Masterpieces of Classical Chinese Painting

Masterpieces

of classical

chinese Paintinď?§

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Masterpieces of classical

chinese Paintin 中国古典绘画

Chief Editor Zheng Xinmiao Abbeville Press Publishers New York Lond on

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Contents

Introduction: A Brief History of Classical Chinese Painting • 7 Plates • 23 The Eastern Jin dynasty, AD 317–420 1. The Nymph of the Luo River, copy after Gu Kaizhi • 24 2. Cutting Wood to Make a Zither, copy after Gu Kaizhi • 30

The Southern and Northern Dynasties, 420–589 3. Scholars of Northern Qi Collating Texts, copy after Yang Zihua • 32 4. Tribute Bearers to the Liang Court, copy after Emperor Yuan of Liang • 36 5. Ruru Jataka, at the Mogao Grottoes • 38

The Tang dynasty, 618–907 6. Emperor Taizong Receiving the Tibetan Envoy, copy after Yan Liben • 40 7. Watching Birds, Catching Cicadas, from the tomb of Prince Zhanghuai • 42 8. Dancer (detail of Music and Dance Screen), unknown artist • 44 9. Preparing Silk, copy after Zhang Xuan • 46 10. Lady Guoguo’s Spring Outing, copy after Zhang Xuan • 52 11. Amitayus, the Buddha of Eternal Life, at the Mogao Grottoes • 54 12. Man Herding Horses, Han Gan • 56 13. Five Oxen, Han Huang • 58 14. Court Ladies Adorning Their Hair with Flowers, Zhou Fang • 60 15. Lofty Sages, attributed to Sun Wei • 66

The Five Dynasties, 907–960 16. The Night Revels of Han Xizai, copy after Gu Hongzhong • 68 17. Sketches of Birds and Insects, Huang Quan • 74 18. A Literary Gathering, Zhou Wenju • 76 19. The Double Screen, Zhou Wenju • 78 20. The Xiao and Xiang Rivers, Dong Yuan • 80

The Northern Song dynasty, 960–1127 21. Scholar Reading a Stele and Nesting Stones, Li Cheng • 82 22. A Cold Forest in Snow, Fan Kuan • 84 23. Spinning Wheel, Wang Juzheng • 86 24. Replica of a Wei Yan Herding Painting, Li Gonglin • 88 25. Listening to the Zither, Emperor Huizong • 92 26. Golden Pheasant on Hibiscus, Emperor Huizong • 94 27. Auspicious Cranes, Emperor Huizong • 96 28. Going up the River during the Qingming Festival, Zhang Zeduan • 98 29. Wonders of the Xiao and Xiang Rivers, Mi Youren • 104

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The Southern Song dynasty, 1127–1279 30. Shrike on a Winter Tree, Li Di • 106 31. Dancing and Singing, Ma Yuan • 108 32. Plum Blossoms, Rock, Brook, and Ducks, Ma Yuan • 110 33. Landscapes of the Four Seasons, Liu Songnian • 112 34. The Peddler, Li Song • 114 35. Musical Performance, unknown artist • 116 36. Plum, Bamboo, and Winter Bird, Lin Chun • 118 37. Ice-tipped Plum Blossoms, Ma Lin • 120 38. Lotus out of Water, attributed to Wu Bing • 122 39. Dragon, Ink and Wash, Chen Rong • 124 40. Moonlight Stroll on the Jade Terrace, Chen Qingbo • 126 41. Bird Attracted to Ripe Fruit, Lin Chun • 128

The Liao dynasty, 907–1125 42. Bamboo, Sparrows, and Two Rabbits, unknown artist • 130

The Jin dynasty, 1115–1234 43. Cai Wenji Returns to Her Homeland, Zhang Yu • 132

The Yuan dynasty, 1271–1368 44. Clearing the Mountain, unknown artist • 134 45. Double-outline Bamboo, Li Kan • 138 46. Horse Herding in the Autumn Countryside, Zhao Mengfu • 140 47. Zhang Guo in Audience with Emperor Xuanzong, Ren Renfa • 142 48. Kublai Khan on a Hunting Expedition, Liu Guandao • 144 49. The Nine Peaks after Snow, Huang Gongwang • 146 50. Fisherman, Wu Zhen • 148 51. Autumn Outing on the River, Sheng Mao • 150 52. Han Palace Garden, Li Rongjin • 152 53. Yueyang Tower, Xia Yong • 154 54. Ink Plum, Wang Mian • 156 55. A Ride in Spring, Zhao Yong • 158 56. Yu Boya Playing the Zither, Wang Zhenpeng • 160 57. Fishing Village after an Autumn Rain, Ni Zan • 162 58. Ge Zhichuan Moving His Dwelling, Wang Meng • 164 59. Paying Respects to the Primeval Lord of Heaven (detail), at Yongle Palace • 166

The Ming dynasty, 1368–1644 60. Looking Three Times at the Thatched Hut, Dai Jin • 168 61. Watching a Dance, Wu Wei • 170 62. Ba River Bridge in a Snowstorm, Wu Wei • 172 63. Visiting Pu on a Snowy Night, Liu Jun • 174 64. Qin Gao Riding a Carp, Li Zai • 176 65. Two Cranes, Bian Jingzhao • 178 66. Cassias, Chrysanthemums, and Mountain Birds, Lü Ji • 180 67. Pleasures in the Palace in Spring, unknown artist • 182 68. Lofty Lushan, Shen Zhou • 184 69. Ma’an Shan, Shen Zhou • 186 70. Zhenshang Retreat, Wen Zhengming • 188

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71. The Goddess and the Lady of the Xiang River, Wen Zhengming • 190 72. Imperial Maids of the State of Shu, Tang Yin • 192 73. Solitary Duck at Sunset, Tang Yin • 194 74. Peach Blossom Spring, Qiu Ying • 196 75. Yang Guifei’s Morning Toilette, Qiu Ying • 198 76. Appraising Antiques in the Bamboo Grove, Qiu Ying • 200 77. Bamboo Grove in Late Summer, Lu Zhi • 202 78. Lotus Flowers in May, Xu Wei • 204 79. Filtering Wine, Ding Yunpeng • 206 80. Magnolia and Taihu Lake Rock, Chen Hongshou • 208 81. Lotus Flowers and Mandarin Ducks, Chen Hongshou • 210 82. Storing Clouds, Cui Zizhong • 212 83. Leaf from Eight Autumn Views, Dong Qichang • 214 84. White Clouds and Red Trees, Lan Ying • 216 85. Hariti (detail of fresco of Indra), at Fahai Temple • 218

The Qing dynasty, 1644–1911 86. Lotus and Duck, Bada Shanren • 220 87. Pine Ravine and Stream, Hongren • 222 88. A Mountain in Clouds, Shitao • 224 89. White Clouds over Autumn Mountains, Wang Shimin • 226 90. Landscape in Green and Blue, Wang Hui • 228 91. Remembering a Bygone Friend at Xingfu Temple, Wu Li • 230 92. Peonies, Yun Shouping • 232 93. Afang Palace, Yuan Yao • 234 94. The Qianlong Emperor in Ceremonial Armor on Horseback,

Giuseppe Castiglione (Lang Shining) • 236 95. Snow on Mount Tian, Hua Yan • 238 96. Three Congratulatory Wishes, Zheng Banqiao • 240 97. The Eight Immortals, Huang Shen • 242 98. A Pack Train in a Snowy Land, Li Yin • 244 99. Mencius’s Mother Cuts the Loom, Kang Tao • 246 100. Palace Maidens Combing Their Hair, Gai Qi • 248 101. Ten Thousand Blue-green Lotuses, Ren Xiong • 250 102. Beauty in the Heavenly Palace, Ren Xiong • 252 103. Leopard Cats and Banana Tree, Ren Yi • 254 104. Three Knights-errant on the Road, Ren Yi • 256 105. Peaches, Wu Changshuo • 258

a Chronology of Chinese History • 263 Index of Works by Artist • 265 Index of Works by Title • 269

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Introduction A Brief History of Classical Chinese Painting

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中国古代绘画史述要 捌 8

8

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最 美 的 中国古典绘画 THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

hina has a long history of painting. Even if we ignore China has a long history of painting. If we ignore the early paintings on rocks the early rock paintings and grottoes or the painted and in caves, orpottery the painted decoradecorations on early and lacquer-ware and look only paintings on paperand or various types of silk, tions onat early pottery lacquerware, then the history of painting can be traced back over and consider only paintings on paper two thousand years to two advanced silk paintings or various types of silk, this art form discovered in a Chu Kingdom tomb in Changsha. can still two be traced two Over these millennia,back classicmore Chinesethan painting developed along a clearto trajectory markeddevelby its thousand years, two highly differences from painting in the West and other parts oped silk paintings discovered in a Chu of the world. This trajectory encompasses a rich Kingdom tomb in Changsha. Over the accumulation of traditions and a remarkable diversity. following classical ChiUnlike the two strongmillennia, and vivid colors that characterize Western painting, the first impression we get of nese painting developed along a clear Chinese painting, especially Chinese landscapes, is trajectory that is marked by its differits mildness and subtlety. That is because painting ences from painting in the West and by literati (well educated and cultured amateurs) and other the world, and which scholars parts is a veryof important thread in the development of classic Chinese painting.

