu or skilled conservators, undertake this work, drawing on extensive training to handle delicate materials without causing damage.^[26]^[27] Traditional wet mounting, the longstanding method in Chinese practice, begins with the preparation of wheat starch paste, made by cooking wheat flour mixed with three to four times its volume in water until translucent and then cooling it.^[28] This adhesive, applied in varying consistencies—thick like custard for structural bonds, medium like yogurt for general adhesion, or thin like milk for fine adjustments—bonds the artwork to a backing of xuan paper or silk using brushes made from pig bristle, goat hair, or palm fiber.^[26]^[29] The paste is brushed onto the verso of the artwork and the mounting surface, with excess smoothed out to avoid bubbles or unevenness. Mounting styles, such as yisebiao featuring single-color silk borders, emphasize aesthetic harmony and structural support, with their foundational principles established during the Tang dynasty (618–907 CE).^[26] Following adhesion, the assembly is stretched taut on a wooden drying board, often face down initially and then flipped, to dry under controlled conditions; this process typically requires at least four weeks, but can extend to two or three months—or even up to 90 days—for optimal stability and to minimize cockling caused by humidity fluctuations.^[28]^[29] Key steps include aligning the artwork precisely on the backing to ensure square corners and straight edges, attaching brocade silk borders along the sides and top for framing and protection, and securing wooden rollers—typically made from paulownia wood—at the top and bottom for hanging and rolling.^[26]^[27] The backing is sometimes waxed and rubbed for added smoothness, and temporary carriers like Japanese Mino paper are removed post-drying.^[29] In contrast, modern dry mounting techniques, emerging in the late 20th century, employ heat-activated silicone adhesive films applied via iron or press, enabling rapid assembly in hours rather than weeks without introducing moisture that could harm pigments or fibers.^[30] This method aligns the artwork on backing similarly but uses the silicone film as a transferable adhesive layer, followed by border attachment and roller installation, significantly lowering the risk of distortion or mold during processing.^[30]^[27] For long-term preservation, hanging scrolls must avoid direct sunlight, which causes irreversible fading of inks and silks; display should be limited to low-light conditions and brief periods, with storage in rolled form within acid-free boxes.^[31] Periodic remounting every 50–100 years is essential to replace degraded adhesives and backings, preventing creases, tears, or separation, and should be performed by qualified conservators to document and address accumulated wear.^[27]^[29]

Formats and Arrangements

Standard Configurations

The single-panel format represents the most common configuration for hanging scrolls, consisting of a full-length vertical image composition suitable for landscapes, portraits, or calligraphic works. These scrolls are designed to be suspended from a wooden dowel at the top, allowing them to unroll fully for display, and are typically positioned centrally on a wall in living or reception rooms to draw the viewer's attention as the room's primary artistic element. This setup emphasizes the scroll's role as a temporary, contemplative focal point rather than a permanent fixture.^[32]^[1] In imperial or elite contexts, oversized single-panel hanging scrolls, frequently surpassing 3 meters in height, command space in grand halls or audience chambers as monumental centerpieces. Such configurations, often commissioned for courtly environments, utilize reinforced mounting to support their scale while maintaining the vertical emphasis for dramatic visual impact.^[33] Standard hanging scrolls adhere to proportions with a height-to-width ratio of roughly 2:1, promoting elongated verticality that aligns with traditional Chinese aesthetics of harmony and extension, as seen in examples measuring around 95 cm high by 41 cm wide. For display, scrolls are rotated seasonally—one per season, matching themes like floral springs or austere winters—and stored by rolling them around the bottom roller when not in use, protecting the delicate materials from light and dust exposure.^[1]^[34]

