Exquisite Chinese temple rubbing titled "Pulling a Donkey," though indeed the image appears to be a man pulling a horse, who in turn is being confronted by a snake or other amorphous threat. Measuring 11" x 22.5" sight and 18" x 29" in gilded wood frame, complementary forest green matte, and behind glass. In excellent condition. The backing includes an original signature card with provenance for the piece from the Taiwan Republic of China (The ROC government seated in Taiwan), numbered 50.
Per the signature card:
For more than 425 years, i.e. from 206 BC to 219 AD, beauty of form and expression being the things chiefly pursued by Chinese, poets, sculptors, scholars, architects, and painters, so could China produce in this period masterpieces of painting, known as the age for advance of Chinese painting. It was in this period that Chinese painting developed at a wonderful pitch, with a far reaching influence upon every kind of art in the Dynasties of Wei and Chuan, in the Epoch Division between North and South, in the Dynasties Sui and Tang, and in the Epoch of the Five Dynasties, thus writing a most brilliant page in art history.
Because the paintings on the walls of the Han Dynasty didn't, for one reason or another, hand down from generation to generation, the debris of stone-carvings became in fact the only artworks of that period --- which hadn't been discovered for centuries until the Sung Dynasty. The famous works of the Han Dynasty's stone-carvings, exposed in the wu-Liang tombs, the Tso~tang Mountain, the Chu~yu Shrine, the Land~shang Mountain and Nanyang, etc. almost were the works of tombs or shrines.
In addition, the debris of brick-carvings was mostly excavated in the late Ching Dynasty and the early Republic of China. Both stone-carvings and brick-carvings were skillfully almost identical. That is, at first the sketch of an object was brightly carved and then its lines were shadily carved. Only in the period of Han was concentrated such a profusion of artistic triumphs.
Furthermore, in Chinese painting a full dress, figures, horses, carriages, stares, palaces, pavilions, animals, tress, flowers --- all of these were drawn with protuberant colour lines, elegantly delicate strokes, spaciously blended and humble style, and clearly vivid lines. Without doubt this is the essence of Chinese painting.
Tp spread Chinese art works, this Studio has specially gathered masterpieces of light carvings of varying dynasties, together with inherent Chinese colours, designed to be the exhibition of Chinese art works --- nobly artistic works in the Chinese culture.