"Literati painting" of encompasses a rich accumulation can be viewed as a phenomenon unique to Chinese traditions and a remarkable diversity. painting. In no other country or culture were so many Unlike Western paintings, with elite members of society involved in the creation of their vivid colors, tastes Chinese paintings, paintings.

The aesthetic and painting styles of the literati occupied a key position the history especially landscapes, give ainfirst imof Chinese painting, influencing the creativity of pression of simplicity and subtlety. craftsmen and professional painters. The literati That is because by “literati” were preoccupied withpainting the philosophical ideal of (well-educated andandcultured amateurs) "renouncing the world," used painting to free themselves from the of political struggle and scholars is demands a dominant theme inand the secular life. This renunciation meant that their the development of classical Chinese work was imbued with an air of calm and tranquility, art.

Literati painting phenomenon because the painter expectedis to a take spiritual unique China; in noAmong other sustenanceto from the painting. thecountry available subjects, depictions themany natural landscape were or culture wereofso elite members the best way for troubled individuals to find release of society active as painters. Moreover, from the burdens of the secular world, so landscape the aesthetic tastes andchoice painting styles painting became the preferred of the literati. of the be literati thethecreIt could said thatalso their influenced desire to abandon world laid the stylistic foundationsand of Chinese painting. In ativity of craftsmen professional addition, restraint is a cherished virtue in traditional painters.

Chinese culture, so the use of simple, muted imagery The literati preoccupied with to express profound,were complex emotions is a technique the ideaChinese of “renouncing theandworld” that most are able to accept understand.

For this reason, simplicityto became primary pursuit and used painting free the themselves

from the demands of political struggle and the secular life. They expected to a non-Chinese, accustomed to the Western visual take spiritual sustenance their experience, to understand and enjoyfrom the spiritual works, instilled with an air content ofwhich Chinese they painting. course, there isTheir much more to Chinese of Of tranquillity. preferred genre painting than literati painters and their austere was landscape, since, of the available stylistic preferences. The elaborate extravagance of subjects, depictions of natural the palace painters and the folksy tastes of scenery artisan seemed torepresent offer the best escape from painters both other directions in Chinese painting.

Together, threads weave the the burdens ofthese life.distinct The literati paintrich and diverse texture of classic Chinese art. Palace ers’ use of simple, muted imagery to expainting, since the establishment of the Imperial press complex emotions was Paintingprofound, Academy in the Song Dynasty, had occupied readily by were most Chinese, a dominantunderstood position, and there officially appointed palace painters every dynasty. The palace since it agreed withintraditional ideas painters served the emperor, and their paintings about the virtue of restraint; indeed, were meticulous and filled with the sense of grandeur simplicity becamedignified the primary pursuit befitting the emperor's status. When they and most important characteristic painted birds and flowers, they pursued intricate detail; when painting figures,especially they pursued in realism, of Chinese painting, landand when painting landscapes, they made liberal use scape. However, it is a difficult task of brilliant tones of emerald and gold. The work of for a non-­ hinese, accustomed to the craftsmen wasC full of the zest for life, and anticipated Western visual to apprecithe tastes of the urbanexperience, class. Folk artisans also had an eye for creative innovation, with many new techniques ate the spiritual content of Chinese and styles emerging from their creations. painting.

To render China's unique flavor requires the use Of course, there to of special tools. The brush is hasmuch been anmore indispensable Chinese than literati tool. Legendpainting has it that the brushthe emerged overand two thousand years agostylistic during thepreferences.

Spring and Autumn and their austere The Warring States Periods, an invention of the great Qin elaborate extravagance of the court general Meng Kui. The brush was soft and elastic, with painters folksy of artisan the tip of theand brushthe tapering to a tastes sharp point.

It could painters represent two other threads be used for both writing and painting.

Through flowing movements of the wrist and arm, theChinese artist couldart. create in the history of classical a multitude of lines, loose or tight, complex or simple, After the establishment of the imperial curved or straight, forceful or gentle — all exhibiting a painting the Song dynasty, rich painterlyacademy rhythm and in harmony, expertly expressive court painting occupied dominant of different moods and sentiments.aThese techniques could be usedand in a rich diversity styles. position, there wereof officially apThe use of ink was a primary characteristic of pointed court painters in every dyChinese painting. Ink blocks were made by carefully nasty.

The the and combining tungcourt oil sootpainters or pine sootserved with charcoal emperor, and works wereputmebinding agents.

To their make ink, the painter water in his inkwell and the solid ink into liquid.of Ink ticulous andground imbued with thethe sense

especially landscape painting. It is a difficult task for

As he slowly ground the ink, the artist could settle into

and most important characteristic of Chinese painting,

grinding was an integral part of the creative process.

grandeur befitting the emperor’s dignified status. When depicting birds and the mood of the painting, and stimulate his inspiration. flowers, the court painters There was an ancient Chinese idea of pursued "five colors intricate detail; whenviewed representing from one ink."

The Chinese ink as havingfigcolor, which be turned into various and ures, theycould favored realism; andshades when layers through the dilution and concentration of ink painting landscapes, they made liberal with water. The proper use of ink was essential for use of brilliant ofand emerald rendering the texturetones of objects creating aand sense of gold.

The"five work offrom professional space. The colors one ink" couldcraftsilluminate the subtle emotional details of the men, meanwhile, was fullobject. of zest for As for colors, Chinese pigments, just like Western life, and anticipated the tastes of the ones, are mixed with water, but there are great urban class.

Folk artisans were also a differences in how the colors are used.

In Chinese source of innovation, with many newto painting, colors are spontaneous.

There is no need replicate the actual colors of anemerging object, as thefrom colors are techniques and styles used not to represent reality but rather for expression their creations. and setting the mood. In works made with "light color Toand render the unique wash" "light ochre" coloring,qualities we can senseofthe Chinese art required the music, use ofwhile spegentle, subtle refinement of zither the "heavy color gongbi" strain of paintinghas is cial tools.

The brush inChinese particular like the gong, drum and clapper medleys of ancient been indispensable for the expression Chinese palace music, strong , vivid, and full of appeal. of Inideas and formation of styles in the past twothe thousand years of Chinese painting, Chinese painting.

Legend has that the works from different periods shine withitdifferent auras.brush As few specimens survive from earlier periods, the was invented more than two and they are difficult to attribute reliably, our thousand years ago, during the Wardiscussion will begin with the period of the Three ring States period, by theJinsgreat Qin Kingdoms, Eastern and Western and Southern general Meng Tian. The brush was and Northern Dynasties.

Plum, Bamboo and Winter Bird

Plum, Bamboo, and Winter Bird Lin Chun, Southern Song Dynasty Lin Chun, Southern Song dynasty Shanghai Museum (See plate 36.) 梅竹寒禽图 Shanghai Museum

南宋·林椿，上海博物馆藏

在砚台上加水研磨。在中国画的创作过程中，研

壁画以及陶器、漆器上的装饰性绘画不谈，单说纸、

朝历代都有专门的画家供职宫廷。宫廷画家们为皇

墨是非常重要的一个步骤。慢慢地研磨的过程

绢、帛上的绘画创作，如果从长沙楚墓中发现的技

室服务，其绘画风格充满了与皇室尊贵地位相匹配

中，作画者沉淀了心绪，酝酿了灵感。中国古代

巧比较纯熟的两件帛画算起，也有两千多年的历史

的精细与华美。他们画花鸟时观察精微，画人物

有“墨分五色”的说法，墨在中国人看来是有颜色

了。在这两千多年里，中国的古典绘画逐渐形成了

时力求写实，画山水时多用青绿金碧等色。民间画

的，通过与水调和后浓淡的变化可以表现不同的色

有别于西方以及世界其他地区的鲜明特色，沉淀

匠们的绘画则包含较浓的生活情趣，更贴近市民阶

Lady Guoguo’s Spring Outing

Song Dynasty copy of a painting attributed to Tang Dynasty's Zhang Xuan Liaoning Provincial Museum (Shenyang)

Song dynasty copy of a painting attributed to Zhang Xuan of the Tang dynasty Liaoning Provincial Museum, Shenyang 虢国夫人游春图 (See plate 10.)，辽宁省博物馆藏 唐·张萱（宋摹本）

而在于表现和意境。我们可以在“墨笔淡彩”和 “浅绛”设色的作品中，读到古琴曲般的高山流水 和平和淡泊，而“工笔重彩”一脉，则像中国古代

的

Lady Guoguo's Spring Outing

必尊崇物象本身的颜色，其作用不在于再现和写实，

9

美

油烟或松烟与炭黑、胶精心配比而成，使用时需

彩和层次。恰到好处地用墨，对于表现物象的质

ent periods shine with different auras. 感、空间感等，都能起到极好的效果，且往往能 As few specimens survive from earlier 够展现出物象情趣的微妙之处。 ages, and they are difficult to attribute 至于色彩，中国画颜料与西方水彩画颜料一样 reliably, our discussion will begin with 都是用水调和的，然而中国画之用色理路却与西方 the period following the fall of the Han 水彩画差别甚大。在中国画中，色彩是写意的，不 dynasty.

