Changes

He was a relative of [[Shen Deqian]]<!--沈徳潜-->, and enjoyed friendships with a number of prominent [[literati]], including [[Shang Baoyi]] and [[Yuan Mei]].

He was a relative of [[Shen Deqian]]<!--沈徳潜-->, and enjoyed friendships with a number of prominent [[literati]], including [[Shang Baoyi]] and [[Yuan Mei]].

Shen first arrived in Nagasaki on [[1731]]/12/3, along with two of his disciples, [[Zheng Pei]] and [[Gao Jun]]. The [[Tokugawa shogunate]] had instructed the [[Nagasaki bugyo|Nagasaki bugyô]] to work to obtain famous paintings from China, or copies of such works, and the head of the Chinese ships at Nagasaki made the decision to bring Shen to Japan. During the roughly two years he resided in Nagasaki, he taught a number of Japanese artists who visited the Chinese settlement, directly, as well as having a broader, indirect, influence. Shen was never invited to [[Edo]], and simply remained in Nagasaki, returning to China on [[1733]]/9/18.

Shen first arrived in Nagasaki on [[1731]]/12/3, along with two of his disciples, [[Zheng Pei]] and [[Gao Jun]]. The [[Tokugawa shogunate]] had instructed the [[Nagasaki bugyo|Nagasaki bugyô]] to work to obtain famous paintings from China, or copies of such works, and the head of the Chinese ships at Nagasaki made the decision to bring Shen to Japan. During the roughly two years he resided in Nagasaki, he taught a number of Japanese artists who visited the Chinese settlement, directly, as well as having a broader, indirect, influence. Shen was never invited to [[Edo]], and simply remained in Nagasaki, returning to China on [[1733]]/9/18. According to some sources, he may have been invited to come to the royal court of the [[Kingdom of Ryukyu|Ryûkyû Kingdom]], based on his reputation before ever leaving China, but he decided to go to Nagasaki instead.<ref>[[Marius Jansen]], ''China in the Tokugawa World'', Harvard University Press (1992), 60.</ref>

Shen's works were typified by bird-and-flower paintings with a close attention to detail and a thick application pigments in bold, bright colors. This style derived from a more conservative tradition in Chinese painting, at a time when [[literati painting]] was gaining powerful support. Following in the tradition of [[Dong Qichang]], the mainstream attitude of Chinese art appreciation now placed primary emphasis on expression through monochrome ink brushstrokes, and disparaged realistic detail and the use of color. In contrast to this, Shen Nanpin's style recalled that of the now-disparaged court painters of previous dynasties, who painted, often from life or from careful sketches, in bright, bold colors, and fine detail.

Shen's works were typified by bird-and-flower paintings with a close attention to detail and a thick application pigments in bold, bright colors. This style derived from a more conservative tradition in Chinese painting, at a time when [[literati painting]] was gaining powerful support. Following in the tradition of [[Dong Qichang]], the mainstream attitude of Chinese art appreciation now placed primary emphasis on expression through monochrome ink brushstrokes, and disparaged realistic detail and the use of color. In contrast to this, Shen Nanpin's style recalled that of the now-disparaged court painters of previous dynasties, who painted, often from life or from careful sketches, in bright, bold colors, and fine detail.

*"[http://kotobank.jp/word/%E6%B2%88%E5%8D%97%E8%98%8B Shin Nanpin]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbun.

*"[http://kotobank.jp/word/%E6%B2%88%E5%8D%97%E8%98%8B Shin Nanpin]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbun.

*Objects and gallery labels, Okinawa Prefectural Museum.

*Objects and gallery labels, Okinawa Prefectural Museum.

[[Category:Artists and Artisans]]

[[Category:Artists and Artisans]]

[[Category:Foreigners]]

[[Category:Foreigners]]

[[Category:Edo Period]]

[[Category:Edo Period]]