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Editorial (Books, magazines and newspaper) - extended
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 5000. 7 years. (excludes advertising)
$175.00
Editorial (Books, magazines and newspaper) - standard
Print and/or digital. Single use, any size, inside only. Single language only. Single territory rights for trade books; worldwide rights for academic books. Print run up to 1500. 7 years. (excludes advertising)
$100.00
Corporate website, social media or presentation/talk
Web display, social media, apps or blogs.
Not for advertising. All languages. 1 year + archival rights
$190.00
Personal website, social media or presentation/talk
Web display, social media, apps, or blogs. Use in academic and non-commercial presentations/talks included. Not for commercial use or advertising. All languages. 5 years
$50.00
Personal products
Personal Prints, Cards, Gifts, Reference. 5 year term. Not for commercial use, not for public display, not for resale. example: For use on birthday cards sent to family members.
Liu Yuanqi was a pupil of Qian Gu (1508-78) who, in turn, was a direct disciple of Wen Zhengming (1470-1559), one of the four great masters of the Wu school. Not surprisingly, this painting accords well with sixteenth-century Suzhou literati values and ultimately the late style of Wen Zhengming. This large scroll, intended for a main hall (da zhongtang), is one of Liu's earliest and most ambitious paintings. The majority of his output was on a small, intimate scale, and this monumental scroll, nearly eleven feet high, appears to have been his masterwork. A lone scholar is shown crossing a small bridge in the bottom foreground. He gazes up past a rustic retreat toward a pavilion situated high on a rocky promontory in front of a cascading waterfall. In spite of the densely patterned surface, the composition is clearly articulated and the brushwork generally relaxed and easy. The basic theme, flattened and somewhat mannered trees, pictorial structure, and dotted textures are all reminiscent of the ink landscapes produced by Wen Zhengming during the last decades of his career.