最

Chinese painting, color was spontane层的口味。吉祥的花鸟、亮丽的仕女、可爱的婴儿 ous; there was no need to replicate the 都是民间画工常画的题材，并且民间画匠们还具有 actual hues of an object, as color was 较强的创新意识，中国绘画史中的许多新技法、新 used not to represent reality, but rather 风格都源自他们的创造。 for expression and to set the mood. In 中国画特殊的味道需要特别的工具来实现。 works made with “light color wash” 毛笔在中国画之意蕴表达和风格塑造方面起到了至 and “light ochre” coloring, we can sense 关重要的作用。传说，毛笔起源于两千多年前的 the gentle refinement of zither music, 春秋战国时期，是秦国大将军蒙恬所创。它柔软 while the heavy-color gongbi mode of 而富有弹性，笔端尖而有锋，既可用来书写又可用 painting is like the gong, drum, and 作绘画。绘画者可以通过灵活地运转手腕和臂膀， clapper medleys of ancient Chinese 使得笔下的线条千变万化，疏密、繁简、曲直、刚 palace music—strong, vivid, and full of 柔……充满丰富的韵律节奏，从而表现出绘画者不 appeal. 同的心情和性情，形成多样的作品风貌。 In the two-thousand-year history of 墨的使用是中国画的又一大特色。墨块由桐 Chinese painting, the works of differ-

宫廷音乐中的锣、鼓、拍板合奏一般，强烈鲜明， 华丽而有神韵。 两千余年的中国古代绘画史中，不同时期的绘 画作品绽放出各异的光芒。因为更早的画迹遗存较 少，且创作者已经难以考证，我们的讨论从三国两 晋南北朝开始。

9 THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

soft and elastic, with its tip tapering 出一条清晰的、一以贯之的发展脉络。在这条脉 to a sharp point. It could be used for 络中，有深厚的传统积累，又有精彩纷呈的多样面 both writing and painting. With flow貌，其中的学问与故事，千言万语诉说不尽。 ing movements of the wrist and arm, 与色彩缤纷的西方绘画不同，中国画，尤其是 the artist could create a multitude of 中国的山水画，给人的第一感觉往往是清淡和枯寂。 lines, loose or tight, complex or simple, 这是因为在中国古典绘画的脉络中，文人士大夫的 curved or straight, forceful or gentle— 绘画是一条重要的主线。 “文人画”可以说是中国 all exhibiting a painterly rhythm and 绘画史中特有的现象，其他没有哪个国家和地区 harmony, expertly expressive of dif在历史上有这么多的精英阶层人士直接参与到绘画 ferent moods and sentiments. These 的创作中来。文人士大夫的审美取向和绘画风格 techniques could be employed in a rich 在中国古代绘画史中占有主导位置，并且广泛地影 diversity of styles. 响到了工匠和画师们的创作。文人士大夫们普遍具 The use of ink was a primary charac有“出世”的理想，大都希望能借助绘画在精神上 teristic of Chinese painting. Ink blocks 逃避纷繁复杂的政治斗争和世俗生活，这就要求 were made by carefully combining tung 绘画具有淡泊、宁静的气质，因为只有这样他们才 oil soot or pine soot with charcoal and 能够在画中寻找到心灵的慰藉。在众多的绘画门类 animal glue. To make ink, the painter 中，描绘自然山川的山水画最能够让久受精神困扰 put water in his inkstone and ground 的人们放下世俗包袱，于是山水画成为文人士大夫 the solid ink into the liquid. Ink grind们娱情、娱兴的不二选择。可以说，是文人们的 ing was an integral part of the creative 精神诉求决定了中国画的基础风格。另外，在中国 process. As he slowly ground the ink, 传统文化中，含蓄是可贵的品德，用简洁、清淡的 the artist could settle into the mood of 物象表现复杂、深邃的情感，是大多数中国人能 the painting, and stimulate his imagi够接受和体会的方式。所以，简淡便成为了中国画， nation. There was an ancient idea of 尤其是山水画的第一追求和重要特征。对于习惯了 “five colors from one ink”: the Chinese 以西方视觉经验进行绘画阅读的外国人来说，要 viewed ink as having color, which could 了解和体味中国绘画之精神内涵确不是一件容易 be turned into various shades by dilut的事。 ing it with water. The proper use of ink 当然，中国古典绘画并非只有文人画和文人 was essential for rendering the texture 风格的绘画这一种面目，宫廷画师们的富丽风范， of objects and creating a sense of space. 民间画匠们的亲民趣味都是中国古代绘画史中的不 The “five colors from one ink” could 同面向，它们共同构成了中国古代绘画缤纷的多样 illuminate the subtle emotional details of the object.

As for colors, Chinese pigments were mixed with water, just like Western watercolors, but there were great differences in how they were used. In

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面貌。宫廷绘画方面，自宋代设立画院以来，历

中g国古典绘画 a brief h i sto ry o f c la s si cal c h i n e se pai n ti n

中国有着悠久的绘画历史，抛开更早的岩画、

中国古代绘画史述要 The Three Kingdoms, the Eastern and Western Jin, and the Southern and Northern Dynasties

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最 美 的 中国古典绘画

2011.3.7 8:55:03 PM

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

xing was most skilled at the depiction of Buddhist and Taoist themes, and has been called the “father of Buddhist painting.” His student Wei Xie also specialized in these subjects, and promoted his teacher’s style while further refining it. Art history has deemed

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

Unknown artist, Southern and Northern Dynasties Cave 257 of the Mogao Grottoes, Dunhuang, Gansu (See plate 5.)

最 美 的 中国古典绘画

Ruru Jataka

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him the spiritual source for various styles of ancient painting. After Cao Buxing and Wei Xie, this period produced three more important painters: Zhang Sengyou, Lu Tanwei, and Gu Kaizhi (c. 348–409). These three also focused their creative efforts on Buddhist and Taoist themes, and each of them organized the painting of large frescoes. Unfortunately, the works of Zhang Sengyou and Lu Tanwei have been lost, and in order to imagine their styles, we can only look to the contemporary paintings of the Mogao Grottoes. The situation is slightly better with Gu Kaizhi: the existence of faithful Tang dynasty copies of his work provide us with a glimpse of his trademark “spring silk” lines and “spring cloud and flowing water” brushwork (plates 1, 2). Later commentators 39 40 would note that the three painters differed in their approach to the human form: “Zhang captures their bones, Lu captures their flesh, and Gu captures their spirit.” Gu Kaizhi, with his ability to capture the spirit, was considered the most accomplished of the three.

The greatest achievements in the pictorial art of this period were in figure painting. The other two main genres of classical Chinese painting, landscape and bird-and-flower painting, were still in an embryonic stage; the surviving specimens are rudimentary and naive, serving only as a backdrop for depictions of the human form. 叁

最

Cao Buxing from the state of Wu (229–280), which was one of the Three Kingdoms. None of his works survive, but there are many written accounts of his accomplishments. It is said that when Sun Quan, the king of Wu, once accidentally spilled ink onto a screen, Cao Buxing turned the ink blot into a vivid depiction of a fly with a few nimble strokes of his brush. Cao Bu­

Ruru Jataka

10

his period, which lasted from ad 220 to 589, was a time of upheaval in Chinese history. Over some three hundred years of unity and division, dozens of different political authorities rose and fell in China, establishing many small states. With the notable exceptions of the Eastern Jin and Northern Wei dynasties, few of these survived more than a century. In this political environment, the ideological landscape of China experienced extraordinary changes. The chaos of the time led to the rise of Buddhist ideas of detachment from the world and the Taoist principles of tranquillity and inaction.