Specialized Variations

Specialized variations of hanging scrolls deviate from single-panel standards by incorporating multiple panels or altered dimensions to suit thematic, architectural, or spatial needs in Chinese art. These formats often emphasize symmetry, continuity, or compactness, allowing for enhanced decorative integration in domestic or ceremonial settings. Four-scroll sets represent a thematic series commonly depicting the four seasons, arranged to evoke cyclical harmony in nature. Each scroll typically captures a distinct season through landscapes, flora, or fauna, hung side-by-side or in a quadrant layout to form a cohesive visual narrative. For instance, Hu Yuan's Landscapes of the Four Seasons (Qing dynasty, dated 1875) consists of four hanging scrolls in ink and color on paper, each measuring approximately 104 1/2 × 22 1/8 inches (265.4 × 56.2 cm), blending meticulous brushwork with seasonal motifs to symbolize renewal and balance.^[35] Similarly, Lan Ying's Landscapes of the Four Seasons (Ming dynasty, dated 1632) features a set of 12 vertical hanging scrolls emulating ancient masters' styles, such as Ni Zan's sparse winter scene and Wang Meng's lush summer vista, hung as a unified set to demonstrate stylistic versatility across panels.^[36] Qi Baishi's Birds and Flowers of the Four Seasons (1920, Republic period) further exemplifies this format with four 50 × 14-inch scrolls incorporating rebuses for auspiciousness, blending bird-and-flower subjects with seasonal progression for decorative display.^[37] Couplets, known as duilian, consist of paired vertical hanging scrolls inscribed with matching antithetical poetry, designed for symmetrical placement on either side of doorways or interior walls. Originating as architectural elements in the Five Dynasties period (907–960), they gained widespread popularity by the 17th century during the late Ming and early Qing dynasties, adorning homes for festive or commemorative occasions like weddings and birthdays.^[38] Zhang Ruitu's Couplet in Seven-Character Meter (Ming dynasty, 1570–1641) illustrates this with two 111 × 18-inch ink-on-paper scrolls featuring parallel verses that balance rhythm and imagery, enhancing the poetic ambiance of domestic spaces.^[39] In Qing examples, such as Gui Fu's 1793 couplet on red paper (each 99.8 × 24.7 cm), the verses draw from classical poetry to evoke virtue and memory, hung flanking columns to foster scholarly reflection and social bonds among elites.^[40] Li Wentian's Qing couplet (1834–1895) employs metaphors like phoenix and orchids in five-character lines across two 159 × 33.8 cm scrolls, underscoring prosperity and talent in everyday Ming-Qing household doorways.^[38] Panoramic screens utilize multiple conjoined hanging scrolls to create continuous imagery, mimicking the expansive effect of traditional folding screens while allowing vertical display. This arrangement simulates panoramic vistas across panels, often for large interiors where a single scroll would insufficiently capture sweeping landscapes or narratives. A 19th-century example assembles several painted hanging rolls into a panoramic folding screen format, enabling broad coverage of scenes like riverscapes or processions in a unified composition.^[41] Such multi-panel setups, prevalent in late imperial collections, extend the scroll's narrative scope beyond isolated views, integrating silk or paper panels with shared mounting elements for seamless visual flow. Thin-strip paintings feature narrow, elongated formats tailored for confined spaces like small alcoves, emerging prominently in late imperial China during the Ming and Qing dynasties. These vertical scrolls, often under 12 inches wide, prioritize tall, slender compositions such as bamboo stalks or inscriptions to fit intimate architectural niches without overwhelming the area. Mountings incorporate thin wooden top rails for suspension, emphasizing elegance in compact settings over grandeur.^[1] This variation suited urban scholarly environments, where space constraints favored subtle, elongated designs for personal contemplation.

