A large-scale exhibition celebrates the life and art of classic painter Dong Qichang
The works of one of the most important figures in Chinese art history, Dong Qichang (1555-1636), are being presented in a large-scale exhibition at the Shanghai Museum.
The Ferryman of the Ink World: Dong Qichang’s Calligraphy and Painting Art consists of 154 paintings and calligraphic works, some from the museum’s own collection and some borrowed from 15 other museums and cultural institutions, including the Palace Museum in Beijing, New York’s Metropolitan Museum of Art and the Tokyo National Museum.
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Landscape paintings by Ming Dynasty (1368-1644) artist Dong Qichang in the style of old masters are among the pieces on show at the ongoing exhibition in Shanghai. |
It is the largest exhibition of Dong’s works ever on the Chinese mainland, according to Yang Zhigang, director of the Shanghai Museum.
Dong was born to a poor, but educated family in Huating in today’s Shanghai. He passed the imperial examination and worked in a series of government positions starting from age 35. During his career as an artist, which lasted until he was 80, Dong made great efforts to explore traditional Chinese art, and he collected calligraphy and paintings.
Dong is now widely known for his art theories. He divided Chinese painting into northern and southern schools, traced their historical lineage and analyzed their aesthetic advantages. He also studied and analyzed Chinese ink-and-brush painting, emphasizing the moral power and spiritual heights of artists.
Through his creations, Dong showed that he had learned from previous masters and developed his own style and methods to become the leader of the Huating school. His artworks were widely sought and coveted during his lifetime. His artistic achievements were praised by both critics and emperors after his death at age 82.
Other exhibits in the show include works by important artists and calligraphers before Dong who had a great impact on his art, and works by later artists he influenced, Yang says.
“We hope to create a panoramic exhibition that presents the artist and his ideas in the context of the art history of imperial China.”
Dong was by far the most influential figure in the late Ming (1368-1644) and early Qing (1644-1911) dynasties, and his artistic theories dominated the tone and principles long afterward, says Ling Lizhong, head of the art department at the Shanghai Museum, who is also the curator of the exhibition.
While preparing for the show, Ling says he made a list of all the works he wanted to display, feeling like a child writing to Santa Claus.
“I didn’t think about whether it was possible to borrow these treasures and exhibit them in Shanghai. I just jotted down a dream list of artworks that I considered important and relevant for the exhibition,” he said.
The Shanghai Museum managed to borrow more than 40 important paintings and calligraphy pieces from 15 other museums and cultural institutions.
Among the most celebrated works is The Remaining Mountains, borrowed from the Zhejiang Provincial Museum in Hangzhou.
One of the few surviving works by painter Huang Gongwang (1269-1354), Dwelling in the Fuchun Mountains, was partially burned in 1650. Today, one part is kept at the Taipei Palace Museum in Taiwan, while the other – The Remaining Mountains – is stored at the Zhejiang Provincial Museum.
“Some important artworks, such as The Remaining Mountains, are very fragile and cannot be exhibited for more than a few weeks,” Yang says.
Because of Dong’s influence on Chinese art history, his works coexisted with forgeries, even during his lifetime. Later on, artists followed his style and techniques, and a lot of paintings were mistakenly identified as Dong’s creations. This has brought great challenges to the authentication of Dong’s works. The exhibition highlights some details and proofs that helped academics decide whether or not a painting was Dong’s.
Because of their fragility, some of the works can be displayed for only 45 days and then will be replaced by others.
“If you want to experience the complete exhibition, you will have to make four visits,” Yang says.
The exhibition runs through March 10.
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A visitor stops at one of the exhibition’s most-celebrated works, The Remaining Mountains. The other half of the painting, Dwelling in the Fuchun Mountains, by Huang Gongwang (1269-1354) is kept at the Taipei Palace Museum in Taiwan. Photos by Gao Erqiang / China Daily |
(China Daily European Weekly 12/21/2018 page20)