This article will address the topic of Yun Bing, which has generated multiple debates and has aroused the interest of different sectors of society. Yun Bing is a topic of current relevance that has been the subject of study and research in different contexts and disciplines. Over time, Yun Bing has undergone various transformations and has acquired different meanings, which makes it a topic of great complexity and breadth. Therefore, it is essential to analyze in depth the different aspects and dimensions that Yun Bing encompasses, in order to understand its scope and impact in various areas. By exploring its origins, evolution and consequences, it is intended to offer a comprehensive and objective vision of Yun Bing, with the purpose of contributing to the understanding and reflection on this topic.
Yun Bing | |||||||||
---|---|---|---|---|---|---|---|---|---|
惲冰 | |||||||||
Born | |||||||||
Notable work | Hairpin Scroll (簪花图轴) (1735–1796), Quiet Provisions of the Studio (书房清供图) (1735–1796) | ||||||||
Style | Bird-and-flower painting, "Boneless" technique | ||||||||
Spouse | Mao Hongtiao (毛鸿调) | ||||||||
Chinese name | |||||||||
Traditional Chinese | 惲冰 | ||||||||
Simplified Chinese | 恽冰 | ||||||||
| |||||||||
Qingyu | |||||||||
Chinese | 清於 | ||||||||
|
Yun Bing (Chinese: 惲冰, dates unknown), courtesy names Qingyu (Chinese: 清於) and Haoru (Chinese: 浩如), was a Chinese painter during the Qianlong era. She is well known for her bird-and-flower paintings executing the "boneless" technique, and became the most famed of the Yun family's female artists.
Yun was born to an artistic family in Wujin District of Changzhou, the granddaughter of the famed painter Yun Shouping. Her niece Yun Zhu was also a talented artists. Though her birth and death dates are unknown, one of her paintings in the Shanghai Museum is dated to 1750. She married Mao Hongtiao, also from Wujin, and the two sold paintings and wrote poetry to support their family. One of Yun's granddaughters, named Zhou (Chinese: 周), was recorded in the Yun family genealogy book, which has been used to suggest that her artistic skills were worthy of the Yun clan.
Yun's painting style was heavily influenced by her family's preference for the "boneless" technique. She predominantly painted bird-and-flower paintings, but also painted people, one of which depicts a woman doing her hair known as the Hairpin Scroll (簪花图轴). Yun is often compared with her contemporary Ma Quan, who similarly specialised in bird-and-flower painting but favoured strong outlines. The Chuyue jiexu wenjian lu (初月接续闻见录), compiled in 1818, describes how people throughout the Jiangnan region described them as the "two without parallel" (Chinese: 两绝)
During his tenure as governor-general of Liangjiang, Yi Jishan presented some of Yun's works to Empress Dowager Chongqing who in turn showed them to the Qianlong Emperor. The emperor was reportedly so impressed that he wrote a poem praising her art, after which Yun's reputation as a painter spread.