ARHS 240 FINAL

"Toddlers Playing on a Winter Day" hanging scroll, ink & color on silk Southern Song Dynasty Su Hanchen

Gongbi renwu, plus some huaniao. Rare hairstyle of the boy. Playing with kitten, emphasis on beautiful joy of youth and innocence of childhood. Sense of harmony. Harmonious tender relationship between the brother and sister and nature.

"Ink Bamboo" hanging scroll, ink on paper Ming Dynasty Xu Wei

Highly individualistic artist. Had a series of traumatic life events, made him idiosyncratic and produced powerful, dramatic, expressive xieyi paintings. He had at one point been an assistant to a local official who later committed suicide, and when he no longer had a mentor or anyone to rely on or look up to, he went mad. He tried to kill himself and did kill his wife, which resulted in him going to prison for 7 years. Plagued by poverty, illness, loneliness, insanity, he died alone. These series of events made him feel like his skills were never truly appreciated or displayed, so he harbored a lot of resentment. His poems = very angsty. Ideal xieyi huaniao. The bamboo leaves are very special, artist did not care what they looked like, just sharp, fast calligraphic strokes, completely written with a spontaneous hand. Impressive, powerful brushwork. Forceful strokes. Similar rock to Wu Zhen's, the focus is given to the plants and their vitality. The bamboo stands tall in wind. Poem --> speaks of his dissatisfaction, indignation, and anger regarding the current regime, shown in his forceful strokes.

"Ink Grapes" hanging scroll, ink on paper Ming Dynasty Xu Wei

Highly individualistic artist. Had a series of traumatic life events, made him idiosyncratic and produced powerful, dramatic, expressive xieyi paintings. He had at one point been an assistant to a local official who later committed suicide, and when he no longer had a mentor or anyone to rely on or look up to, he went mad. He tried to kill himself and did kill his wife, which resulted in him going to prison for 7 years. Plagued by poverty, illness, loneliness, insanity, he died alone. These series of events made him feel like his skills were never truly appreciated or displayed, so he harbored a lot of resentment. His poems = very angsty. In this painting: mogu style huaniao, "boneless," did not use any lines at all, used a lot of water and washes to produce this very special effect. Leaves painting in washes, water color type method. Grapes dotted, first light dot and then smaller darker dot. High control of ink diffusion, light ink with lot of water placed first and before that layer completely dried he would splash on the dark ink and the two would diffuse together. Vines are written in minimal strokes. Unique composition, branch comes in from the right and hangs down on both sides, leaving a large blank area bottom center. Through his poem, we understand the meaning of his painting, expresses strong feelings on life and society. Grapes became symbols for his life, no one appreciated their beauty and they became hidden among the vines, waiting to shrivel and drop. Reps his solitary, unappreciated existence.

"Francolins" hanging scroll, ink on paper Ming Dynasty Xu Wei

Highly individualistic artist. Had a series of traumatic life events, made him idiosyncratic and produced powerful, dramatic, expressive xieyi paintings. He had at one point been an assistant to a local official who later committed suicide, and when he no longer had a mentor or anyone to rely on or look up to, he went mad. He tried to kill himself and did kill his wife, which resulted in him going to prison for 7 years. Plagued by poverty, illness, loneliness, insanity, he died alone. These series of events made him feel like his skills were never truly appreciated or displayed, so he harbored a lot of resentment. His poems = very angsty. Minimal, accurate strokes produce convincing birds. The two are sat upon a boulder. One sits looking up at the sky, the other is caring for itself. His written bamboo leaves are not a strong as those in "Ink Bamboo"

"Mountains and Pines in Spring" hanging scroll, ink and color on paper Northern Song Dynasty Mi Fu

This father and son duo developed style of "ink play" and mi-dot technique. Ink play suggests the importance of the painter's psychological expression. Mi-dot technique = rice shaped (mi) dots/blobs of wet ink used to make up the elements of the shanshui. The Mi family style was that of rounded mountains surrounded in mist with washes of ink. Mi Fu had a much more childish style than his son Mi Youren, yet this was a stylistic choice on Mi Fu's part. This amateur appearance was a representation of Mi Fu's humbleness and simplicity.

"Toddlers Playing in An Autumn Garden" hanging scroll, ink & color on silk Southern Song Dynasty Su Hanchen

(No image, children playing in a garden) Gongbi renwu, very intricate. Layered colors, very vibrant. Delicate lines, saturated colors. Documentation of Southern Song dynasty fashion and style. Children appear to be from a wealthy family, with beautiful clothing and furniture.

"Cloudy Mountains" hanging scroll, ink on paper Northern Song Dynasty Mi Fu (in the style of)

(No image, dots make up the mountains) This father and son duo developed style of "ink play" and mi-dot technique. Ink play suggests the importance of the painter's psychological expression. Mi-dot technique = rice shaped (mi) dots/blobs of wet ink used to make up the elements of the shanshui. The Mi family style was that of rounded mountains surrounded in mist with washes of ink. Mi Fu had a much more childish style than his son Mi Youren, yet this was a stylistic choice on Mi Fu's part. This amateur appearance was a representation of Mi Fu's humbleness and simplicity.

"Four Seasons of Mountains and Waters" hanging scroll, ink & color on silk Southern Song Dynasty Liu Songnian

(No image, four images of different seasons) No sublimity, no monumentality, more typical of south compared to Li Tang. More horizontal composition, like S.Chinese typography. The background = hills, not monumental mountains Less dense composition than Li Tang. Very precise and architectural buildings--> uses rulers to draw straight lines. Liu songnian = first to employ this method. There are no calligraphic lines whatsoever Depicts 4 diff scenes from 4 diff seasons on a lake. Seasonal features are shown through the phases of the trees. Feel as though you can walk right into the scene. Very inviting. Leaves a large section open for distant mountains and mist--> gives a poetic and meditative sense.

"Bamboo and Rocks in Xiaoxiang" handscroll, ink on silk Northern Song Dynasty Su Shi

(No image, has bamboo and shell shaped rock) The artist represented new movement of scholar official painters, not yet total literati. Scholar officials were not yet literati because they still held onto their official identities, literati completely cast away officialdom. Early proponent of expression, not representation, in paintings. He believed it was a childish idea to just look for an accurate representation of the subject within painting, you should hope for spirit within art. Brushwork should reveal the personality of the artist. Within the huaniao painting, the protagonist is the bamboo. Bamboo is representative of strong morality, as bamboo does not fear the winter, it stays upright through difficulty. Bamboo also represents modesty, it is simple yet strong. Bamboo also symbolizes open mindedness because it is hollow, it has the ability to take on and internalize more than meets the eye. The bamboo is conveyed in very dark ink, while the rock is in very light ink, this emphasizes the importance of the bamboo. The bamboo is done in spontaneous calligraphic brushwork, portraying spirit, not likeness. The monochrome appearance serves as a form of abstraction, pigment/color represents the real world and detracts from the spirituality of the painting.

"Clearing after Sudden Snow" handscroll, ink and slight color on paper Yuan Dynasty Huang Gongwang

(No image, has floating peak, snow) Moreso in literati taste than "Stone Cliff at the Pond of Heaven," painting is monochrome mostly, minimalistic. The only color is the red sun, which is okay because literati are only completely opposed to the stone blues and greens that are emblematic of the court painters. Also there is no white pigment, which literati are also opposed to, just used light washes to emphasize blank canvas to portray snow. Painted the work completely from imagination, it was inspired by a text of the same title. Pale ink and soft strokes employed. Awkwardness--> awkward structure, unreal hanging plateau, appears to float.

"Lotuses" ink & light color on paper Yuan Dynasty Qian Xuan

(No image, image of lotus blossom and leaves) Artist was a high level official before Yuan dynasty but refused to take position in Yuan government once Mongols took over, he found solace and refuge in painting. Symbolism of lotus flower- grow from mud, mucky waters, grow to be beautiful blossoms --> mud/much = the Mongolian rule, the blossoms keep their beauty, dignity, purity, represent the literati community struggling but staying strong in Yuan Dynasty. Flowers appear delicate and graceful but have spiritual power The blossoms are still blooming, rep the vitality of literati culture, developing and evolving Very precise lines, baimiao huaniao Monochrome, literati style

"Shanshui" hanging scroll, ink on paper Yuan Dynasty Wang Meng

(No image, looks like pointilism) Much more literati in style than "Forrest Grotto at Juqu." Literati gentlemen meditate under pavilion looking out at waterfall, typical component of literati art. Daoist sensibilities--> human activity integrated into the greater universe, not so obvious the presence of men. Very unique brushwork, almost looks like pointillism. Still structuralist, busy strokes, some dots, all very short, very dry as well. No washes used, purely dry, dark and pale strokes. The composition is overwhelmed by the brushstrokes and textures. Restless, intense brushwork that results in a sense of repose and tranquility. Maximalist literati style.

