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Going to Work
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Description
Qian Shoutie, also known as Shuya, was from Wuxi, Jiangsu province although he became active in Shanghai. In his youth he was an apprentice in a stele-carving workshop. He was also interested in ancient calligraphy, and became well known for his seal carving. He was involved with numerous painting societies and after 1949 taught at the Shanghai Chinese Painting Academy. The red flag in Going to Work suggests this is a political work, probably of the 1960s.
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Details
- Associated place
- Date
- probably 1963 - 1965
- Artist/maker
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Qian Shoutie (1896 - 1967) (artist)
- Material and technique
- ink and colour on paper; mounted on layers of paper, framed with juan silk pieces; backed with layers of paper
- Dimensions
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frame 73 x 63 x 2.3 cm (height x width x depth)
mount 70 x 60.2 cm sight size (height x width)
painting 23 x 50 cm (height x width)
- Material index
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organic › animal › animal product › silk
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- No. of items
- 1
- Credit line
- Presented in honour of the forthcoming 70th birthdays of Jose Mauricio and Angelita Trinidad Reyes, 1995.
- Accession no.
- EA1995.232.b
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Further reading
Oxford: Ashmolean Museum, 24 September-1 December 1996, Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford, Vainker, Shelagh (Oxford: Ashmolean Museum, 1996), no. 68 on p. 54, p. 8, illus. p. 54 fig. 68
Past Exhibition
see (1)
Location
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- currently in research collection
Objects are sometimes moved to a different location. Our object location data is usually updated on a monthly basis. Contact the Jameel Study Centre if you are planning to visit the museum to see a particular object on display, or would like to arrange an appointment to see an object in our reserve collections.
Publications online
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Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford
The depth of the landscape in Boats on the River Xin'an [EA1995.232.a] is conveyed in the constrained fan format by the distant hills across an expanse of water; in Going to Work [EA1995.232.b], the size of the fields is accentuated by the small proportions of the figures already labouring and the meandering of the file of figures and animals on their way to work, probably of the 1960s, when the filing workers occur on painted porcelain plaques and other propaganda objects of the period.
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