With the weakness and instability of political authority, many in the upper echelons of society began to defy convention, focusing on metaphysical ideas and abstract discourse. Accordingly, the painting of the time was heavily weighted toward Buddhist and Taoist themes, as in the Mogao Grottoes of Dunhuang (plate 5), while expressions of scholarly life were also common, as in Scholars of Northern Qi Collating Texts (plate 3) and Cutting Wood to Make a Zither (plate 2). In contrast to the fragility of authority and the withering of the economy, painting and the other arts shone in this period as never before.

The first professional painters to be clearly recorded in history emerged at this time. The first of them was

的高超画技。传说有一日国君孙权 （182 年- 252 年）

材为主，中国古代绘画史中的另外两个重要画科山

不小心将墨滴在了屏风上，曹不兴巧妙地添加了几

水画、花鸟画这时还处于草创阶段。虽然今天能

笔，瞬间使得墨点变成了一只活灵活现的苍蝇，一

见到的这一时期的山水和花鸟一般形象古拙，多作

时间传为美谈。曹不兴主要擅长佛道题材的绘画，

为人物画的背景，没有独立成幅，然而从文献著录

国历史上比较动荡的一个时期，三百余年的时间里，

他被称为“佛画之祖”。他的学生卫协也擅长佛道

中看，这一时期已经有了单纯描绘花鸟和山水的专

分分合合，中国的土地上先后出现了数十个政权，

题材，卫协继承和发扬了曹不兴的风格，并在绘画

工画家。尤其是山水画因为与玄学之士标榜的隐逸

建立了大大小小许多个国家。除了东晋和北魏两朝 However, written records indicate that 历时过百年以外，其他国家都国祚短促。在这样的 artists had already begun to specialize 政治环境中 ，中国的意识形态领域发生 了不同寻常 in these subjects; landscape painting in 的变化 ：时局的纷乱使得佛教的出世解脱思想和 particular was increasingly viewed as 道家的清静无为宗旨备受推崇 ；政权的脆弱和不 important, given its connection with 稳定使得许多位居社会上层的士人放浪形骸，寄 ideas of retreat from the world, and 情于玄学空谈。相应的，在这一时期的绘画中 ，我 texts appeared detailing the principles 们可以看到佛道题材的绘画作品比重很大，如敦 of the form, such as Gu Kaizhi’s Records 煌莫高窟中的许多壁画。而表现士人生活和情怀的 of Painting Yuntai Mountain and Zong 作品也很常见，如传世名作 《北齐校书图》 、 《斫琴 Bing’s Preface to the Painting of Land图》等。与政权的脆弱和经济的凋敝形成对比的 scapes. 是，绘画等艺术领域在这一时期放射出不同往日的 Wars between north and south, the 耀眼光芒。 shifting political tides, and invasions 要知道，中国历史上第一批有确切记载的专业 by northern ethnic groups all influ-

的精细度上更胜一筹，画史上给 enced the painting of the了卫协“古画皆略， time. Foreign 自协始精”的评价。 曹不兴、卫协以后，这一时 cultures entered the Central Plain, 期的中国绘画史中出现了三位极为重要的人物 ：张 and the stylistic innovations of ethnic 僧繇、陆探微、顾恺之 （348 年 - 409 along 年）。这三 minorities migrated eastward, 人都致力于佛道题材的创作，都组织过大型壁画 with many painters from the west of 的绘制，三人的画名都盛极一时。不幸的是，由于 China.

Among them was Cao Zhong年代久远，张僧繇和陆探微的画迹早以不存，我 da, a famous painter of the Northern 们只能从敦煌莫高窟中这一时期的壁画上想象二人 Qi dynasty (550–577) who came from 作品的风采 ；而顾恺之的情况则好一些，由于有 what is now Uzbekistan. He created a 较忠实于原作的唐宋摹本的存在，今天我们仍然可 unique style heavily influenced by that 以一窥顾氏作品中 “春蚕吐丝”般的线条，和 “春 of the Gupta empire in India, and was 云浮空，流水行地”式的行笔。后人在评价这三 known for his eponymous “Cao style,” 位画家时，认为他们在画人物时各有侧重 ： “张得 in which the figures’ clothes appeared 其骨，陆得其肉，顾得其神” 。其中，以能抓住人 to be dripping wet.

思想相关，开始引起一些士人的重视，出现了一些

画家就出现在三国两晋南北朝时期，他们中最早的

物风神的顾恺之成就最高，最受推崇。

三国两晋南北朝（220 年 - 589 年）时期是中

Eastern Jin Dynasty's Gu Kaizhi Song dynasty copy of a painting attributed Beijing Palace Museum to Gu Kaizhi of the Eastern Jin dynasty 洛神赋图 Palace Museum, Beijing 东晋·顾恺之（宋摹本），北京故宫博物院藏 (See plate 1.)

炳的《画山水序》等。 南北攻伐，政权更迭以及北方少数民族的入 侵，使得三国两晋南北朝时期的绘画有了更多的哲 学思考，更深入人的精神层面。并且，这一时期因 为交流的加强，许多少数民族和外国风貌融入到中

11

原的绘画风格中，许多西域画家参与到中原的绘画 创作中，北齐（550 年 - 577 年）时期的著名画家 曹仲达祖籍中亚曹国（今乌兹别克斯坦），和他独 创的带有印度笈多风格的“曹衣出水”便是最好的 例子。三国两晋南北朝时期的中国绘画史是一段各 种新风格和新气息勃兴、交融、变化、演绎的历史， 其中的纷繁和新气象为以后隋唐时期中国古典绘画 的全面繁荣奠定了基础。

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

The Nymph of the Luo River

Song Dynasty copy of attributed to The Nymph ofa painting the Luo River

相关的画理著作，如顾恺之的《画云台山记》、宗

的

物画方面，现存的这一时期的画迹也主要以人物题

美

兴。他的作品现以不存，然而古代文献中记载了他

最

三国两晋南北朝时期的绘画成就主要集中在人

拾 壹 中国 a brief h i sto ry o f c la s si cal c h i n e se pai n古 ti典n绘 g画

一位是三国时吴国（222 年 - 280 年）的画家曹不

三国两晋南北朝

11

中国古代绘画史述要 The Sui and Tang Dynasties

T

12

he Sui and Tang period (581–907) can be viewed as the apogee of imperial China. Rapid political and economic growth made possible great advances in cultural production. Though the Sui dynasty lasted only thirty-seven years, until 618, it saw extensive changes that would affect China for thousands of years. After unifying China, Emperor Wen of Sui established the stable system of governance known as the “Three Departments and Six Ministries,” and the imperial examination system for selecting talent. He also constructed the Grand Canal, which linked north and south and set the foundation for a flourishing economy over the next three hundred years. The Tang, with its capital at Chang’an (present-day Xi’an), was one of the strongest dynasties in Chinese history. As the largest country in Asia, the Tang domain attracted the world’s attention, with emissaries being sent there from Japan, the Korean peninsula, Southeast Asia, and the West. The Tang culture was open to this external contact, absorbing influences from around the world while also spreading its own. The three-color terra-cotta figurines unearthed from Tang dynasty tombs include representations of foreign figures with Western features, while the Japanese designed their capital and its buildings in the style of Chang’an.

The Sui and Tang period was important for the development and maturation of Chinese painting, with new achievements in figure, landscape, and bird-and-flower painting. After bringing the simplicity and boldness of the Qin and Han dynasties together with the restraint and depth of the Wei and Jin dynasties, Chinese painting in the Sui and Tang entered a new period of elegance and beauty.

Many of the surviving figural works from this period depict the extravagant lives of the royalty and nobility. Lavish burials were popular in the Sui and Tang, and many imperial and aristocratic tombs were adorned with elaborate murals on a grand scale. Some of these murals depicted the lavish lifestyle of the dead man, while others showed the great hunting expeditions he undertook with his friends, the lively banquets he hosted, or his many maidens and servants. The tombs of the Zhanghuai crown prince Li Xian (plate 7), Yide crown prince Li Chong­ run, and Yongtai princess Li Xianhui were all built during the High Tang, under the rule of Empress Wu Zetian (690–705). The extravagant murals in their tombs reflect the advanced state of figurative painting in that period.

The silk scrolls of the Tang dynasty survive mostly in Song dynasty copies, although these are extremely faithful to the originals. In those that depict the

human form, we get a clear look at the lifestyles and fashions of the nobility.