"Knick-Knack Peddler" fan-shape album leaf, ink and color on silk Southern Song Dynasty Li Song

(There are also version done on hand scrolls) Highly detailed. The peddler brings over 300 items and you can sense the excitement in the children over the treasures he holds. Children are plump = have good lives. Everything is meticulously outlined- baimiao. Authentic documentation of S.Song lifestyle. The peddler was a very important figure, he not only brought items villagers had never seen before, but he also brought information (as he is a traveler) and informed ppl of the news.

"Autumn Moon on Lake Dongting" ink on silk Southern Song Dynasty Ma Yuan

(no image, lots of squiggles to make up waves) Wildly different style from his previous works, no asymmetrical composition. This painting is an example of very early abstraction. There is a sense that the waves ripple on infinitely beyond the bounds of the painting (Daoist idea). Very decorative depiction of water.

"Brewing Tea" handscroll, ink on paper Qing Dynasty Wu Changshuo

(no image, rounded calligraphy style shanshui) Artist lived in both Dynastic and Republic china. He was born to impoverished scholarly family in Zhejiang but became most influential urban literati art after Ren Xiong and Ren Bonian passed away. Worked as lower rank official at age 44→ which is when the Ren Bonian portrait came about. Hovered between official and artistic career until his 50s. Mostly self taught in painting. He inherited spirit of urban literati art and transformed it as he entered the new era of china. He was the last literati artist. This work was made after republic of china was founded. It is a piece of meditation on the past, reflecting on the end of classical dynastic china→ idealizing the past. This is not a painting from nature but from the deep heart of the artist. As if he is in his religious phase of life, old age, looking back to his past, meditate on meaning and essence of life. Wrote out everything in simple, humble, archaic manner of the artist frame of mind as a senior literati painter Composition: Amazing simplicity, monochrome, filled with rounded astringent strokes and images all written in strone drum strokes. Everything appears plump and self contained Figures: Scholar sits with Qin--> Literati way of meditating, by nature One servant brewing tea, another fetching water from stream

"Bamboo and Rocks" hanging scroll, ink on paper Qing Dynasty Zheng Xie

(no image, very poor quality image, few stalks of bamboo, hint of a rocks at the back right) Artist's trademark = bamboo. He passed the civil-service examination in 1736 and was appointed as magistrate in north China. Sympathetic with the plight of the people then in the throes of starvation, Zheng enforced extreme measures to improve their situation that met with resistance from the wealthier citizens in the area. His disillusionment with bureaucratic ethics, his disintegrating health, and his reputation tainted by scandal forced Zheng into early retirement. He settled in Yangzhou, then a prosperous community supportive of artists, where he became known as one of the Eight Eccentrics. Also created own calligraphy style - slim, stiff, tilted, dynamic. Calligraphic strokes.

"The Ten Myriads" album of ten leaves, ink & color on gold paper Qing Dynasty Ren Xiong

(only one of the four he showed us) Clear Tang dynasty influence→ blue and green shanshui, something that most literati artists reject, but he uses it very bravely Surprisingly different from traditional literati artist→ but he knew the urban consumers and merchants, he knew they wanted something new, thus this painting was very popular in its innovation and experimentation and a challenge to literati tradition. All of the subjects are in literati taste, but their depictions are not. Used white pigment, rare use among literati, use original surface of painting. Instead of regular rice paper, used gold paper→ which is normally seen by literati as vulgar Pingyuan level distance for the most part, as well as some deep distance All scenes from artists imagination, some have close up compositions→ very unique (similar to Wang Meng Forrest Grotto painting) Very decorative style with bright mineral pigments→ against literati tenets Strong lines of ink as well Newly urbanized shanghai influence→ this painting was highly demanded in art markets Tried to uplift the popular taste to the literati level

"Landscape Album of Elder Yu" album leaf 2 of 17, ink and color on paper Qing Dynasty Shitao

1 name = Buddhist Like Zhu Da, originally from Zhu royal family, but more distantly related and too young to feel the pain when the Ming Dynasty fell. Became a monk at the age of 5 to avoid persecution by Manchus. Felt less political pains than Zhu Da and less antagonistic. Very interested in the theory of painting, wrote "Huayu Lu," a collection of insightful theory on painting, very abstract ideas--> main ideas = -methods develop over time -sketch from mountain to develop own style of painting. Basically, must use past traditions to evolve own style, not to imitate but to pave way for today's exploration of style and experimentation. Had very diverse style. Block view = his main composition. Rolling clouds texture method of mountains. Stylistic diversity all comes from observation of nature, cannot see his predecessors in his style.

"Landscape Album of Elder Yu" album leaf 3 of 17, ink and color on paper Qing Dynasty Shitao

1 name = Buddhist Like Zhu Da, originally from Zhu royal family, but more distantly related and too young to feel the pain when the Ming Dynasty fell. Became a monk at the age of 5 to avoid persecution by Manchus. Felt less political pains than Zhu Da and less antagonistic. Very interested in the theory of painting, wrote "Huayu Lu," a collection of insightful theory on painting, very abstract ideas--> main ideas = -methods develop over time -sketch from mountain to develop own style of painting. Basically, must use past traditions to evolve own style, not to imitate but to pave way for today's exploration of style and experimentation. Had very diverse style. Block view = his main composition. Rolling clouds texture method of mountains. Stylistic diversity all comes from observation of nature, cannot see his predecessors in his style.

"The Peach Blossom Spring" a hanging scroll illustrating the story by Tao Yuanming ink, color on paper Qing Dynasty Shitao

1 name = Buddhist Like Zhu Da, originally from Zhu royal family, but more distantly related and too young to feel the pain when the Ming Dynasty fell. Became a monk at the age of 5 to avoid persecution by Manchus. Felt less political pains than Zhu Da and less antagonistic. Very interested in the theory of painting, wrote "Huayu Lu," a collection of insightful theory on painting, very abstract ideas--> main ideas = -methods develop over time -sketch from mountain to develop own style of painting. Basically, must use past traditions to evolve own style, not to imitate but to pave way for today's exploration of style and experimentation. Had very diverse style. Block view = his main composition. Rolling clouds texture method of mountains. Stylistic diversity all comes from observation of nature, cannot see his predecessors in his style.

"Wonderful Conceptions of the Bittermelon: Landscape Album for Liu Shito" album, ink on paper Qing Dynasty Shitao

1 name = Buddhist Like Zhu Da, originally from Zhu royal family, but more distantly related and too young to feel the pain when the Ming Dynasty fell. Became a monk at the age of 5 to avoid persecution by Manchus. Felt less political pains than Zhu Da and less antagonistic. Very interested in the theory of painting, wrote "Huayu Lu," a collection of insightful theory on painting, very abstract ideas--> main ideas = -methods develop over time -sketch from mountain to develop own style of painting. Basically, must use past traditions to evolve own style, not to imitate but to pave way for today's exploration of style and experimentation. Had very diverse style. Block view = his main composition. Rolling clouds texture method of mountains. Stylistic diversity all comes from observation of nature, cannot see his predecessors in his style.

"Journey to Mt. Huang" hanging scroll, ink and color on paper Qing Dynasty Kuncan

1 name = Buddhist monk. Became a monk after the failure of the against the Manchus, he was a soldier fighting in the resistance before the Manchus completely captured China. Became head of Buddhist temple. Decentralized monumentality, hints at looming peaks but they are not the central focus of the painting. Wetter composition than fellow monk Hongren and more geographic features of Southern China, lush foliage, humid landscape High and deep distance perspective. Busy composition. Wet, bold strokes, different from other monk Hongren who had used dry, accurate strokes, Kuncan more hesitant

"Shanshui in Color" hanging scroll, ink & color on paper Qing Dynasty Kuncan

1 name = Buddhist monk. Became a monk after the failure of the against the Manchus, he was a soldier fighting in the resistance before the Manchus completely captured China. Became head of Buddhist temple. Decentralized monumentality, hints at looming peaks but they are not the central focus of the painting. Wetter composition than fellow monk Hongren and more geographic features of Southern China, lush foliage, humid landscape High and deep distance perspective. Busy composition. Wet, bold strokes, different from other monk Hongren who had used dry, accurate strokes, Kuncan more hesitant

"Snow on Pines at the Western Peak" ink on paper Qing Dynasty Hongren

1 name = Buddhist monk. Before Qing dynasty, he was a Gongsheng of the Ming dynasty, a great honor in which you are recognized as a great scholar, don't even have to take the civil service exam. Refused to remain in officialdom after fall of Ming and became a Buddhist monk. Profoundly influenced by Ni Zan, minimalistic style and use of brushwork, sense of serenity, solitude, aloofness. They had great spiritual similarity. But, Hongren's paintings have a sense of monumentality, different from Ni Zan. Almost like a watercolor background, used to emphasize the lightness on the mountains which hints at the snow. Ax cut brushwork.