Cultural and Artistic Significance

Display and Usage Practices

In traditional Chinese settings, hanging scrolls were prominently displayed in scholar's studios known as shufang, as well as in temples and palaces, where they served as focal points for aesthetic and intellectual appreciation.^[1] These scrolls were hung vertically on walls using cords attached to wooden strips at the top and weighted rods at the bottom, allowing for temporary exhibition rather than permanent installation to protect the delicate ink and pigments from prolonged light exposure.^[1] In shufang, scrolls enhanced the scholarly ambiance, often positioned alongside low tables bearing incense burners or inkstones, and were selected to complement the room's intellectual pursuits.^[42] Temples and palaces featured larger scrolls for ceremonial or decorative purposes, emphasizing vertical compositions that evoked harmony with architecture and natural elements.^[1] A key practice involved rotating scrolls to align with seasonal changes, poetry recitations, or festivals, ensuring thematic relevance and preventing deterioration. For instance, peony-themed scrolls might be displayed during the Qingming Festival in spring, while lantern scenes suited Lunar New Year celebrations; scholars like Zhao Xigu recommended changing three to four scrolls every three to five days in a single room.^[42] This rotation, advised by connoisseurs such as Mi Fu, involved unrolling scrolls briefly for viewing before rerolling and storing them to avoid dehydration or fading, a custom that underscored the impermanent nature of the art form.^[42]^[32] In Japanese adaptations, hanging scrolls, or kakejiku, were integrated into tea ceremony spaces within tokonoma alcoves, promoting a minimalist aesthetic that prioritized subtlety and transience. The tokonoma typically housed a single scroll alongside sparse seasonal flowers in a simple vase, setting a contemplative mood for the ceremony and reflecting Zen principles of impermanence (mujo).^[43] Guests would bow toward the scroll upon entering, honoring the calligrapher's brushstrokes as an extension of their spirit, before proceeding with the ritual.^[43] Like their Chinese counterparts, these scrolls were rotated seasonally—such as cherry blossom motifs in spring or autumn maple landscapes—or for special occasions, stored in custom wooden boxes when not in use to maintain their condition.^[44] Contemporary usage extends these traditions into museums, private collections, and digital formats, adapting to preservation needs while evoking original impermanence. Museums rotate hanging scrolls in exhibitions, limiting display to brief periods under low light in protected niches or cases; for example, the Freer and Sackler Galleries employ a cycle of six months on view followed by 4.5 years in storage, or two three-month displays separated by rest periods, to mitigate planar distortion and fading.^[8]^[31] Private collectors mirror traditional rotation for thematic alignment, often consulting conservators for safe handling. Digital reproductions, such as high-resolution scans of the British Museum's collections, allow virtual access without physical wear, enabling global appreciation of scrolls in their mounted form.^[45] Viewing etiquette emphasizes reverence and care, central to the connoisseurship culture that values scrolls as conduits for moral and artistic insight. Observers maintain a distance of approximately 1 meter to appreciate brushwork details without overwhelming the composition's vertical flow, approaching closely to "read" the painting as literati did, rather than viewing from afar.^[1]^[42] Touching is strictly avoided to prevent oils or dirt from staining silk or paper, with handlers using clean, jewelry-free hands and often requiring two people for unrolling or hanging.^[46] This protocol fosters connoisseurship, where discerning authenticity through seals, inscriptions, and motifs—like plum blossoms symbolizing resilience—distinguishes true aficionados, a practice rooted in Ming dynasty sensibilities.^[42]

Notable Examples and Influence

One of the most iconic examples of a hanging scroll is Fan Kuan's Travelers Among Mountains and Streams, a Northern Song dynasty (c. 1000) work executed in ink and light colors on silk, measuring approximately 206.3 x 103.3 cm, and housed in the National Palace Museum in Taipei. This monumental landscape painting captures the sublime scale of nature through meticulous detailing of mist-shrouded peaks and winding paths, embodying the era's emphasis on monumentalism and Daoist harmony with the environment.^[47]^[48] Another renowned Southern Song example is Ma Yuan's Singing while Dancing, a hanging scroll from around the early 13th century, rendered in ink and light colors on silk (192.5 x 111 cm) and held in the Palace Museum in Beijing. This piece exemplifies Ma's signature "one-corner" composition, where figures in elegant motion are offset against vast empty space, evoking a sense of poetic introspection and the court's refined aesthetic.^[49] In Japanese art, Sesshū Tōyō's Birds and Flowers, attributed to the Muromachi period (mid-1400s to early 1500s), is a notable hanging scroll in ink and color on silk (approximately 117 x 58 cm), part of a triptych now in the Cleveland Museum of Art. Sesshū's bold splashed-ink technique and dynamic depiction of avian life amid blooming flora highlight the Zen-inspired vitality and asymmetry that distinguish Muromachi painting from Chinese precedents.^[50] A parallel Korean example is Jeong Seon's Landscape, a Joseon dynasty (18th century) hanging scroll in ink and colors on silk (94.5 x 45.2 cm), preserved at the National Museum of Korea. This "true-view" landscape portrays rugged mountains and scholarly figures with a direct, observational realism, reflecting the Joseon era's focus on native scenery and literati ideals.^[51] Hanging scrolls have exerted significant influence on Western modernism, particularly Abstract Expressionism, where artists like Franz Kline drew inspiration from the gestural freedom and calligraphic abstraction of Chinese and Japanese scrolls encountered through mid-20th-century exhibitions.^[52] This cross-cultural dialogue is evident in the bold, vertical compositions and ink-like drips that echo scroll formats, as noted in analyses of Far Eastern impacts on postwar American art.^[53] In the art market, hanging scrolls have commanded record-breaking prices in the 21st century, underscoring their enduring value; for instance, a set of four hanging scrolls by Zhang Daqian sold for $10.4 million at Christie's Hong Kong in 2013, while his Riverside View of Splendor fetched $19.9 million at Poly Auction in Beijing in 2017. More recently, in April 2022, Zhang Daqian's Landscape after Wang Ximeng sold for HK$370.5 million (approximately $47.5 million) at Sotheby's Hong Kong, setting a record for a Chinese painting at auction.^[54]^[55]^[56] Preservation of hanging scrolls faces ongoing challenges from environmental threats like high humidity, which can cause delamination of silk or paper layers, warping of the mounting, and degradation of pigments. Institutions such as the Metropolitan Museum of Art address these risks through strict climate control, maintaining relative humidity between 45% and 55% in storage and display areas, alongside specialized mounting techniques using archival materials to prevent mold and insect damage.^[57]^[31]