Yan Liben (c. 601–673) was at the leading edge of both painting and politics in the early Tang. His most famous work, Emperor Taizong Receiving the Tibetan Envoy (plate 6), depicts that ruler (r. 626–649) receiving emissaries from the Tubo Kingdom (modern-day Tibet), with highly realistic renderings of the facial features, body, and adornment of each figure. Zhang Xuan of the middle Tang (plates 9, 10) and his follower Zhou Fang of the late Tang (plate 14) were both professional painters who mainly depicted the lives of their aristocratic clients; both were at their best when painting palace maidens. Zhang Xuan’s works were more realistic, while Zhou Fang’s women had fleshier figures.

Aside from representations of the lives of rulers and nobles, Buddhist and Taoist themes were another important component of Sui and Tang figure painting. In the Mogao Grottoes during this period (plate 11), we no longer see traces of India, as we did when Buddhism first entered China. The deities clearly take on the facial features of the Han Chinese people, with the benevolent expressions, plump bodies, and elegant postures that led to the saying, “Bodhisattvas are like palace women.” Wu Daozi (680–759) was the most influential religious painter of the

鸾则擅长孔雀，隋唐时花鸟画的富丽画风直接影响

超水平。现存至今的隋唐绢画大多为宋代的摹本，

到以后五代、宋初的花鸟画创作。马匹在唐代是

然而这些摹本非常忠实原作。在一些以人物为题材

财富和地位的象征，盛唐时的画马名家曹霸、韩

的绢画中，我们亦可以清晰地感受到当时皇室、贵

二人的作品基本代表了唐代鞍马画的最高成就。

（601 族们的生活与风尚。初唐时期的阎立本 During this period, depictions of 年 673 ）是一代名相，他的绘画技艺同他的政治才 the年 natural world, including both bird能一样卓越。他的名作 《步辇图》表现的是唐太 and-flower painting and horse painting, - 649 年）接待吐蕃（今西藏） 宗李世民 grew in（599 favor年among the aristocracy. 使者的场面，其中 人物的五官、身材、发型以及服 Xue Ji gained fame for his paintings 是为贵 饰都是极写实的。中唐的张萱和晚唐的周 of cranes, while Bian Luan excelled at

13

最

族服务、集中描绘贵族生活的专职画家。他们两 painting peacocks. The ornate style of 人具有师承关系， Sui and Tang 最擅长描绘贵族仕女。相比之下， bird-and-flower painting

美

笔下的女性则展现出 张萱的作品更加写实，而周 would later influence the practitioners 夸张的丰腴体态。 of this genre in the Five Dynasties and

13

是隋唐时期最具影响力的佛道题材人物画画家，被 后人尊为“画圣”。他画人物最出彩处在于线条，吴 式线条遒劲而灵动，被称之为“莼菜条”。吴道子 笔下的人物，衣褶飘举，临其画前，观者有“天衣 飞扬、满壁风动”之感，极受震撼。 隋唐时期山水画较之前代有长足的进步，山水 在这时终于从人物故事的背景中独立出来，形成 风格迥异的两种流派 ：隋代的展子虔（约 550 年 604 年）、唐初的李思训（651 年 - 716 年）画山水 笔格细密，赋色浓丽，是为青绿山水一派 ；而王维 （701 年 - 761 年）以诗入画，创“破墨”山水一路， 写意、放纵，带有更多的文人情怀。这一时期山水 画形成的这两个派别对后世影响深远，后世山水 画的发展基本不曾偏离过这两条理路。 花鸟画和鞍马画因为受到贵族的喜爱，在这一 时期也备受重视。花鸟方面，薛稷以画鹤闻名，边

的

除了表现皇室贵族和他们的生活，佛道题材也 early Song dynasty. The horse was con是这一时期人物画的重要组成部分。隋唐的宗教美 sidered a symbol of wealth and status 术有明显的本土化、世俗化趋向： 敦煌这一时期的 during the Tang dynasty, and the horse 壁画，不见了早年佛教刚传入时的印度痕迹，神佛 paintings of Cao Ba and Han Gan from 形象一般都具有典型的汉人面孔，并且个个眉目慈 the High Tang represented the period’s 善、体态丰腴，具有动人的风姿。时人把这种现 highest achievements in this form 象称为 。吴道子（680 年 - 759 年） (plate“菩萨若宫娃” 12).

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

Tang dynasty. Known by later genera- 907 年）可以说是中国封 隋唐时期 （581of 年painting, tions as a “sage ” he was pro建社会的顶峰，政治、经济的高度发展促进了文 foundly influential in the development 化艺术的进步。隋朝 （581 年 - 618 年）虽然仅仅 of Chinese art. The most remarkable 历时三十余年，然而这三十余年间中国土地上发生 feature of his style was his mastery of 了影响后世数千年的深刻变化。隋文帝统一中国 line. Wu’s lines were powerful and vig后，在政治上确立了稳定的 orous, and they have“三省六部”制度，创 been described as 建了以 “科举考试”选拔人才的机制 ；经济上，修 “brasenia lines” after the spindly shape 建了贯通南北的大运河，这些都为隋唐时期三百余 of the aquatic plant. The figures in his 年的持续繁荣打下了坚实的基础。唐朝 paintings wear billowing robes, （618 giving年 907 （今陕西西安）为首都，是中国历 the年）以长安 viewer the sense of a sky filled with 史上最强盛的王朝之 flying clothing. 一。当时大唐作为亚洲最强盛 的国家，吸引了世界的目光，东边的日本和朝鲜半 Compared to earlier dynasties, 岛、西域以及南洋都有使者来朝。唐朝的文化是博 the Sui and Tang saw great progress 大而包容的，它吸收四方 ，同时又辐射四方： in landscape painting.

It was at this从唐 墓中出土的三彩俑我们可以看到高鼻深目的西方人 time that landscape emerged from the 形象，而日本这一时期的城市格局以及建筑形式都 background and gained greater inde与唐都长安一般无二。 pendence as a genre, while breaking into隋唐时期是中国古代绘画全面发展、趋向成熟 two divergent styles. Zhan Ziqian 的重要时期，人物、山水、花鸟各个画科都获得 (550–604) of the Sui dynasty and 了新成就，并逐步成熟和独立。在融合 了秦汉的淳 Li Sixun (651–716) of the early Tang, 朴豪放、魏晋的含蓄隽永后，中国古代绘画史在隋 who painted landscapes with tight, in唐时代进入了 一个精湛、绮丽的新时期。 tricate brush patterns and thick, bright 人物画方面，这一时期留存至今的作品之中许 colors, represented the blue-and-green 多表现的是皇室、贵族的奢靡生活。隋唐流行厚 style of landscape painting. Wang 葬，皇室贵族的墓室中往往大面积地绘制有精美的 Wei (701–761), on the other hand, ap壁画，其规模之宏伟，让人惊叹。这些壁画有的 proached his paintings as poetry, cre表现墓主人生前出行时的华丽排场，有的表现墓 ating the style of landscape known as 主人与友人外出打猎的宏大场面，有的表现墓主 “broken ink,” which was free-ranging 人大宴宾朋时的热闹情境，还有的表现墓主人家 and forceful, yet marked by the deli中众多的侍女、仆从。章怀太子李贤、懿德太子李 cate sentiments of the literati. This 重润以及永泰公主李仙蕙三人的墓葬都建设于初 division of landscape painting into two 唐武则天 年 - 705 年）统治前后，其中的壁 distinct（624 schools would be profoundly influential, with most of the later developments in the genre following one or the other of these paths.

画之瑰丽与精彩，充分体现了这一时期人物画的高

拾cal c h i n e se 叁pai n ti n g 中国古典绘画 a brief h i sto ry o f c la s si

隋唐

Music and Dance Screen

Not attributed, Tang Dynasty Xinjiang Provincial Museum (Urumuqi)

Dancer (detail of Music and Dance Screen)

仕女乐舞屏风

Unknown artist, Tang dynasty Xinjiang Museum, Urumuqi (See plate 8.)

唐·佚名，新疆维吾尔自治区博物馆藏

Plates

Cutting Wood to Make a Zither

北 齐 校 书 图

北齐校书图 叁

叁

拾

拾

壹

贰

of Northern Qi Collating Texts 31 3. Scholars 32 最 美 的 中国古典绘画

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

Zihua's most significant works. This specimenhelps from the Boston scholars sit on a dais, whinnying at night.

