(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"
南宋 佚名 騎驢圖 軸 Chan master riding a mule. The Met (Accession Number:1989.363.24)
www.metmuseum.org/exhibitions/vi ... d=40276&ft=*&fe=1
(b) 清 八大山人 （朱耷） 蓮塘戲禽圖 卷 Birds in a lotus pond. The Met (Accession Number: 1989.363.135).
metmuseum.org/exhibitions/view?exhibitionId=%7B34896ec2-c231-49f8-9e79-079c51579290%7D&oid=49143
(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
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发表于 3-10-2016 15:56:30
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