标题: 'Masterpieces of Chinese Painting from the Metropolitan Collection' [打印本页] 作者: choi 时间: 3-10-2016 15:56 标题: 'Masterpieces of Chinese Painting from the Metropolitan Collection' 本帖最后由 choi 于 3-10-2016 16:25 编辑
Note:
(1) This is an exhibition review on
Masterpieces of Chinese Painting from the Metropolitan Collection. Metropolitan Museum of Art (The Met), through Oct 11 http://www.metmuseum.org/exhibit ... of-chinese-painting
("Over the last forty years, the Metropolitan's collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. Replete with masterpieces dating from the Tang dynasty (608–917) to the present")
In another Web page from the Met: "The first rotation will be on view from October 31, 2015, through April 17, 2016, and the second rotation will be on view from May 7, 2016, through October 11, 2016."
(2) WSJ locks the review behind a paywall.
(3) In print is a painting whose caption reads, " 'Night-Shining White,' painted by Han Gan around 750." The painting has "韓幹畫 照夜白" (南唐後主李煜題字). (照夜白是唐玄宗的胡種馬的名字.)
Quote: "This painting, the most famous work attributed to the artist, is a portrait of Night-Shining White, a favorite charger of the emperor Xuanzong (r [eign] 712–56). The fiery-tempered steed, with its burning eye, flaring nostrils, and dancing hooves, epitomizes Chinese myths about imported 'celestial steeds' 天馬 that 'sweat blood' and were really dragons in disguise. This sensitive, precise drawing, reinforced by delicate ink shading, is an example of baihua 白畫 (white painting), a term used in Tang texts to describe monochrome painting with ink shading, as opposed to full color 彩色 painting. The later term baimiao 白描 (white drawing) denotes line drawing without shading, as seen in the paintings of Li Gonglin (ca. 1041–1106).
(4) "Sometime in the mid-13th century, Zhao Mengjian 趙孟堅 [南宋] filled a 12-foot hand scroll with slender-leaved narcissus twisting and bowing, alive with the movement of a gentle breeze."
南宋 趙孟堅 水仙圖 卷 Narcissus. The Met (Accession Number: 1973.120.4). http://www.metmuseum.org/art/collection/search/40284 作者: choi 时间: 3-10-2016 15:59
(5) "My companions [to view the Exhibition] are 87-year-old artist AN Ho 安和 and her daughter Lalani Nan, who translates for us. In 1945 Ms An met PU Ru [Aisin-Gioro Puru 愛新覺羅 溥儒 (字 心畬; born in 1896 in Beijing and died in 1963 in Taipei)], one of China's last scholar artists. Under his tutelage, she studied philosophy and focused on calligraphy, first in Nanjing and then, escaping the turmoil of China's revolution, in exile in Taiwan. There, Ms An was also given access to imperial treasures Chiang Kai-shek had brought with himin retreat, enabling her to study, copy and master brushwork and techniques of Tang and Song dynasty artists. Today at home in the Catskills * * *"
(a) 湖畔居士, 【藏龙卧虎在民间】--书画家安和与亚特兰大. Always88.com, May 1, 2014. www.always88.com/showthread.php?t=1808
(b) Lalani NAN. undated www.lalaninan.com
("Born in Taichung, Taiwan, 1961 BFA [Bachelor of Fine Arts], Atlanta College of Art, 1984")
(6) "Typically, Western audiences respond most readily to the expressive, idiosyncratic brushwork of scholar artists, and the show offers up a variety -- from the spare, unevenly inked lines that silhouette a Chan (Zen) master astride a mule in an unsigned 13th century work to Bada Shanren's saturated smudges, which coalesce into 'Birds in a Lotus Pond' (c 1690)."
(a) "a Chan (Zen) master astride a mule"
(7) "In an unsigned 13th-century hanging scroll of 'Buddha Amitabha Descending from His Pure Land,' for example, the thread-thin 'floating line' delineating the folds in his robes also marks him as divine. In the small, slightly earlier 'Viewing Plum Blossoms by Moonlight,' Ma Yuan creates dynamic tension by painting rocks with a diluted, soft gray ink but gives them texture with strong 'ax-cut' 斧劈皴 brushstrokes. And in Zhao Cangyun's late 13th- to early 14th-century handscroll 'Liu Chen and Ruan Zhao Entering the Tiantai Mountains,' the choice of brushstrokes reinforces the story's emotional impact. Scene by scene, this scroll shows two men who, while gathering herbs, inadvertently cross into the land of the immortals."
(a) 南宋 佚名 阿彌陀如來圖 軸 Buddha Amitabha descending from his Pure Land. The Met (Accession Number: 1980.275). metmuseum.org/exhibitions/view?exhibitionId=%7B93f2a73e-d2ae-46a2-823b-a47219e55980%7D&oid=40282
(b) 南宋 馬遠 月下賞梅圖 團扇 Viewing plum blossoms by moonlight. The Met (Accession Number:1986.493.2). www.metmuseum.org/art/collection/search/44638
(c) 元 趙蒼雲 劉晨阮肇入天台山圖 卷 Liu Chen and Ruan Zhao Entering the Tiantai Mountains. The Met ("Accession Number:2005.494.1") www.metmuseum.org/art/collection/search/39545
* 劉義慶 (南朝劉宋 宗室), 劉晨阮肇.《幽明錄》.
(8) "The show's selections also bring out the range within genres, particularly landscapes. At one extreme, a 65-foot-long oversized handscroll 卷 (of which we see about 10 feet) features court painter Xu Yang's colorful chronicle of an imperial inspection tour in 1751, complete with royal barge and greeting party, bustling commerce and families on outings. Ms An delights in the scenes but considers them illustrations—not in the league of, say, Fang Congyi's 'Cloudy Mountains' in a preceding gallery. The journey in Fang's handscroll begins in a well-defined thicket on the right edge. As we move left, mountains rear like giant waves, then settle into a quiet rhythm and gradually dissolve into the mist."
(a) 清 徐揚 等 乾隆南巡圖 （第六卷﹕大運河至蘇州） 卷 The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering Suzhou along the Grand Canal. The Met (Accession Number: 1988.350a–d ). http://www.metmuseum.org/art/collection/search/41493
(b) 元 方從義 雲山圖 卷 Cloudy Mountains. The Met (Accession Number:1973.121.4). www.metmuseum.org/art/collection/search/45652