"Coming of Autumn" ink on paper, hanging scroll Qing Dynasty Hongren

1 name = Buddhist monk. Before Qing dynasty, he was a Gongsheng of the Ming dynasty, a great honor in which you are recognized as a great scholar, don't even have to take the civil service exam. Refused to remain in officialdom after fall of Ming and became a Buddhist monk. Profoundly influenced by Ni Zan, minimalistic style and use of brushwork, sense of serenity, solitude, aloofness. They had great spiritual similarity. But, Hongren's paintings have a sense of monumentality, different from Ni Zan. Very dry brush, minimal use of ink, like Ni Zan. Ax cut brushstrokes as well, seems in Ni Zan's later style, painting Rongxi Studio

"Shanshui Studies" album leaf, ink on paper Qing Dynasty Hongren

1 name = Buddhist monk. Before Qing dynasty, he was a Gongsheng of the Ming dynasty, a great honor in which you are recognized as a great scholar, don't even have to take the civil service exam. Refused to remain in officialdom after fall of Ming and became a Buddhist monk. Profoundly influenced by Ni Zan, minimalistic style and use of brushwork, sense of serenity, solitude, aloofness. They had great spiritual similarity. But, Hongren's paintings have a sense of monumentality, different from Ni Zan. Zoomed in composition- unlike Ni Zan's desolate compositions. Use of washes, also unlike Ni Zan, less dry and sparse brushwork as well. Ax cut brushwork.

"Old Cypress and Rock" ink on paper, handscroll Ming Dynasty Wen Zhengming

Artist born into merchant family, his father sought out the best teachers for him so he was highly educated, taught by the same teacher as Shen Zhou, who was the recipient of his painting "Lofty Mt. Lu." But, he failed the civil service exam 10 times, gave up, and pursued the arts. Sculptural style. Tree = tortured, twisted, grotesquely gnarled, similar to his previous work "Old Pine Tree" Tree = heroic, symbolized the spirit of the old, noble scholar himself who was 80 yrs old when he painted this, gnarled from time but still retains vitality. No washes used at all, tree and rocks written in strong ink. Rock looks as though cut by chisel.

"Lofty Mt. Lu" hanging scroll, ink and color on paper Ming Dynasty Shen Zhou

Artist = born into family within which every male figure was either scholar official or painter. He denied position in government, studied poetry and painting and travelled. Aloof and detached from worldly affairs. Faithful inheritor of Yuan literati style, but built off of the traditions set forth by those masters. His originality here = mountains behind the main peak, injected literati ideals through inspirational poem. Reminiscent of Wang Meng's "Forrest Grotto at Juqu," hand fiber and unravelled rope method, very busy composition, highly detailed. One dominating peak, tried to inject morality, heroism. Recalls monumentality of 5 Dynasties Northern School. There is no political motive behind this style thought. Literati figure at bottom, Daoist idea, similar to what we saw in Wang Meng's "Shanshui," meditating in front of nature, consider human to be integrated into the whole of the universe, does not emphasize human's existence in nature bc all is one. Real mountain, but Shen Zhou had never seen it, painted it from his soul and imagination. Reduction of representational elements, spiritual elements enhanced. The painting was a gift for his teacher and the mountain represents him- lofty, upright sage, moral figure to look up to. Painting shows Shen's high respect for his teacher.

Fish and Rocks (with 3 poems)" handscroll, ink on paper Qing Dynasty Zhu Da

Artist = heir of Ming royal family--> had deep set animosity towards conquerors who defeated his family so he used art to express his sentiments. Became Buddhist and then Daoist monk. The fragmented and deformed compositions of his paintings, saturated with bleakness and solitude, rep his anguish. Art politicized by Zhu Da, art became the way he expressed his political anger and strong feelings of despair abt the current regime. Did not copy past masters, set his own path, clear individual style with bold, loft, vigorous features. In this painting: Cannot tell what is the environment, does not matter to Zhu Da, all he cares about is how the elements serve the composition. All the objects are personified. The white eyes of the fish express scornful sentiment. Central rock is very strange, kind of shaped like a head. Expresses his anger and anxiety.

"Bird, Fish and Rocks" ink on paper, hanging scroll Qing Dynasty Zhu Da

Artist = heir of Ming royal family--> had deep set animosity towards conquerors who defeated his family so he used art to express his sentiments. Became Buddhist and then Daoist monk. The fragmented and deformed compositions of his paintings, saturated with bleakness and solitude, rep his anguish. Art politicized by Zhu Da, art became the way he expressed his political anger and strong feelings of despair abt the current regime. Did not copy past masters, set his own path, clear individual style with bold, loft, vigorous features. Ink play- originated with Su Shi. Large eyes with white of the eyes = scorn. Everything serves his compositional desires. Exaggerated images. Unclear environment. Aggressive mentality. Minimalistic, modernest, abstracted flavor.

"Myna Birds and Rocks" ink on silk, hanging scroll Qing Dynasty Zhu Da

Artist = heir of Ming royal family--> had deep set animosity towards conquerors who defeated his family so he used art to express his sentiments. Became Buddhist and then Daoist monk. The fragmented and deformed compositions of his paintings, saturated with bleakness and solitude, rep his anguish. Art politicized by Zhu Da, art became the way he expressed his political anger and strong feelings of despair abt the current regime. Did not copy past masters, set his own path, clear individual style with bold, loft, vigorous features. Similar style to Xu Wei, xieyi huaniao, but modernist. Saturated with ink.

"Fisherman" handscroll, ink on paper Yuan Dynasty Wu Zhen

Artist = true hermit of the time, never attempted official service, never travelled from his hometown. A true literati recluse, many literati sought that spirit but were all highly extroverted people. Very simple man, not typical literati personality. Figure = symbol for literati people, their reclusive sensibilities, try to be a part of the natural world and be immersed in the landscape, aloof Composition = heavy left side, balanced by the boat and the poem in the calm waters to the right, a kind of yin and yang. Loose, wet brushwork and inking, more so than that of Huang Gongwang

"Fisherman" section of a handscroll, ink on paper Yuan Dynasty Wu Zhen

Artist = true hermit of the time, never attempted official service, never travelled from his hometown. A true literati recluse, many literati sought that spirit but were all highly extroverted people. Very simple man, not typical literati personality. Figure = symbol for literati people, their reclusive sensibilities, try to be a part of the natural world and be immersed in the landscape, aloof Figure in this piece is actually trying to catch fish. He is the incarnation of literati, longing for escape from disarray of human society, finding peace and security in the simple act of fishing. Figure lives freely without the entanglements of society, leads a meditative life, one immersed in the landscape. Desire for detachment from material world. Expression of contemplative lifestyle. Sense of solitude and vitality

"Fisherman" hanging scroll, ink on silk Yuan Dynasty Wu Zhen

Artist = true hermit of the time, never attempted official service, never travelled from his hometown. A true literati recluse, many literati sought that spirit but were all highly extroverted people. Very simple man, not typical literati personality. Figure = symbol for literati people, their reclusive sensibilities, try to be a part of the natural world and be immersed in the landscape, aloof Figure is not fishing for survival, he is the incarnation of literati, longing for escape from disarray of human society, finding peace and security in the simple act of fishing. Figure lives freely without the entanglements of society, leads a meditative life, one immersed in the landscape. Desire for detachment from material world. Expression of contemplative lifestyle. Composition divided into two by an expanse of water- typical literati, a compositional formula that artist Ni Zan practiced. Soft, wet brushwork.

"Old Trees by a Cold Waterfall" hanging scroll, ink and color on silk Ming Dynasty Wen Zhengming

Artist born into merchant family, his father sought out the best teachers for him so he was highly educated, taught by the same teacher as Shen Zhou, who was the recipient of his painting "Lofty Mt. Lu." But, he failed the civil service exam 10 times, gave up, and pursued the arts. Similar to Wang Meng's "Forest Grotto at Juqu," closeup, detailed, but here there is a small glimpse of sky, space for breath (Daoist idea). But still a very compressed quality. Brushwork = crude and therefore powerful. Trees= main subject, heroic symbol Elongated and narrow scroll. Sophisticated structure, intertwined branches.

"Old Pine Tree" handscroll, ink on paper Ming Dynasty Wen Zhengming

Artist born into merchant family, his father sought out the best teachers for him so he was highly educated, taught by the same teacher as Shen Zhou, who was the recipient of his painting "Lofty Mt. Lu." But, he failed the civil service exam 10 times, gave up, and pursued the arts. Very special composition, branch penetrates diagonally from the middle bottom to the upper left corner then curves back out of view to reenter the composition. Highly sophisticated, even more intertwined and gnarled branches than his previous "Old Trees by a Cold Waterfall." Pine = symbol of literati. Here the pine is not upright, seems tortured but still retains vitality and strength. Symbolic of literati that upholds their morals and ideals under harsh environment. Brushwork = dry and wet, dark and light Vine wrapped around trunk, very masterful, shuangou style, two lines to outline object, like baimiao, had very good control of inking to accomplish this affect.