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JAIC 2003, Volume 42, Number 3, Article 7 (pp. 463 to 477)
Conservators may choose between four different hanging scroll styles for Chinese paintings: one-color (yi se biao), two-color (er se biao), three-color (san se ...Missing: yisebiao | Show results with:yisebiao
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BPG East Asian Scrolls - AIC Wiki
Oct 2, 2025 · ... hanging scroll in the British Museum. The decision-making process ... "Making East Asian Scroll Storage Boxes" by East Asian Paintings ...Missing: definition | Show results with:definition
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A Study in Reducing Cockling of Chinese Hanging Scrolls - MDPI
Jun 17, 2021 · From the experimental results, we found that artworks become more stable if they remain attached to a drying board for more than a month. After ...
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[PDF] An Introduction to Chinese Painting Conservation Technique
Flour paste with alum is the traditional adhesive used in China, but because we are concerned with the aging problem of pro- teins and alum, we now use wheat ...
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Scroll Mounting | Art blog by Tai Oi Yee at Oystudio.com
Sep 17, 2013 · Dry mounting is the easy way using silicon release paper whereas wet mounting is the old school way, all done by hand, including making the ...Missing: process wheat
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Six Tips to Protect Your Hanging Scrolls - Collections
Try to display scrolls under low light, in a protected area such as a niche or wall case, and only for brief periods of time.
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The Cultural Heritage of China :: The Arts :: Painting :: Hanging Scrolls
Chinese hanging scrolls are long, top-to-bottom paintings, often with the main object at the bottom, and were initially made on silk with brush and ink.
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Oversized Scrolls and Album Leaves_Exhibit Works - 國立故宮博物院
Apr 1, 2015 · This long handscroll is a cooperative figure painting done on imperial order by the court painters Sun Hu, Zhou Kun, and Ding Guanpeng and submitted in 1741.
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Hanging Scrolls - Shanghai Museum - Buffalo Architecture and History
The hanging scrolls get rotated according to season or occasion, as such works are never intended to be on permanent display. The painting surface of the paper ...Missing: standard formats proportions<|control11|><|separator|>
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Hu Yuan - Landscape - China - Qing dynasty (1644–1911)
Landscapes of the Four Seasons, Hu Yuan Chinese, Set of four hanging scrolls; ... historical and cultural context for objects in The Met collection. If you ...Missing: examples | Show results with:examples
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Qi Baishi - Birds and Flowers of the Four Seasons - China - Republic period (1912–49) - The Metropolitan Museum of Art
### Summary of Four-Scroll Set by Qi Baishi
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Couplet by Li Wentian :: | Art Gallery of NSW
Period: Qing dynasty 1644 - 1911 → China ; Materials used: pair of hanging scrolls; ink on paper ; Dimensions. a - right scroll, 159 x 33.8 cm, image. a - right ...
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Couplet in Seven-character Meter - China - Ming dynasty (1368–1644)
$$12.95 deliveryArtwork Details ; Culture: China ; Medium: Pair of hanging scrolls; ink on paper ; Dimensions: Image (Each): 111 x 18 in. (281.9 x 45.7 cm)Missing: duilian | Show results with:duilian
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A Freer Couplet by Gui Fu: Memory, Style, and Virtue in Qing ...
Couplet on Venerable Officials, Qing dynasty, 1813. Pair of hanging scrolls; ink on gold-flecked paper, calligraphy (each): 162.7 × 32.9 cm, mount (each): ...
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Chinese Screen - 19th Century - Proantic