Because of his exceptional him with hisfour shoes as he bids hisattended col- by a group of female servants. versatility, the emperor appointed Yang to a leagues farewell, knocking over a lacquer bowl palace position, forbidding him to paint for filled with fruit. In the leftmost scene, two 北齐校书图 grooms lead horses不存于世了 outsiders without his express permission. behind。它描绘的是北齐天保七年 a red-robed official （556 年），文宣帝 手卷，绢本设色 （529China’s 年 - 559 dominant 年）命樊逊等人校勘史书的故事。在中国古代， Scholars of Northern Qi Collating Texts, one of the Han ethnicity, ethnic 纵29.3厘米、横122.7厘米 of Yang Zihua’s most important works, surgroup. Behind the古籍校勘被历代帝王所重视，因为古书在流传的过程中难 black horse is a person from vives only in the form of this Song dynasty a minority ethnic group, with a full beard and 免会因为人为的疏忽或故意删改而造成与原著不符的情况， replica. It depicts an event that took place in 北齐·杨子华（宋摹本），波士顿艺术博物馆藏 a shaven head. The entire scroll has a sense of 556, the seventh year of Emperor Wenxuan’s compact rhythm, 并且一些词汇随着时间的推移，意义可能发生变化。因此 with the three scenes linking reign (550–559), when杨子华， the emperor together organically. 对古籍勘定版本、修订内容、点校整理就成为做学问前必 , 生卒年不详。北齐世祖时 北齐画家 ordered （561 年Fan Xun and others to compare and collate Northern Qi was a small kingdom along the 须完成的功课。从三国时期开始到隋唐，朝廷都设有专门 565 年）任直阁将军、散骑常侍，属于随侍皇帝身边的大 historical texts. This task was a prerequisite lower reaches of the Yellow River in the pe的“校书郎”官职。 臣。他特别擅长描绘贵族人物、宫苑、车马，所画的马尤 for any scholarly endeavor, because ancient riod of the Southern and Northern Dynasties. 《北齐 其生动逼真。据传当时的人看到他在墙壁上所画的马，甚 books, as they were passed down through the Though the kingdom 按照中国古典绘画长卷的观画顺序，从右往左， had not been established generations, would至会产生在夜间听到马索水草而嘶鸣的幻觉。因为精于绘 often pick up errors due to for long, and borders were ill-defined in that 校书图》可以分为三个场景 ：右边以穿红色长袍坐着并执 oversights and intentional alteration. Also, the period, there was much cultural interaction 笔作批阅状的官员为中心，几位侍者环立左右可以算是本 画， 北齐世祖让他专门供职宫廷， 非有诏谕不得为外人画画。 meaning of certain words would change over between the kingdoms of north and south, 图的第一组人物。由此及左，画面中部，四名学者坐在榻 《北齐校书图》是杨子华的代表作，然而现藏于美国波 time, leading to misunderstandings.

From the and between the Han Chinese and other ethThree Kingdoms period through the Sui and nic groups. Scholars of几位侍女服侍在侧， Northern Qi Collating 上， 这一组十人，是全画的重点和中心。 士顿艺术博物馆的这幅作品其实是宋代的摹本，原本已经

最有趣的是，这一部分中，画家选取了坐于榻右的学者准 备离开，一面让童子帮忙穿鞋，一面与他左侧的学者道别， 推搡之间撞翻了漆盘，果物滚落榻上的瞬间。画卷的左边， 两位马夫牵马由一穿朱衣执鞭的汉人奚官统领，黑马后为 一髡发蓄须的少数民族人物。整幅图紧凑有序，衔接得当， 三个场景被有机地结合起来。 北齐是南北朝时期黄河下游的一个小国，虽然立国时 间并不长，国力也算不上强盛，但这一时期南北文化之间、 汉人和少数民族之间的交流和互动是非常频繁和积极的。 《北齐校书图》中人物衣着、室内陈设都是当时的样貌，非 常细致、严谨，是研究北齐历史非常好的图像材料。

LUFITUAEB TSOM EHT SGNITNIAP LACISSALC ESENIHC

Museum of Fine Arts is a Song Dynasty replica. The original This scene of ten people is the crux of the painting. Interestingly, has been lost. It depicts a story that took place in the year 556, the artist has chosen to depict a moment when one scholar is which is the seventh year of the Wenxuan Emperor's reign leaving. A servant boy helps him with his shoes as he bids his (529-559), when the emperor had ordered Fan Xun and others colleagues farewell, and he knocks over a lacquer bowl filled with to compare and collate historical texts. Ancient Chinese rulers fruit. placed great importance on the collation of ancient texts, because On the far left of the scroll, two grooms lead horses behind a as these books were passed down, they would often pick up red-robed official of the Han ethnicity, China's dominant ethnic Yang Zihua was a painter of the Northern Qi Dynasty. The dates errors due to oversights and intentional alteration. Also, over group. Behind the black horse is a person from an ethnic minority of his birth and death are unknown. During the reign of the the passage of time, the meaning of certain words would alter, group, with a full beard and a shaven head. The entire scroll has a Yang Zihua, a painter of the Northern Tang every court had an official shows the clothing and interior decor Dynasty's founding emperor Qi (561-565), Yang Zihuadynasties, served leading to misunderstandings.

For this reason,Texts the consultation sense of compact rhythm, with the three scenes linking together dynasty, served asasa ageneral during reign “collator of texts.” of various editions, revision of content and collation of theoftime precise detail, providing general, and was onethe of the leading officials to accompany texts in rich,organically. of the Emperor Wucheng was remarkable This painting iswas a horizontal scroll that may visual material for the study ofkingdom the along the lower reaches the emperor(561–565), on campaign. and He possessed range of a prerequisite for all scholarly endeavors. valuable From the Three Northern Qi was a small one of the leadingskills, officials to accompany thepalace gardens, be divided into three scenes, toallbetheviewed Northern Qi dynasty. depicting aristocratic figures, and horseKingdoms Period way to thefrom Sui and Tang Dynasties, every of the (S.J.) Yellow River during the Northern and Southern Dynasties. emperor on campaign.

As an with artist, he posright to left.

At right, red-robed official scans drawn chariots, his horses being especially vivid and lifelike. courtahad an official "collator of texts."

Though the kingdom had not been established for long, and sessed a remarkable skills, depicta document in hand, by to the standard viewing It isrange said thatof those who saw his frescoes of horses would hear with penViewed fromsurrounded right to left according borders were ill-defined in that period, there was much cultural the sounds of horses drinking,and grazing and whinnying night. ing aristocratic figures, palace gardens, severalatservants.

In theforcentral scene, the order horizontal scrolls at thecrux time, Scholars of Northern Qi interaction between the kingdoms of north and south, and Because of his exceptional versatility, the emperor appointed horse-drawn chariots, with his horses being Collating Texts can of the painting, four scholars sit be ondivided a dais, intoatthree scenes. In the scene at between the Han Chinese and other ethnic groups. Scholars Yang to a palace forbidding him fromtended painting for of Northern Qi Collating Texts shows the clothing and interior there is aservants. red-robed official scanning a document with a especially vivid and lifelike.

It position, is said that those by a groupright, of female Interestoutsiders without his express permission. pen in his hand, surrounded by several servants.

He is the central décor of the time in rich, precise detail, providing valuable visual who saw his murals of horses would hear the ingly, the artist has chosen to depict a moment Scholars of Northern Qi Collating Texts one of one Yang scholar figure of the first To theboy left of that, at the scroll's center, material for the study of the Northern Qi Dynasty. sounds of these animals drinking, grazing, and iswhen is leaving.

Ascene. servant

中国古典绘画 最 美 的

Scholars of Northern Qi Collating Texts

Song dynasty copy of a painting attributed Handscroll, ink and color on silk h: 29.3 cm w: 122.7 cm to Yang Zihua of the Northern Qi dynasty Handscroll, ink and color on silk 11½ × 48¼ in. (29.3 × 122.7Yang cm) Zihua, Southern and Northen Dynasties Museum of Fine Arts, Boston Boston Museum of Fine Arts

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职 贡 图 叁 拾 陆 36 4. Tribute Bearers to the Liang Court

Tribute Bearers to the Liang Court

最 美 的 中国古典绘画

peoples ruled in the north while the Han held power in the Although blind in one eye, even as a child he loved south, continued for more than a century and was known as calligraphy, figure paintings and landscapes; he was a particularly Handscroll, ink and color on silk Song dynasty copy of a painting attributed h: 25 cm w: 198 cm the Southern and Northern Dynasties. While the chaos of war fine painter of birds and animals. Based on his extant works, to Emperor Yuan of Liang brought destruction to the north, the Jiangnan region recorded Xiao Yi was probably China's very first "painter-emperor."

