By Maxwell K. Hearn
An in-depth stylistic exam and targeted actual research of the famed tenth-century "Riverbank, in addition to different chinese language outdated grasp work.
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Additional info for Along the Riverbank: Chinese Painting from the C.C. Wang Family Collection
On the far wall, lit softly from above and serving as altarpiece, was the Byzantine panel. Older by a thousand years than anything else in the room, his greatest treasure, though it had failed him in nearly every way. The Virgin’s face and hands had faded long before he had taken possession of the work. Now, except for those dark eyes, she had become indiscernible to his failing vision, creating the impression of a deep maroon robe wrapped about some spectral being. Not what the maker intended, but quite effective.
And fear, too, for she would not be there without a purpose, but he was hopeful that she intended him some good. She had ever been the source of mercy in all the tales that he knew, and if she could not save his enfeebled body, perhaps she could save that thing that was more important, if it was real: his soul. He thought of all these things in a moment as the figure hovered at the edge of his vision, waiting. Shame overwhelmed him, suddenly, sickeningly. Belief came from the heart, not the eyes.
Andreas heard the hardness come into his voice, despite himself. “No? What were we discussing? ” “My happiness, yes. Always a great concern of yours. ” “I don’t want to fight. ” Alekos seemed almost shocked, or played well at it. “You’re my father. ” “Fotis is a relation. You are blood. ” “So is that the reason I am here? ” “You know, this isn’t about you, old man. This is not about your forgiveness. This is about me. You came, God knows why. I don’t want to know your other reasons. You’re here.
Along the Riverbank: Chinese Painting from the C.C. Wang Family Collection by Maxwell K. Hearn