"Autumn Colors on the Que and Hua Mountains" handscroll, ink and color on paper Yuan Dynasty Zhao Mengfu

Artist criticized as a traitor because he served the Yuan Dynasty, he worked for 5 Yuan Emperors. He retained a court life but his spirit was not defiled by the ways of the court, his spirit remained pure. He remained aloof in his mind from the commerce in which he had to engage in. Maintained spiritual reclusion, separated from contaminations of court life. It brought much pain to him, this double life, keeping up appearances in court but also wanting to maintain a relationship with his fellow Han Chinese. Literati shanshui rather than court shanshui despite the use of colors. Keyword = awkward. Mountains rise awkwardly out of flat landscape, very weird and unrealistic. Mountains appear very disproportionate, almost 2-D as well. Looks more imagined rather than representational. Awkwardness became new intentional style within Literati. Very far from being a visual report of the landscape. Archaic as well --> awkwardly symmetric, awkward mountain shapes. Signified a calculated rejection of traditional mastery of painting skills and skillful devices of recent masters. Return to style of 6th Century--> most precious quality of painting is antique spirit, appears careless and lacking mastery but actually adhering to old models. A kind of modest style, the master presenting his work as clumsy and simple.

"Elegant Rocks and Sparse Trees" ink on paper Yuan Dynasty Zhao Mengfu

Artist criticized as a traitor because he served the Yuan Dynasty, he worked for 5 Yuan Emperors. He retained a court life but his spirit was not defiled by the ways of the court, his spirit remained pure. He remained aloof in his mind from the commerce in which he had to engage in. Maintained spiritual reclusion, separated from contaminations of court life. It brought much pain to him, this double life, keeping up appearances in court but also wanting to maintain a relationship with his fellow Han Chinese. Looks like a true literati painting, with the calligraphic lines and monochrome composition. There is a unity between calligraphy and painting within this work, and idea brought about by Su Shi that is fully articulated here. He writes the painting with a spontaneous hand producing calligraphic strokes, very expressionistic. Flying white employed as well. Inscription describes theory on what literati painting should be Text, image, and calligraphy combined-- literati Minimalistic, calligraphic brushwork, monochrome = also literati

"The Mind Shanshui of Xie Youyu" section of a handscroll, ink & color on silk Yuan Dynasty Zhao Mengfu

Artist criticized as a traitor because he served the Yuan Dynasty, he worked for 5 Yuan Emperors. He retained a court life but his spirit was not defiled by the ways of the court, his spirit remained pure. He remained aloof in his mind from the commerce in which he had to engage in. Maintained spiritual reclusion, separated from contaminations of court life. It brought much pain to him, this double life, keeping up appearances in court but also wanting to maintain a relationship with his fellow Han Chinese. Within this painting, there is an association to Gu Kaizhi's Seven Sages and Nymph of the Luo River paintings. Similar shanshui style, very archaic and decorative style. Uses stone green, makes it more like a court painting, unpopular among most literati. In relation to the Seven sages who had removed themselves from the filth of politics and indulged themselves in the arts and philosophy, the figure here is seen distanced from the court, meditating in the forest. This depicts the kind of thing that Zhao Mengfu strove for, this physical connection to court life but spiritual transcendence.

"Silk Fan in the Autumn Breeze" hanging scroll, ink and color on paper Ming Dynasty Tang Yin

Artist led very eccentric lifestyle, ridiculous man, many wild stories about him, immortalized by storytellers and playwrights. But in truth, he led a very hard, emotionally taxing life, by his 20s he had lost all of his loved ones, he was jailed and tortured for a minor crime and banned from taking the national civil service exam. He was very disillusioned after being released from jail and spent the remainder of his days between brothels and bars. He sold his paintings to make money, but died of poverty and illness in his 50s. He is known for his female gongbi renwu paintings. He did not paint typical court ladies, painted prostitutes as a way to lash out at faux morality in professional painters. Within this painting, he depicts weak feminine figure. The name tells us the symbolism of this piece, with an autumn breeze, there is no need for the silk fan--> symbol for the woman's life, like the fan, she does not have any purpose after a her prime has past, she is no longer young, she is useless. Very sympathetic character, melancholy.

"Stalks of Bamboo by a Rock" hanging scroll, ink on paper Yuan Dynasty Wu Zhen

Bamboo huaniao, artist also very skilled in, despite his many experiments with the symbolic subject of the fisherman. Bamboo is another symbol, symbolic of upright, moral man, of literati community and ideals. Bamboo is strong, does not break when bent. Moreso literati than past bamboo, Wen Tong = more representative, Wu Zhen = more expressive Also get a sense of loneliness from this piece, something you don't get from Wen Tong More emphasis placed on the stalks that on the leaves, the stalks are alienated, of their own worlds. The rock does not provide a sense of company, it just reinforces the incompatibility btwn bamboo and the rest of the world, reps the artists mood of isolation. Very minimalistic = literati Also very elegant, graceful Wu Zhen wrote the bamboo in pale ink.

"Court Ladies of the Former Shu" hanging scroll, ink and color on silk Ming Dynasty Tang Yin

Artist led very eccentric lifestyle, ridiculous man, many wild stories about him, immortalized by storytellers and playwrights. But in truth, he led a very hard, emotionally taxing life, by his 20s he had lost all of his loved ones, he was jailed and tortured for a minor crime and banned from taking the national civil service exam. He was very disillusioned after being released from jail and spent the remainder of his days between brothels and bars. He sold his paintings to make money, but died of poverty and illness in his 50s. This painting is inspired by Tang court renwu painters. These women are much more slender and shorter than Tang beauties. Makeup style different as well, "three whites" on forehead, nose, and chin. More conservative and constrained than Tang ladies who were leisureful and relaxed. Same round faces and small cherry mouths, but different eyebrows. Historical piece- shows the tiny bound feet of the women, a custom that began in the 5 Dynasties. Gongbi renwu and colorful, but still literati because of the poem. Delicate, fluid lines.

"Writing in the Style of the Stone Drums" hanging scroll, ink on paper Qing Dynasty Wu Changshuo

Artist lived in both Dynastic and Republic china. He was born to impoverished scholarly family in Zhejiang but became most influential urban literati art after Ren Xiong and Ren Bonian passed away. Worked as lower rank official at age 44→ which is when the Ren Bonian portrait came about. Hovered between official and artistic career until his 50s. Mostly self taught in painting. As seen here, he developed special calligraphy→ stone drums ancient style script, very rounded. Imitation from ancient script, but made things more smoothly, modification of ancient scripts.

"Antiquities" hanging scroll, rubbing, ink & color on paper Qing Dynasty Wu Changshuo

Artist lived in both Dynastic and Republic china. He was born to impoverished scholarly family in Zhejiang but became most influential urban literati art after Ren Xiong and Ren Bonian passed away. Worked as lower rank official at age 44→ which is when the Ren Bonian portrait came about. Hovered between official and artistic career until his 50s. Mostly self taught in painting. He inherited spirit of urban literati art and transformed it as he entered the new era of china. He was the last literati artist. Within this painting: Catering to art market --> Needed to meet new tastes of patrons→ huaniao more popular than shanshui, huaniao associated with wealth, shanshui associated with hermetism, seclusion, more literati sentiments Shanshui to merchant is too negative, huaniao gives more good feeling, good fortune Archaic appearance→ rubbing of script carving to create the bronze vessels Bronze ding = antique items, ancient chinese ritual vessels--> Creates a contrast between ancient styles and modern proclivities Front bronze vessel stands for the past, dying away, Back vessel filled with beautiful plants and flowers = modernizing (alive) society Unique interpretation of the combination of two tastes, trends, and cultures

"Spring Offering" hanging scroll, ink & color on paper Qing Dynasty Wu Changshuo

Artist lived in both Dynastic and Republic china. He was born to impoverished scholarly family in Zhejiang but became most influential urban literati art after Ren Xiong and Ren Bonian passed away. Worked as lower rank official at age 44→ which is when the Ren Bonian portrait came about. Hovered between official and artistic career until his 50s. Mostly self taught in painting. He inherited spirit of urban literati art and transformed it as he entered the new era of china. He was the last literati artist. Within this work, he ponders over relation of human life and nature, talk about longevity of human --> lingzhi, a Chinese medicinal herb appears bottom left corner = symbol of immortality Typical imaginative image, not painted from nature Composition: Painted diagonally, creates dynamic composition, looks as though everything is growing up from ground --> provides vitality of life inscription→ feelings about life

"Returning Home" handscroll, ink and light color on silk Ming Dynasty Chen Hongshou

Artist produced innovative, archaic, decorative renwu, with influences from Gu Kaizhi. He was born in the same area as Xu Wei into official family, and like Xu Wei was unable to make it to high level of government. He sold his paintings to make a living, desired to be literati but had to settle for lower status of professional artist. This painting depicts a poem by Tao Yuanming, poem about literati official leaving society for pastoral life, giving up his officialdom. Depicts desire to return to reclusive life, to his spiritual homeland. First time a poem by Tao Yuanming had been visualized. Artist picked up on the motives behind the poem and depicted them in 11 segments. Protagonist of painting = Tao Yuanming, sage like image Segments about wine- wine = catalyst for creativity and friendship, wine = tool to bring you to status of harmony with your environment and universe--> Daoist sentiments The style is archaic and decorative, there is not background, similar to Gu Kaizhi's style. Flowing draperies- Wu Daozi inspired. Archaic image that combines features of sage, hermit, and man of status--> became model for rent for 400 yrs.