Handscroll, ink and color on silk Tribute Bearers to the Liang Court is based on actual history a certain level of economic and cultural development. This was Song Dynasty copy of a painting attributed to Southern and Northern 9¾ × 78 in. (25 × 198 cm) particularly the case with painting during the Eastern Jin in the and displays the thriving interaction between friendly countries Dynasties' Xiao Yi National Museum of China, National Beijing Museum of China (Beijing) south, which occupies an important place in China's art history. during the Southern and Northern Dynasties. Twelve envoys Even though the governments of the four dynasties in from various countries are illustrated standing facing slightly to After a long period of unity under the Qin and Han, the Six the south lasted only a few decades, they made a significant the left. To the right of each is text that lists the name of their were a turbulent eraand of acute class and ethnic contribution to the propagation Han culture in theIt area country, the mountains, riversofand roads in it, along with their The long period ofDynasties unity under the Qin child of the founder of the Southern Liangof dywise. is south a sophisticated work, typical the tensions, the fragmentation of political power, and constant of the Qinling Mountains and the Huai River, traditionally the customs and their relationship with the Liang Dynasty, plus the Han dynasties gave way to a turbulent era nasty, Emperor Wu (r. 502–549). Xiao Yi was style of the southern dynasties, and a valuable war.

After the Three Kingdoms, the Western Jin Dynasty once dividing line between northern and southern China.

Therefore, tributes they bear. of acute class and ethnic tensions, the fraga bright child who loved to read from an early historical document combining visual and again temporarily unified the country.

But several decades later, in Chinese history the Southern Dynasties hold an extremely mentation of political power, and constant age, and thanks to cultivation by his father, he textual evidence. (S.J.)As they present their tributes to the Southern Dynasty, non-Han peoples from the north attacked the Central Plain and important position because, objectively speaking, they made an their travel-weary faces betray solemnity mixed with delight; at war. After the Three Kingdoms, the Western was greatly learned and excelled at literature destroyed the Western Jin, establishing a series of successive indelible contribution to the development and dissemination the same time they represent the indigenous appearance and Jin dynasty once again temporarily unified and verse. Although he was blind in one eye, regimes in various areas known as the Sixteen States. The nobles of Chinese civilization.

Emperor Yuan of Liang (Xiao Yi, 508characteristics of their native region. Although their stances the country. Several decades later, however, he was also the first painter-emperor we know and officials of the Central Plain fled to the Jiangnan region in 554) was the seventh child of the founder of the Southern Liang are almost identical, each character possesses individualized non-Han peoples from the north attacked of: he loved calligraphy, figure painting, and the Yangtze Delta and established the Eastern Jin. After the Emperor Wu (464-549). Xiao Yi was a bright child traits; some are quiet and meek, some natural and uninhibited, the Central Plain and destroyed the Western landscapes even asDynasty, a child, and was a particuEastern Jin, the Han established four dynasties in the south: the who loved to read from an early age, and thanks to cultivation others look quick-thinking and wise. It is a sophisticated work, Jin, establishing a series of regimes in various larly fine painter of birds and animals.

Song, Qi, Liang and Chen. by his father, he was widely knowledgeable and excelled at typical of the Southern Dynasty style, and a valuable historical areas known as the Sixteen Kingdoms. The Tribute Bearers to the Liang Court, which is This north-south division, during which non-Han literature and verse. document combining visual and textual evidence.

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nobles and officials of the Central Plain fled to based on actual history, shows the thriving the Jiangnan region in the Yangtze Delta and interaction between friendly nations durestablished the Eastern Jin dynasty. After the ing the Southern and Northern Dynasties. 职贡图 北方破坏很大，而东南相对安定，经济文化有一定的发 Eastern Jin, there followed the period known Twelve envoys from various countries stand 手卷，绢本设色 展，特别是东晋和南朝的绘画，在这个历史时期占有重要 as the Southern and Northern Dynasties, durfacing slightly to the left. To the right of each 纵25厘米、横198厘米 地位。虽然南朝的四个政权各自存在都只有几十年，但作 ing which the Han established four further is a text that lists the name of his country; its dynasties in the south—the Song, Qi, Liang, mountains, rivers,为汉族在南方的统治政权，为汉族文化在秦岭淮河以南 and roads; its customs; its 梁·萧绎（宋摹本），中国历史博物馆藏 and Chen—while non-Han peoples continrelationship with the Liang dynasty; and the 地区的传播和普及作出了贡献。所以，南朝在中国历史上 ued to rule in the North. Even though the tributes the envoy bears. 有着极其重要的地位。 governments of these在中国历史上，秦、汉两朝之后的魏晋南北朝时期是 four southern dynasties As the men present their tributes to the 萧绎 （508 年 - 554faces 年），即梁元帝，是梁朝的建立 lasted only a few decades each, they made a southern dynasty, their travel-weary 一个动荡战乱的时代，此时阶级和民族矛盾尖锐，政权 significant contribution to the propagation of betray solemnity mixed with delight; at the 者武帝萧衍（464 年 - 549 年）的第七个儿子。武帝擅长 分裂，战争频繁。先有魏、蜀、吴三国鼎立，其后西晋 Han culture in the area south of the Qinling same time, they represent the indigenous ap文学，在其熏陶下，萧绎自幼聪颖，好读书，博学善诗。 暂时统一了全国。然而几十年后，北方少数民族入袭中原 Mountains and the Huai River, traditionally pearance and characteristics of their native 灭覆西晋，在不同地域相继建立过 the dividing line between northern and south- 16 个政权，史称十六 regions. Although虽然有一只眼睛失明，但他从小就非常喜欢书画，人物画、 their stances are almost ern China. identical, each one possesses individualized 风景画、鸟兽画都很擅长。从传世的画迹来看，萧绎应 国。中原的官僚、士族逃往江南建立了东晋政权。东晋之 Xiao Yi (508–554), who became Emperor traits; some are quiet and meek, some natural 后，汉族在南方又建立起南朝的四个政权 ：宋、齐、梁、 是中国历史上最早的皇帝画家。 Yuan of Liang (r. 552–554), was the seventh and uninhibited, others quick-thinking and 陈。这种分立的局面持续了一个半世纪多。连续的战乱对

萧绎的《职贡图》又名《番客入朝图》或《王会图》，

其以真实的社会生活为依据，展现了南北朝时期国家间友 好往来的繁盛场面。图中绘列国使者 12 人，皆向左侧身， 身后以楷书标注国名及山川道路、风土人情、与梁朝的关 系、纳贡物品等。列国使者皆穿民族服装，拱手而立。 从他们风尘仆仆的脸上，流露出朝贡时既严肃又欣喜的 表情，同时也传达出不同地域人民的不同面貌。使者的 站姿虽几乎相同，但人物都极具个性特色，或文静秀弱， 或朴质豪爽，或机智慧敏。画中人物形象承袭着魏晋以来 富于装饰且谨严的风格，形象准确生动，线条简练遒劲， 敷色高雅古朴，体现了中国南朝绘画艺术的高超水平。同 时，这幅绘画作品也是非常难得的文献资料。

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Tribute Bearers to the Liang Court

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鹿 王 本 生 故 事

鹿王本生故事 37

5. Ruru Jataka 38 最 美 的 中国古典绘画

最 美 的 中国古典绘画

Unknown artist, Southern and Northern Dynasties Mural, ink and color Ruru Jataka 37¾ × 151⅝ in. (96 × 385 cm) Mural, ink and color Cave 257 of the Mogao Grottoes,h: 96 cm w: 385 cm Dunhuang, Gansu

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

THE MOST BEAUTIFUL CHINESE CLASSICAL PAINTINGS

Northern Wei Dynasty, relatively early for Dunhuang. The human and animal forms in the fresco are not heavily stylized, as in this period Chinese Buddhist frescos had not matured in form and the stylistic influence of India was still powerful. Due to the great age of the fresco, its colors are undoubtedly far Not attributed, Southern and Northern Dynasties paler than they were at the time it was painted. At that time, this Cave 257 of Mogao Grottoes (Dunhuang, Gansu) In the days of the ancient Silk Road, DunIndia frequently furnished subjects for the painting would have been utterly magnificent and, along with huang was the artery of western China. In early murals at Mogao, including this one, In the days of the ancient Silk Road, Dunhuang was the the other paintings in the grotto, would have formed a startling ad 366, a monk called Le Zun passed this which concerns the experiences of the Budartery of West China. In the year 366, a monk called Le riot of color that would have assaulted the senses, shocking any way, and at Mingshashan a dha inhadhis former Buddhist life as apilgrim nine-colored Zun passedMountain this way, and athad Mingshashan Mountain who enteredruru into prostrating themselves in sudden vision of one thousand golden Buddeer.

According to legend, this beautiful and a sudden vision of 1,000 golden buddhas. He made a vow prayer. dhas. He made a vow to construct Buddhist friendly the Jataka banksisof the Ganto construct a Buddhistagrotto beside the oasis there. deer lived on Ruru a painting about the experiences of the grotto beside the oasis there.