This folding screen is made up of several painted hanging rolls, this type of assembly is called a panoramic folding screen and made it possible to cover large ...Missing: multiple | Show results with:multiple<|separator|>
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[PDF] The Art & Psychology of Chinese Hanging Scroll Mounting ... - CORE
Art history alone will only go so far in helping us to understand the close relationship between artworks and hanging scroll mounting. The current thesis starts ...
[42]
Teahouse Alcove (Tokonoma) - Education - Asian Art Museum
If a scroll is hanging there, guests bow to acknowledge the person who wrote the scroll. The brushstrokes are thought to express the heart and mind of the ...
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Uki-pedia: hanging scrolls | Society of Japanese Art
Jun 3, 2023 · The hanging scroll, in Japanese known as kakemono (“hanging thing”) or kakejiku (“hanging roller”), is the most common mounting for Japanese paintings and ...
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Conversation: Digitising the British Museum's Hanging Scroll ...
From 27th February to 3rd March, the project to digitise the Japanese hanging scroll collections took place at the British Museum under the special guidance ...Missing: rotation | Show results with:rotation
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Handling East Asian Scrolls - Preservation Services
The mounted scroll is a complex laminate structure engineered to support and protect the artwork. ... hanging scroll or handscroll. Detailed Guidelines for ...Missing: museum | Show results with:museum
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Exemplar of Heritage: Fan Kuan and His Influence in Chinese Painting
Among landscape paintings with Fan Kuan's name, “Travelers Among Mountains and Streams” in the National Palace Museum is the one most highly regarded and widely ...
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Fan Kuan: Travelers among Mountains and Streams
Travelers among Mountains and Streams (谿山行旅圖). Fan Kuan (active 10th–early 11th century), Song Dynasty (960–1279). Hanging scroll, ink and light color ...
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Ma Yuan: Singing while Dancing - China Online Museum
In stockMa Yuan (ca. 1160–1225), Song Dynasty. Hanging scroll, ink and light color on silk, 192.5 x 111 cm. Palace Museum, Beijing.
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Birds and Flowers | Cleveland Museum of Art
Details / Information for Birds and Flowers. Birds and Flowers. 花鳥図. mid-1400s-early 1500s. attributed to Sesshū Tōyō 雪舟等楊. (Japanese, 1420–1506). View ...
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NATIONAL MUSEUM OF KOREA>Collection>Collection Database
Joseon Dynasty ... Jeong Seon(鄭敾, 1676-1759). Category. Culture / Art - Letter & Paintings - Paintings - painting. Dimensions. 94.5x45.2cm(Hanging scroll ...
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ART REVIEW;Seeing Franz Kline in Eastern Scrolls
Dec 1, 1995 · The scrolls in "Abstraction and Expression in Chinese Calligraphy" come from the collection of H. Christopher Luce, a scholar of Chinese art and ...
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SANDRA LERNER - jstor
natural landscape orientation in hanging scrolls by the ... On the relationships between Abstract Expressionism and Far. Eastern influences, see Stanley K.
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https://www.jstor.org/stable/26430781
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Zhang Daqian landscape painting fetches 132 million yuan
Dec 19, 2017 · Ink-brush master Zhang Daqian's hanging scroll painting, Riverside View of Splendor, fetched 132 million yuan ($19.9 million) at a Beijing auction Monday night.
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[PDF] The Care and Handling of Art Objects: Practices in The Metropolitan ...
FRAMING, HANGING, AND DISPLAY. Fig. 2 Brass mending plates should be used to secure a painting in its frame. Those with two holes help prevent the bracket ...