"Dwelling in the Floating Jade (fuyu) Mountain" handscroll, ink & light color on paper Yuan Dynasty Qian Xuan

Artist was a high level official before Yuan dynasty but refused to take position in Yuan government once Mongols took over, he found solace and refuge in painting. Within this painting, very unique style, there is no context given for the mountains, trees and rocks. It appears as though the landscape grows out of thin air. Very archaic style. Unclear perspective, cant call it deep distance because theres nothing to see in the background, and its not high block view bc of the separation between the land masses. Many washes without outlining = mogu, almost like watercolor, boneless Many different opacities of ink Sense of tranquility and solitude, no monumentality. Almost childish style- upset of professional style, it is naive, spontaneous, free, indifferent to criticism, amateur, expressive Does not care about judgment outside of the literati circle, this was not meant to please the masses, and it is in that sentiment that the piece derives its beauty.

"Shakyamuni Leaving His Mountain Retreat" hanging scroll, ink & slight color on silk Southern Song Dynasty Liang Kai

Artist was not originally a Buddhist monk, he was once a court painter, abandoned official lifestyle to follow path of enlightenment. Painting could be a reflection of the life path he chose, remove himself from the secular world. Depicts a significant moment in Buddhism, Shakyamuni returns after gaining enlightenment. His long, stretched ears show enlightenment. Very different atmosphere than Su Hanchen's renwu, here is much more somber, serious, detached from secular world, meditative. The trees without the leaves also lend to the spiritual aspect, no frivolity, just purity. Shakyamuni appears starved, he is concentrated on meditation and spiritual enlightenment only. Appears to be in a more Indian style rather than Chinese. He is very skinny, much more like the Indian depiction than Chinese.

"Misty Bamboo on Distant Mountain" four hanging scrolls, ink on paper Qing Dynasty Zheng Xie

Artist's trademark = bamboo. He passed the civil-service examination in 1736 and was appointed as magistrate in north China. Sympathetic with the plight of the people then in the throes of starvation, Zheng enforced extreme measures to improve their situation that met with resistance from the wealthier citizens in the area. His disillusionment with bureaucratic ethics, his disintegrating health, and his reputation tainted by scandal forced Zheng into early retirement. He settled in Yangzhou, then a prosperous community supportive of artists, where he became known as one of the Eight Eccentrics. Also created own calligraphy style - slim, stiff, tilted, dynamic. This monumental four-panel painting depicts a grove of bamboo growing on a mountainside. The shallow pictorial space is defined by the placement of the stalks, which jut into view from the bottom of the composition, climb up the paper as if ascending a slope, and extend well beyond the top of the picture. It is further defined by the dramatic use of graded ink washes—from jet black to pale gray—that suggest the veiling effects of a dense mist. Calligraphic strokes.

"Epidendrums, Bamboo, Fungi & Rock" hanging scroll, ink on silk Qing Dynasty Zheng Xie

Artist's trademark = bamboo. He passed the civil-service examination in 1736 and was appointed as magistrate in north China. Sympathetic with the plight of the people then in the throes of starvation, Zheng enforced extreme measures to improve their situation that met with resistance from the wealthier citizens in the area. His disillusionment with bureaucratic ethics, his disintegrating health, and his reputation tainted by scandal forced Zheng into early retirement. He settled in Yangzhou, then a prosperous community supportive of artists, where he became known as one of the Eight Eccentrics. Also created own calligraphy style - slim, stiff, tilted, dynamic. the orchid, symbol of loyalty and unappreciated virtue, and the bamboo, symbol of the superior man who is strong yet flexible Highly calligraphic strokes

"In the Cool Shade of the Banana Tree" hanging scroll, ink & color on paper Qing Dynasty Ren Bonian

Artist- Injected western styles into ink painting and brought literati aesthetics into popular art. Specialized in renwu portraiture, his renwu became highly demanded for their close likeness and fidelity, something that derived from his experience with western style. Ability to capture appearance of the subject, he had learned western drawing technique (Tushanwan workshop→ western art school in shanghai) Another very realistic portrait of Wu Changshou. No washes like in the last, only clear calligraphic brushwork→ artist has written Wu Changshuo and depicts his relaxed mood when in repose at home. This is a very down to earth piece--> Striking disdain to tradition→ daring treatment of the sitters body→ wearing loose trousers only, upper part of body and feet are completely exposed without scruple Considering elite status of the sitter→ exposure = defiance of etiquette of upper class for personal comfort. Cross legged posture→ impolite in public, shows he is completely relaxed at home Big belly, slack breasts, plump chin→ artist does not gloss over anything, all rendered with truth Almost like a journal rather than a portrait→ shows real life Reminiscent of western painting realism→ plump bodies rendered realistically Belief that the natural is the beautiful→ main takeaway from this painting

"The Shabby Official" portrait of Wu Changshuo hanging scroll, ink & color on paper Qing Dynasty Ren Bonian

Artist- Injected western styles into ink painting and brought literati aesthetics into popular art. Specialized in renwu portraiture, his renwu became highly demanded for their close likeness and fidelity, something that derived from his experience with western style. Ability to capture appearance of the subject, he had learned western drawing technique (Tushanwan workshop→ western art school in shanghai) Portrait of Wu Changshuo during his time as a low rank official Similar composition to Ren Xiong's self portrait, but Xiong's self portrait was much more confident than shabby official, who looks more unsure of himself and timid. Costume is less harsh as well, more watercolor → no exaggerated strokes or brushwork like his self portrait, all washes Shabby official takes up much less space than Xiong's self portrait figure in the composition→ meaker, less of an impressive presence, not a monumental figure at all Wu changshuo appears humble, modest, with an unsure expression on his face Boneless uniform does not conceal his anxious frame of mind Psychological realism within this painting.

"Album of Figures, Flowers, and Birds" album of 12 leaves, ink & color on paper Qing Dynasty Ren Bonian

Artist- Injected western styles into ink painting and brought literati aesthetics into popular art. Specialized in renwu portraiture, his renwu became highly demanded for their close likeness and fidelity, something that derived from his experience with western style. Ability to capture appearance of the subject, he had learned western drawing technique (Tushanwan workshop→ western art school in shanghai) Still huaniao, but used technique of watercolor, newly developed style. Impressive watercolor in bird→ not outlined, blank, defined by the background Chinese elements retained→ Mogu (boneless) style, Bamboo imagery in calligraphic strokes, Void area = chinese treatment of composition Combination of western and chinese elements maturely executed Birds eyes→ stare at viewer, looking at world with cool detachment, personification of the bird (like Zhu Da, but Zhu's was angrier)

"Remote Stream and Cold Pines" hanging scroll, ink on paper Yuan Dynasty Ni Zan

Atypical compositional formula for the artist, who normally does the 2 land masses separated by a body of water. The scene almost appears like a Western landscape, with the appearance as if you stand on the ground and look out. Realistic transition from front to back. Very realistic, unawkward work. Minimalistic use of ink, used ink economically, bc ink is gold, ink is the medium through which to express, it cannot be wasted. Thus, very sparse, pale, monochrome style. Feeling of loneliness within nature, very quiet, tranquil atmosphere, brings peace to the mind. No movement within the scene other than the streams

"The Emperor Kangxi on His Inspection Tour to the South" handscroll, ink and color on silk Qing Dynasty Wang Hui

Considered best of orthodox literati painters. Tried to synthesize past style with his own, and almost developed a Western style of landscape painting. Had more individualistic sense for an orthodox painter, unlike Wang Shimin. Artist stressed that use of brush and ink should be varied and diverse, do not copy one style, incorporate many. Pioneer of fusion of styles, of high and low, of high literati and lower professional style. Here, the artist is like a historical painter, depicted historical event of noble class, not of ordinary people. Combines court and literati taste- literati seen in the background, court seen in the figures and coloring. Story behind painting - In 1689 the Kangxi emperor (r. 1662 - 1722), a Manchu whose forebears had conquered China in 1644, made a grand tour to consolidate his authority over southern China. The renowned landscapist Wang Hui was commissioned to record the journey in a series of twelve oversize handscrolls.

"Summer Mountains, Misty Rain" handscroll, ink and light color on paper Qing Dynasty Wang Hui

Considered best of orthodox literati painters. Tried to synthesize past style with his own, and almost developed a Western style of landscape painting. Had more individualistic sense for an orthodox painter, unlike Wang Shimin. Artist stressed that use of brush and ink should be varied and diverse, do not copy one style, incorporate many. Pioneer of fusion of styles, of high and low, of high literati and lower professional style. This painting- very unique, not typical orthodox style. Looks western.

