SPRING LANDSCAPE
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Chinese paintings Spring landscape Landscapes that showed scholars living in reclusion or
traveling in nature were the preferred subject matter for literati painters
in the Yuan and Ming dynasties. Such themes became popular during times
of government corruption, when scholars wanted to underscore the belief
that retirement was better than serving an unprincipled government.
On this scroll, the two inscriptions in the upper portion— attributed
to Yang Weizhen (1296–1370) and Gong Jin (active 1340–68)—describe the
joys of sailing on the Yangtze River in spring.
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SHOLAR |
Scholar In this painting, a scholar is shown seated on a lounge bed in deep thought. He holds a brush as if taking a rest from his studies or as is about ready to write something. At his side, a servant is pouring wine. Behind is a screen upon which is painted a sandy shore and waterfowl. Hung over the painting is a portrait of the scholar himself, making this work an interesting "painting within a painting" and also a "double portrait." Several objects are displayed in this setting, including a low table, upon which is placed lute, chessboard, calligraphy, paintings, and various antique vessels. These symbolized the status and traditional leisure activities of the scholar in traditional China starting from the Sung dynasty. Though perhaps meant to evoke the image of China's sage-calligrapher Wang Hsi-chih (ca. 303-ca. 361), in the Southern Sung (1127-1279), it was already popular to "burn incense, drink tea, hang paintings, arrange flowers" and engage in other such refined activities. If so, then this custom may have begun as early as the late Northern Sung. The lines in this painting, the first leaf from the album "Li-tai hua-fu chi-ts'e," are delicate and fluid, forming a fine and descriptive style. The screen painting of birds and flowers is unusual here, since most such "paintings within a painting" include landscapes instead. This work not only reflects the popularity of reeds and waterfowl in the late Northern Sung, but also the style popular in the reign of Emperor Hui-tsung. (r. 1101-1125). This work was once in the collections of Hui-tsung and Kao-tsung of the Sung as well as Kao-tsung of the Ch'ing (r. 1736-1795), who once commissioned the court artist Yao Wen-han to compose a similar version representing him as the scholar here.
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Peonies |
Peonies This work is the second leaf from the album "Album of Flowers
and Landscapes," which also includes paintings by Wang Hui. In
this particular leaf, the three peonies are distinguished by their colors
and positions. The peony is considered the king of flowers in China,
symbolizing wealth and prosperity. The purplish-brown one is concealed
among the leaves, the dark red one extends upward, and the white one
extends to the back. Painters often avoided using opulent reds and greens
for fear of appearing too gaudy. Yun Shou-p'ing, however, has struck
a harmonious balance and achieved an elegant sense of coloring in depicting
the splendor of the plants, proving his exceptional skill at handling
washes and colors. |
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After Wang Meng's "Mountain Dwelling on a Summer Day" Wang Yuan-ch'i was a native of T'ai-ts'ang, Kiangsu. He received his chin-shih civil service degree in 1670 and served in a number of posts before becoming Attendant Gentleman of the Ministry of Revenue. Appreciated as a scholar-artist, he became a personal painter-connoisseur for the K'ang-hsi emperor (r. 1662-1722) and served as one of the editors of an imperial compilation of painting and calligraphy. The grandson of the famous painter Wang Shih-min (1592-1680), Wang Yuan-ch'i grew up in the arts of the scholar. Developing new theories and influencing generations to come, he is known as one of the Four Great Masters of the Ch'ing.This painting is a depiction of a deep forest on layered crags, a winding stream in a desolate valley, and lofty pavilions and buildings on a cliffside coming down to the stream valley below. In the distance is a view of lofty mountains, giving a sense of height and depth as well as solitude and peace. This work is composed mostly of texture strokes executed with dry ink. The brushwork is dense, following the manner associated with Wang Meng (1308-1385).Wang Yuan-ch'i, in his inscription here, stated that ink ought to be used lightly and that darker shades ink should be expressed using light washes. In executing this landscape, he first outlined the composition in light ink. Then, he gradually built up the deeper areas of ink with layers of light ink. Finally, he applied accents in heavy ink. Both dry and moist areas exist in the linear and scumbling brush strokes.One of Wang's finest paintings, he executed this in the early autumn of 1694 when he was 52. |
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Flowers and Bamboo
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Flowers and Bamboo Hsu Wei, in addition to his achievements in the scholarly arts, was
also an important playwright. He ranked his calligraphy as the best
of all his talents, followed by poetry, prose, and painting. However,
he is probably best known as a flower painter. Either outlined in ink or rendered in the "boneless" sketching method of ink wash, the brush "sings" and the ink "dances" across the scroll. There is great variety to the brushwork. While the surface of the stone was rendered with sweeping brush strokes, the bamboo was done in outlines. The brushwork of the flowers is rhythmic and quick, revealing the flowing washes and ink. The tonal arrangement of the ink varies, making for a lively and lifelike representation. Obviously, Hsu Wei was more interested in the artistic expression of the brush and ink than the detailed description of the flowers. This is an unusually large masterpiece by the artist.
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T'ao Ku Presenting a Lyric to Ch'in Jo-lan |
T'ao Ku Presenting a Lyric to Ch'in Jo-lan In the early Sung (960-1279), T'ao Ku (903-970) served an envoy to the small Five Dynasties kingdom of the Southern T'ang. T'ao was condescending in the face of the Southern T'ang ruler Li Hou-chu. The Southern T'ang officials, angered by his rudeness, came up with a plot; they sent the court courtesan Ch'in Jo-lan in the guise of the Station Officer's daughter to seduce T'ao. Alone in her company and unsuspecting of her true identity, T'ao Ku was overcome by her beauty and forgot his official position, indiscreetly writing a poem for her. The next day, the Southern T'ang ruler gave a banquet for T'ao Ku. At the banquet, T'ao again assumed an air of unbending dignity and unapproachability. The ruler then summoned Ch'in Jo-lan to perform a song, which was the poem that T'ao had written for her the day before. T'ao was thereupon greatly humiliated and he lost his composure. The painting here illustrates this story. In this fine figure painting, T'ao Ku sits on a daybed. Next to him
are writing materials as a torch burns in front. Ch'in Jo-lan, with
her elaborate hairstyle, plays the p'i-p'a in a lifelike rendering just
before he writes the poem. The tree and stone, bamboo and plantain,
and potted flowers, as well as the daybed and painted screens are all
painted carefully. The enclosed composition creates for an intimate
setting. The coloring is elegant and the scene reserved yet lifelike.
In T'ang Yin's poem written in the upper right, he associates himself
with the figure of T'ao Ku. |
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Lofty Mount Lu
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Lofty Mount Lu It has been said of Shen Chou that before the age of 40 he painted small scenes; after turning forty, he switched to painting larger works. He completed this work in 1467 when he was 40. The brushwork resembles that of the Yuan painter Wang Meng, whose style Shen is said to have followed before the age of 40. However, this transitional work also reflects Shen's own style, which has given it an even strong sense of straightforwardness and vigor. The mountains and slopes were first modeled with hemp-fiber texture strokes and tinted with light ink, to which layers of dark ink were added to build up the slopes. The mists and the coloring of the mountains are particularly luminous and well done. A waterfall plunges hundreds of feet, the torrent's waters becoming light and gentle below. This piece was completed in honor of the 70th birthday of Ch'en K'uan,
Shen Chou's teacher, and thus has been painted very carefully to produce
an especially fine effect. |
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