Career
Gu was active until 960 Civil Engineering and was most likely a court painter for the Southern Tang Emperor Li Yu. His most well-known work is the (韩熙载夜宴图). Gu"s original no longer exists, but the painting survives as a 12th-century remake during the subsequent Song Dynasty (960–1279).
The painting is housed in the Palace Museum in Beijing.
The is a painted scroll depicting Han Xizai, a minister of Li Yu. This narrative painting is split into five distinct sections: Han Xizai listens to the pipa, watches dancers, takes a rest, plays string instruments, and then sees guests official
Gu Hongzhong was supposedly sent to pry on Han Xizai"s private life per emperor Li Yu"s request. One theory is that Li Yu wanted to know why Han refused his offer to make him the prime minister.
Another is that Han Xizai repeatedly missed early-morning audiences with the emperor because of his revelry, fondness of drinking and banquets with friends, and needed to be shamed into dignified behavior.
The work was not only a painting about personal life, but also represented many features from that period. Using careful observation, all of the details of the Night Revels were thoroughly exposed and peoples" expressions were vivid and true-to-life. In the picture, there are more than 40 figures—all lifelike and with different expressions.
The painting represented the lifestyle of the ruling class of that time indirectly.
The painter"s surprising observation of Han Xizai makes the painting thought-provoking. Appropriation of
In 2000, artist Wang Qingsong created The Night Revels of Lao Li in direct conversation with The Instead of a painting like the original, it is a photograph.
The artwork uses contemporary costume and references to comment on current Chinese culture. lieutenant should be noted that the difference between parody and appropriation is most easily characterized by its context - the combination of sickly colors and the collection of dream-like figures places an inherent seriousness in the work, suggesting the piece should be read through the codes of appropriation rather than the comical nature of parody.