"Li Bai Chanting a Poem" hanging scroll, ink on paper Southern Song Dynasty Liang Kai

Even more minimalistic style, cleaner style than "An Immortal in Splash Ink" Very few strokes used to depict the figure. Figure appears proud, standing tall and dignified, depicts Li Bai's transcendence from secular world as a poet, completely unrestrained, when we would write his poems in his drunkenness he would transcend and write freely

"Yellow Armor" hanging scroll, ink on paper Ming Dynasty Xu Wei

Highly individualistic artist. Had a series of traumatic life events, made him idiosyncratic and produced powerful, dramatic, expressive xieyi paintings. He had at one point been an assistant to a local official who later committed suicide, and when he no longer had a mentor or anyone to rely on or look up to, he went mad. He tried to kill himself and did kill his wife, which resulted in him going to prison for 7 years. Plagued by poverty, illness, loneliness, insanity, he died alone. These series of events made him feel like his skills were never truly appreciated or displayed, so he harbored a lot of resentment. His poems = very angsty. Mogu style huaniao painting, crab and two lotus leafs. Crab = symbol of the artist, the crab is ambitious, proud, and aloof, but no one recognizes it so it lives in solitude. Multiple perspectives, very free way of composition, like "ink play" set forth my the two Mi's. Does not matter if it represents the natural world. You are given a look down on the crab and the top of a lotus leaf, and the other leaf we are given a side view. Crab = spontaneous, swift, minimal strokes make up the crab moving through the pond Lotus stem = calligraphic lines, adds vitality lotus leafs = little bit dryer style from the leafs of the grape vines, less diffusion used, less water.

"Vegetables" album leaf, ink on paper Ming Dynasty Xu Wei

Highly individualistic artist. Had a series of traumatic life events, made him idiosyncratic and produced powerful, dramatic, expressive xieyi paintings. He had at one point been an assistant to a local official who later committed suicide, and when he no longer had a mentor or anyone to rely on or look up to, he went mad. He tried to kill himself and did kill his wife, which resulted in him going to prison for 7 years. Plagued by poverty, illness, loneliness, insanity, he died alone. These series of events made him feel like his skills were never truly appreciated or displayed, so he harbored a lot of resentment. His poems = very angsty. Special huaniao - first time vegetables have been the subject of painting. He elevated the subject, vegetables once seemed too trivial of a subject. Placed symbolism into vegetables--> whole idea of literati is pastoral life escape from officialdom and dirty society, go back to basics and live lyrical life. Very free compositional style, no care from compositional balance, casual treatment. This is his one painting that we studied that does not portray a scene symbolizing resentment, this painting is much more relaxed.

"Huineng, the Sixth Chan Patriarch, at the Mountain Enlightenment Series" Section: "Tearing Up a Buddhist Sutra Scroll" hanging scroll, ink on paper Southern Song Dynasty Liang Kai

Huineng = father of Chan Buddhism Chan Buddhists discard texts, don't read texts, they go beyond physical texts, more about spiritual connection to Buddha. The brushwork = sharp, short, not paying attention to precise anatomy, emphasizes how Chan buddhist means no thought, give mind over to meditation and enlightenment through daily acts. Dry brush, no washes. Minimal xieyi style, spontaneous strokes, no care for likeness or representation

"Huineng, the Sixth Chan Patriarch, at the Mountain Enlightenment Series" Section: "Chopping the Bamboo" hanging scroll, ink on paper Southern Song Dynasty Liang Kai

Huineng = father of Chan Buddhism Chopping bamboo--> find enlightenment through menial acts, in routine work you can become enlightened, temple worship does not bring enlightenment Chan Buddhism ideal = find enlightenment in every day tasks The brushwork = sharp, short, not paying attention to precise anatomy, emphasizes how Chan buddhist means no thought, give mind over to meditation and enlightenment through daily acts. Dry brush, no washes. Minimal xieyi style, spontaneous strokes, no care for likeness or representation

"Shanshui in Manner of Huang Gongwang" hanging scroll Qing Dynasty Wang Shimin

Imitated master's style and followed tradition of past literati. Stayed in the track of orthodox literati art, reserved himself, less expression, more attempt at copying master's style rather than developing own style. He carried forward literati tradition by copying, but puts literati tradition at risk of losing its soul as it is all copying, not derived from personal expression or observation of nature. Structuralist depiction, pima cun. Very closely follows style of Huang Gongwang.

"Shanshui in the Manner of Juran" album leaf, ink and light color on silk Qing Dynasty Wang Shimin

Imitated master's style and followed tradition of past literati. Stayed in the track of orthodox literati art, reserved himself, less expression, more attempt at copying master's style rather than developing own style. He carried forward literati tradition by copying, but puts literati tradition at risk of losing its soul as it is all copying, not derived from personal expression or observation of nature. This one is more creative than his one in the style of Huang Gongwang.

"Dwelling in the Fuchun Mountains: Master Wuyong Scroll" ink on paper, handscroll Yuan Dynasty Huang Gongwang

Incredibly long hand scroll. The artist painted the work for a span of three years. It is not based on season or beauty of specific landscape, but his mood over the 3 years as he would float through river lands and observe his surroundings- the painting is not representative of any particular scene or what he even saw, but just how he felt when journeying. Painting marks occurrence of literati revolution. Like his other paintings, there is a strong structure. Very good articulation of the elements but they are pared down, the elements are not as exact and detailed. Highly expressive brushwork. Calligraphic lines, loose and tight. Lines = vehicles for artists sentiments and moods Reminiscent of Dong Yuan's horizontal expanses of rolling hills and water lands. The cutoff of peaks on the top of the painting emphasizes horizontal movement, detracts any emphasis on vertical influence. Also = Daoist influence, landscape expands beyond bounds in many directions. Sense of solitude comes from the empty landscape, very literati mood.

"Plum Blossom" Ink on paper Qing Dynasty Jin Nong

Known for his unique calligraphy. Archaic, heavy square calligraphy with bold horizontal and slim vertical strokes. Incorporated 2 dimensionality and 3 dimensionality--> very flat calligraphy but the tree has dimension--> highly modernist treatment very brave and bold way of inscription, calligraphy takes central tole, normally placed in margin.

"Self-Portrait," ink and color on paper Qing Dynasty Jin Nong

Known for his unique calligraphy. Archaic, heavy square calligraphy with bold horizontal and slim vertical strokes. Minimal manner of rendering- very light ink, weak but tenacious lines. Strong contrast with the dark, orderly calligraphy. Interesting comparison between the image and writing--> became the style for which he was know

"Six Persimmons" ink on paper Southern Song Dynasty Mu Qi

Like a still life painting Large area of emptiness, void canvas other than persimmons. Buddhism considered the void to be absence of the phenomenal world, whereas in Daoism, void = emptiness = room for air. Persimmons in the void = transcend material world. Calligraphic lines appear like written characters, relates to later literati works that try to combine calligraphy with their paintings. Varying ink washes, very rough outlines. Varying opacities lend to giving the painting more vitality. Embodiment of Chan Buddhism--> 6 Buddhist accomplishments: -alms givings -following Buddhist code -enduring painful/unpleasant situation -be excellent and progressive -mediation -have great wisdom

"Skeleton Illusionary Performance" fan-shape album leaf, ink and color on silk Southern Song Dynasty Li Song

Many unanswered questions with this piece. Clear that there is something philosophical abt life and death. The scene depicts a seated skeleton dressed in a robe and hat manipulating a puppet skeleton that has captured the fascination of a small boy, his sister behind appears to warn him and beg the boy to stay away. The toddler and the puppet are similar in size, mirror one another, showing the two sides of existence, the dichotomy of life and death. Theory that the peddler is a man, seen alive by the other figures in the scene, a man that sees life and death and the two realms of existence and we as the viewers see what the man sees. First painting to consider the audience vs the figures within the scene.

"Twelve Views from a Thatched Hut" ink on silk, handscroll Southern Song Dynasty Xia Gui

More empty and void, mist filled spaces than his previous. Still utilizes ax cut cunfa. Haunting, peaceful loneliness depicted. Literati sentiments, finding tranquility in solitude. No sense of chaotic society. Minimalistic style. Views of the landscape from morning to evening, shows how the landscape transforms through the day. Combination of space and time, a feat, usual in paintings, time and space are seamlessly interwoven.

"Poet on a Mountaintop" one of six album paintings mounted as a handscroll, ink and color on paper Ming Dynasty Shen Zhou

More prominence placed on the human figure within this piece, unlike his first painting "Lofty Mt. Lu," the figure is very heroic. He has thrust the figure into the center of the center of the composition and thus the center of our focus. Figure = main subject, as if heroic statue erected. Somewhat unlike literati to place such emphasis on human figures as many are passionate Doaists.

"Shanshui in the Style of Ni Zan" hanging scroll, ink on paper Ming Dynasty Shen Zhou

Ni Zan = this artists idol. This painting = highly reminiscent of Ni Zan's "Rongxi Studio" Differences between: -people are much more present here, Ni Zan's painting was more representative of solitude, not what Shen Zhou is trying to portray -foreground and background not as far apart, symbolic that Shen Zhou is not completely separate from the rest of the world, trees touch the back shore -more of a wet inking, a softer mood than Ni Zan's starker depiction, less desolate -used ink much more liberally -used washes in the background Similarities: -obviously the composition, the small studio, the two shores separated by a body of water, trees on the foreground shore, similar texture methods. Very different sentiments between Shen Zhou and Ni Zan.

"Stone Cliff at the Pond of Heaven" hanging scroll, ink and color on silk Yuan Dynasty Huang Gongwang

One of the Four Great Masters of Yuan Literati Painting. Resigned from officialdom after being imprisoned. Did not paint shanshui until his 50s. Was a Daoist. Pingyuan perspective, view from very high. Artist is known for his structuralist compositions--> rational construction of ridges, everything is clearly articulated, there are clear transitions between peaks. There is a rhythm from from to back. The mountain is a composite of geometric shapes. Somewhat monumental composition, unlike typical literati, but it is not sublimity as there is not political implications behind the monumentality as there had been in the Song Dynasty.

"Clear and Distant Views of Streams and Hills" ink on silk, handscroll Southern Song Dynasty Xia Gui

One single endless handscroll gives us a panoramic view. There are large areas of void and areas of high density filled with spontaneous and expressive ax cut brush strokes. Not as minimal as Ma Yuan and more expressive. More powerful brushwork than Ma. Xia Gui stabs and hacks at the silk with fervor. He shapes his landscape in the manner of structures, with clear layers and transitions and a strong sense of volume and spatial relationships. Every detail is articulated in crystalline brushwork with fades into misty undefined sections. He has created a landscape without end, there is no scroll long enough to hold his vision--> Daoist idea S.China landscape--> hills, lakes, misty lush landscape

"Angling Alone on Wintry River" album leaf, ink & slight color on silk Southern Song Dynasty Ma Yuan

One single figure in the center with the rest of the composition left blank. The lone fisherman is symbolic of the scholar official lifestyle, the reclusive, lonely life that literati revel in. Sentiment of solitude. The empty space allows us to imagine the vast body of water that expands around the man.

"Myriad Ravines, Wind in the Pines" hanging scroll, ink & color on silk Southern Song Dynasty Li Tang

Painting has a similar monumental style to Fan Kuan's "Travelers by Streams and Mountains" painting. This painting is the last S.Song painting that displays sublimity. The painting shows order and rationality. It has a meticulous composition and articulation of structure. There is less of a clear division between the back, middle, and front, the elements of the painting are more naturally combined, the different planes are integrated. The rocks, hills, and trees are not separated at all, the painting is densely concentrated. The dominating element in the painting is the high looming peak, textured with ax cut cunfa. The utilization of the mist is awkward, it is not used to enhance the atmosphere, it is used to distinguish between the different peaks. It has an unrealistic hard edge and high opacity.

Ming Dynasty

Return of the rule by Han Chinese. Reunification of China, established after 17 years of brutal war. Ming court = major sponsor of professional artists, tried to reestablish the strength of the arts from the Song Dynasty. There was a clear cut divide between professional art and literati art. Literati took central stage in Ming Dynasty culture: -Ming literati lost interest in traditional Confucian traditions, tried to find something new -growth of urban economy, stimulate taste for high end products--> art collectors - prosperity in the land of the literati - Jiangnan region Literati became mainstream in the Ming Dynasty. Wu school = main literati movement during Ming Poetry now fully incorporated into literati painting.

Northern Song Dynasty Motifs

Shanshui: Sublimity and Literati Taste Renwu: Buddhist/Daoist Subjects + Genre The Imperial Painting Academy + Emperor Huizong

"Cloudy Mountains" handscroll, ink and slight color on silk Northern Song Dynasty Mi Youren

Son of Mi Fu. His works are like the refined versions of his father's shanshui. His paintings are less childish than Mi Fu's. His mountains are also less pointed and more rolling and expansive. Utilizes mi-dot technique to depict wet rolling hills covered in lush plant life. The mist is one of the central elements of the painting, as the Mi family style dictates. You feel drawn into the vast voids of mist.

"Pilgrim Procession" sections of a handscroll, ink on silk Northern Song Dynasty Wu Zongyuan

Song rulers encouraged the flourishing of Buddhism and Daoism, Wu Zongyuan was actually employed by the Emperor himself to decorate Daoist temples. This scroll is to be read from left to right, which is different from other Chinese hand scrolls. This painting employs Tang painter Wu Daozi style, the "whirlwind of draperies." The whirlwind allows the viewer to sense the movement of the procession. There is a high density of the whirlwind draperies. There are 88 figures total. The figures are marked with identifiers above their heads. There is a band visible. Guards can be seen at the back of the procession, they are much uglier and rougher compared to the immortals and emperors. The painting is baimiao and appears to be a preliminary sketch for a mural, which explains the lack of color. It is but a simple outline. The draperies are painted with dark lines while the faces, hands, and headdresses of the figures are much softer in texture and painted with lighter ink. The lines are "orchid leaf" lines, meaning they are fluid and with varying thickness, but not calligraphic in the way of the literati to come as they are not expressionistic they are for the purpose of beautiful representation.

"Auspicious Cranes" section of a hand-scroll, ink & color on silk Northern Song Dynasty Emperor Huizong

The artist = last emperor of N.Song. He was the first of the artist-emperors. He loved art and under his rule painters position in society rose dramatically. He contributed to art education and emphasized 3 things: 1) realism through careful study of nature 2) study master pieces of the past 3) attainment of poetic idea in paintings--> beginning of literati ideals In this huaniao (?), Huizong attempted to inject poetic significance (#3). Crane is a symbol of longevity. With this piece, he becomes the first to combine poetry, painting, and calligraphy into one work, and thanks to his authority, this combination began to be widespread.

"Five-colored Parakeet on the Branch of a Blossoming Apricot" hand-scroll, ink & color on silk Northern Song Dynasty Emperor Huizong

The artist = last emperor of N.Song. He was the first of the artist-emperors. He loved art and under his rule painters position in society rose dramatically. He contributed to art education and emphasized 3 things: 1) realism through careful study of nature 2) study master pieces of the past 3) attainment of poetic idea in paintings--> beginning of literati ideals In this painting, he achieves realism in his gongbi huaniao (#1), the bark appears rough and he captured the beady eye of the bird through the use of a shiny lacquer. It is clear his careful observation of the painted objects.

"Listening to the Qin" hanging scroll, ink & color on silk Northern Song Dynasty Emperor Huizong

The artist = last emperor of N.Song. He was the first of the artist-emperors. He loved art and under his rule painters position in society rose dramatically. He contributed to art education and emphasized 3 things: 1) realism through careful study of nature 2) study master pieces of the past 3) attainment of poetic idea in paintings--> beginning of literati ideals In this vibrantly colored gongbi renwu, he depicts himself as the protagonist of the painting, playing the Qin. It is a simplistic composition with a slight indication of the environment - pine tree(reps longevity and the long standing classics of the past, #2), rock. There are two attentive, high ranked officials listening to the Qin and reflecting. There is also one other very small figure, either a servant (showing hierarchy through size) or a child (boy attendant brought to prepare ink and paper). This style was derived from the Tang renwu court painters the Huizong often liked to copy- Yan Liben, Zhou Fang, Zhang Xuan.

"Early Spring" hanging scroll, ink on silk Northern Song Dynasty Guo Xi

The artist was Emperor Shenzong's personal painter and in charge of the imperial art collection. Sublime shanshui of Northern Song is characterized by the personification of the mountains and waters. Here is an idealized image of the landscape of early spring, romanticization of the landscape connects to the political messaging within art of this time. There is one central peak surrounded by shorter peaks. Rolling cloud style of mountains- they are very rounded. In this painting, he captures the changing of seasons. We can sense that winter is thawing away, as we see a stream slowly trickling from the melting ice and blossoms preparing to bloom. Crab claw pine trees- Li Cheng inspiration. Combination of high and level distance perspectives.

"A Thousand Li of Rivers and Mountains" handscroll, ink & color on silk Northern Song Dynasty Wang Ximeng

The artist was a direct student of Emperor Huizong that died very young, he completed his only known masterpiece at the age of 17. This painting is a blue and green shanshui, in the style of Li Zhaodao. His work is less decorative and more natural than that of Li Zhaodao's but the use of the intense pigments is still very decorative. The mountain scape is incredibly extensive and expansive, it is still a court painting (bc of the pigments) but Wang Ximeng brought in variation by injecting the influences of the Southern school style of Dong Yuan. He elevated the traditional style of the Tang blue and green to a higher sphere. There is a rhythm to the rolling peaks and the water weaving through the mountains in the extensive panorama, which recalls the Daoist philosophy that the landscape its a but a link of the natural world and expands beyond the bounds of the scroll.

"Bamboo" hanging scroll, ink on silk Northern Song Dynasty Wen Tong

The artist was a friend of Su Shi. Their depictions of bamboo differ greatly, Su Shi had a much more spontaneous style whereas Wen Tong is highly meticulous. Su Shi's depiction is more expressionistic whereas Wen Tong's is more realistic. Wen Tong was the first to focus on bamboo and was the first bamboo master. His bamboo painting is a carefully planned composition. He used dark and light inks to color the leaves and show depth. He focused more so on the vitality and grace of the bamboo rather than using the plant as a medium to represent his expression.

"Travelers by Streams and Mountains" hanging scroll, ink on silk Northern Song Dynasty Fan Kuan

The artist was a student of Li Cheng but had a very different lifestyle and style of painting from his teacher. Believed he could learn more from living in nature, so he lived a Daoist, hermit lifestyle and rejected the world (like the later literati did). Overwhelmingly gaoyuan perspective, total block view of large mountain, it feels as though a wall is pressing in. Very different perspective from his teacher Li Cheng, but also portrayed N.China typography. Also incorporated the sublime into his painting as his teacher before him did. The great looming wall of a mountain reflects the strength, courage and indomitable will of the early N.Song Dynasty. There are 3 distinctive grounds, foreground separated from the mid ground by a road and the background is separated by a strong mist. Waterfall creates the mist that distinguishes between mid ground and background. Very dry brushwork. "Rain drop" texture method (yudian) dots the cliff.

"A Solitary Temple amid Clearing Peaks" hanging scroll, ink on silk Northern Song Dynasty Li Cheng

The artist's style becomes the national style. His art is the incarnation of N.Song's ethos- its spirit, the stability and reunification of China, harmony and order Sublimity used in this painting as a way to reflect the magnificence of the new state order (reunification of China). The looming mountain inspires awe, just as the new dynastic order does. The work emits a sense of tranquility, the cascading waterfalls and flowing creek add to the peaceful life force. There is no disorder visible in the painting, balance achieved by the new order. The painting has a very high density form, it is extremely detailed but orderly. Son of heaven (N.Song Emperor) is represented by the main peak, he is surrounded by his supporters (the lower peaks). Characteristic of Northern China typography, barren and rocky mountains. The pine trees are characteristic of Li Cheng with their "crab claw" branches, they are twisted and gnarled. Combines many perspectives--> has multiple vanishing points

Qing Dynasty

The last imperial dynasty of China Second foreign ruled Dynasty, ruled by the Manchus who came from North Eastern China. High tension between Han and Manchus. Manchus gradually assimilated to Han Chinese culture, continued with Confucian traditions like civil service exam. 2 trends in literati art from 17th to 19th c: -Orthodox--> Wang Shimin, Wang Hui pushed for stylized, less creative art, court painters -Eccentric--> Four Monks pushed for individualism, opposition to Orthodox, all of the artists outside the court. Refused to serve the new court, felt loyal to Han Dynasties of the past, did not want to surrender to new ruling class. Thus, they shaved their heads and became Buddhist monks. 4 Monks represent nostalgia, resistance against foreign rule, anxiety of marginalization and loss of identity. Did not focus on past masters, focused on nature- seen as a part of the Southern school. Buddhist monasteries became home to many who wished to escape the new ruling powers, they were completely removed from society and immersed in nature, physical and spiritual proximity to nature. Out of 4 monks came Yangzhou School (18thc), southern school, sparked by Shitao--> carried burden of tradition more lightly, main purpose was to please, please eyes and spirit Political division between Orthodox and Eccentric. The orthodox and eccentric trends both play roles in the development of the Urban literati art Urban Literati Art=new era (late 19th c to 1910s)

"Qingming Festival along the River" handscroll, ink and slight color on silk Northern Song Dynasty Zhang Zeduan

This scroll represents the realistic genre of the Northern Song Dynasty. The depiction of the landscape, the people, and the activities of daily life are accomplished in extreme detail. It is like a historical document of the N.Song prosperity and the lives of ordinary people. The scroll spans from rural/suburban to urban populations, shows the ways of life of many. This painting is like the antithesis of spontaneity, his goal is not expression but hyper realistic depiction of N.Song life. The scroll appears like a panoramic photo of the action along the river. Qingming Festival occurs on an early spring day. It was a day to honor the dead by sweeping their graves and burning items for them to use in the afterlife. There is so much detail that there is movement and life wherever you look. The climax of the scroll occurs at the "rainbow bridge" scene. There is a boat that is about to crash and people are gathered around trying to assist in any way possible. There is so much activity, and you can feel the anxiety and energy. You can practically hear the people shouting. All of this action takes place in Kaifeng, a hub along a well traveled canal. Zhang Zeduan was not a court painter, he was from Kaifeng and it is clear his love for this home city and his passion in depicting it with accuracy. He made an effort to record the social sceneries of the time and show ordinary people rather than the ruling class. This painting is a realization of Daoist ideals, you feel as though this scene is simply a link of the universal chain, can feel how the painting expands beyond its physical bounds.

"On a Mountain Path in Spring" album leaf, ink & slight color on silk Southern Song Dynasty Ma Yuan

Unbalanced composition, large area of the painting is left empty, like a more radicalized Liu Songnian. "One corner Ma," could be representative of how in the S.Song dynasty the people had been pushed into one corner as they lost the North to the Mongols. Void became popular in literati, meaningful in Daoism--> void is not just empty space, it is air to contemplate. Scholar seems walking along a path with a willow tree behind and a path fading into the mist. Tranquility and solitude from minimal brushwork. Renwu, not shanshui, figure is the focal point

"Self-portrait" hanging scroll, ink & color on paper Qing Dynasty Ren Xiong

Unique→ artist put himself as hero, whole self portrait is like a monument→ as if you are looking up at a monument from a lower perspective. It is clear he has a very resolute character Treatment of the robes and his body very different Exposed body, accurate precise bodily structure and anatomy→ influence from western art, very accurate depiction and coloring. Hands very awkward, but overall progress in human depiction Accurate in anatomy→ atypical for chinese renwu, almost like a watercolor which is very rare Juxtaposition of scientific accuracy and artistic indulgence→ building unique pagoda like monumental figure with forthright and resolute spirit Robes = decorative, strong ax cut lines, like from shanshui painting, very powerful lines, exaggerated trousers and shoes→ reinforces monument feelings These exaggerated lines are more typical chinese than the body of the figure. Typical calligraphic strokes, written strokes Stiff, stern, powerful, no hesitation in the ax cut cunfa. Poem to describe artist's feelings --> Describes ambitions, anxieties, hopelessness Describes the inner monologue of the figure displayed Appears like a warrior through these anxieties Confident figure also juxtaposed with the poem which exposes his feeling

Urban Literati Art of Qing Dynasty

Urban literati art: Ren Xiong, ren Bonian, Wu Changshuo Literati art taste and ideals but they try to make adjustment to urban customers, compromise Shanghai late 19th century to early 20th century Understood popular taste Integration after serious thinking and experimentation = urban literati Compromise for art market, but literati spirit is still the essence of their art Retain tradition but do not put tradition over reality Do not reject influence from western art How they combine tradition and reality and western art elements

"Shanshui in Rain" hanging scroll, ink on silk Southern Song Dynasty Ma Yuan

Vertical one corner style. Severe ax cut mountains in the background that fade into the rain that comes in from the right hand side of the composition. You can feel the movement of the wind and rain--> trees in mid ground are being whipped to the left. Composition leans to the left.

"An Immortal in Splash Ink" hanging scroll, ink on paper Southern Song Dynasty Liang Kai

Very similar to Shi Ke's "Chan Master in Meditation" Tiny face = focus on the brain and capacity for meditation and devotion to Buddha Mostly made up of a series of washes of different opacities, few lines which is unlike in Shi Ke's which had many calligraphic lines. Shi Ke wrote his figures in calligraphic lines whereas Liang Kai splashes the paper with ink washes to create his figure Shakyamuni painting = gongbi, this painting = expressive, loose xieyi, very versatile painter, also represents his transition as an artist and the reduction of secular elements in his life, transitioned to expressionistic Buddhist life.

"Forest Grotto at Juqu," hanging scroll, ink and color on paper Yuan Dynasty Wang Meng

Where Ni Zan = minimalism, this artist = maximalist, completely different from the sparse brushwork of Ni Zan, every inch of this painting is filled with meticulous detail with lots of color, very decorative style. This artist = complex and course, Ni Zan = pure and minimalistic and noble. Wang pushed Huang Gongwang's structuralism to the extreme. Within this painting, the scene is a closeup of the base of a mountain. The scene is highly busy, detailed, layered, and patterned. Solidity and coldness of rocks rendered through pima cun and jiesuo cun (unravelled rope) methods, generated contrast with the warm colored trees and houses where scholars meditate.