This sacred site ges River.

One day, as the deer was walking From this time, the grottoes of Mingshashan Mountain Buddha in a former life as a nine-colored deer. According to has flourished everflourished, since that time, surviving alongside he heard heartrending surviving eleven dynasties and becoming the the river, legend, on the abank of the Ganges in India, there was once a eleven dynasties and into the worldcryMogao for help from the water.

Withoutdeer who was a past-life now growing world-famous Dunhuang Mogao Grottoes. is coming beautiful and friendly, nine-colored famous Mogao Grottoes. are cover a breath-taking a thought for his own safety, theBuddha. deer sprang most famedThe for itsgrottoes frescoes, which incarnation of the One day, as the deer was walking most famous for their murals, which cover a into the water andalongside brought man 45,000 square meters. thethe river,drowning he heard a heart-rending cry for help 2 Ruru Jataka The fresco in Cave 257 dates back to the breathtaking 485,000 square feet (45,000 m ). to the safety of thecoming riverbank. from theThe water.victim Withoutrea thought for his own safety,

The mural Ruru Jataka in Cave 257 dates joiced at his return to life and, shedding tears back to the Northern Wei dynasty (ad 386– of gratitude, repeatedly kowtowed to the deer. 绘制于北魏时期，是敦煌壁画中绘制时间比较早的。画 534), which is relatively early for 鹿王本生故事 Dunhuang.

The deer, in turn, begged the man not to reveal The human and animal forms in this 壁画，设色 work his whereabouts, because the king had posted 中人物、动物形象都非常古拙、简率。这一时期，中国佛 纵96厘米、横385厘米 show that Chinese Buddhist mural paintan award for his arrest.

The man promised 教壁画还未形成成熟的范式，画风上受印度影响很深。 ing had not yet matured stylistically in this not to, but later yielded to temptation and 由于年代久远，我们现在看到的壁画颜色应该比绘制当 period, and that the influence of India was brought a large force of troops on horseback 北魏·佚名，甘肃莫高窟第257窟西壁中层 still powerful. Due to the great age of the mu时要黯淡许多。绘制当时，这幅壁画应该是非常华丽的， to capture the deer.

Encircled, the deer told ral, its colors are undoubtedly far paler than the story of what had happened, and the king, 它与石窟中的其他壁画共同营造了一个色彩缤纷并给人以 敦煌地处中西沟通之咽喉，是古代丝绸之路的必经 they once were. When it was first painted, deeply moved by the account, sentenced the 强烈视觉冲击的空间。当佛教信徒进入洞窟时会被深深 （366 年），一位名叫乐尊的沙门行 this mural and the之地。前秦建元二年 others in the grotto would man whom the deer had saved to the punish经此地，突然觉得鸣沙山在一片金光中幻化出千佛之状， have presented a startling riot of color that ment he deserved.地震撼，从而拜倒在神佛面前。 This is a simple tale of good assaulted the senses, shocking any Buddhist and evil and retribution that teaches people 《鹿王本生故事》所绘的是佛祖前世身为九色鹿的经 于是发愿在这绿洲之畔修造佛寺洞窟。自此，鸣沙山上 pilgrims who entered into prostrating themnot to be ungrateful, while also illustrating the 历。传说在印度恒河岸边，有一只美丽善良的九色鹿，这 开窟之风日盛，历经 11 个朝代不衰，终于形成了今天举 selves in prayer. moral integrity of the Buddha. (Z.B.) 只九色鹿是佛祖的化身。 一天， 九色鹿正在河边散步， 世闻名的敦煌莫高窟。莫高窟最具特色的就是其壁画成 Jataka is the Sanskrit term for stories concerning the Buddha’s past-life incarnations. 忽听到河里传来凄惨的呼救声，九色鹿不顾自身的安危， 4.5 万平方米，规模和气势都让人惊叹。 就，壁画现存有 These allegories and legends from ancient 这幅《鹿王本生故事》位于莫高窟第 257 窟西壁上， 纵身跳入河中，把落水人救上岸来。落水人庆幸自己的再

the deer sprang into the water and brought the person to the safety of the riverbank. The victim rejoiced at his return to life and, shedding tears of gratitude, repeatedly kowtowed to the deer in thanks. The deer in turn begged the man not to reveal his whereabouts because the king had posted an award for his arrest. The man promised but in his heart he yielded to temptation and later brought a large force of troops on horseback to capture the deer. Encircled, the deer told the story of what had happened, and the king, deeply moved by the story, sentenced the man the deer had saved to the punishment he deserved. This is a simple story about good and evil and retribution that teaches people not to be ungrateful while also spreading the word about the moral integrity of the Buddha.

A jakata is Sanskrit for stories about the Buddha's pastlife incarnations — allegories and legends from ancient India that were frequently the subjects of the early fresco paintings at Mogao. Such stories reflect the unaffected view of good and evil and simple aesthetic that was characteristic of the time.

生，感激涕零，向九色鹿频频叩头道谢。九色鹿叮嘱落 水人不要泄露它的踪迹，因为国王正在悬赏捉拿它。落 水人满口答应，但暗地里却见利忘义，带领国王的大批 兵马去捕捉九色鹿。处于重重包围中的九色鹿向国王陈述 了事情的经过，九色鹿的陈述深深地感动了国王，于是 落水人受到了应有的惩罚。这是一个关于善恶报应的朴 实故事，教育人们不可以忘恩负义的同时也宣扬了佛祖的 德行。 “本生故事”其实就是释迦牟尼成佛前世的故事，取 材于古印度的寓言和传说。在敦煌莫高窟早期壁画中，本 生故事是非常常见的题材。这些简单的故事表现了当时人 们质朴的善恶观和简单的审美情趣。

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A Chronology of Chinese History Xia dynasty, c. 21st–17th century bc

Sui dynasty, 581–618

Shang dynasty, c. 17th–11th century bc

Tang dynasty, 618–907

Zhou dynasty, c. 11th century–256 bc

Five Dynasties and Ten Kingdoms, 907–960

Western Zhou dynasty, c. 11th century–771 bc Eastern Zhou dynasty, 770–256 bc Spring and Autumn period, 770–476 bc Warring States period, 476–221 bc

Qin dynasty, 221–206 bc Han dynasty, 206 bc–ad 220 Western Han dynasty, 206 bc–ad 8 Xin dynasty, 8–23 Eastern Han dynasty, 25–220

Three Kingdoms Wei, 220–265 Shu, 221–263 Wu, 229–280

Song dynasty, 960–1279 Northern Song dynasty, 960–1127 Southern Song dynasty, 1127–1279

States in northern China Liao dynasty, 907–1125 Western Xia dynasty, 1038–1227 Jin dynasty, 1115–1234

Yuan dynasty, 1271–1368 Ming dynasty, 1368–1644 263

Qing dynasty, 1644–1911

Jin dynasty, 265–420 Western Jin dynasty, 265–317 Eastern Jin dynasty, 317–420

Sixteen Kingdoms, 304–439

Republic of China, 1911–1949 People’s Republic of China, 1949–

Southern and Northern Dynasties Southern Dynasties Song, 420–479 Qi, 479–502 Liang, 502–557 Chen, 557–589 Northern Dynasties Northern Wei, 386–534 Eastern Wei, 534–550 Western Wei, 535–557 Northern Qi, 550–577 Northern Zhou, 557–581

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Index of Works

by Title Numbers refer to plates.

a Afang Palace, Yuan Yao, 93 Amitayus, the Buddha of Eternal Life, at the Mogao Grottoes, 11 Appraising Antiques in the Bamboo Grove, Qiu Ying, 76 Auspicious Cranes, Emperor Huizong, 27 Autumn Outing on the River, Sheng Mao, 51

b Ba River Bridge in a Snowstorm, Wu Wei, 62 Bamboo Grove in Late Summer, Lu Zhi, 77 Bamboo, Sparrows, and Two Rabbits, unknown artist, 42 Beauty in the Heavenly Palace, Ren Xiong, 102 Bird Attracted to Ripe Fruit, Lin Chun, 41

c Cai Wenji Returns to Her Homeland, Zhang Yu, 43 Cassias, Chrysanthemums, and Mountain Birds, Lü Ji, 66 Clearing the Mountain, unknown artist, 44 Cold Forest in Snow, A, Fan Kuan, 22 Court Ladies Adorning Their Hair with Flowers, Zhou Fang, 14 Cutting Wood to Make a Zither, copy after Gu Kaizhi, 2

d Dancer (detail of Music and Dance Screen), unknown artist, 8 Dancing and Singing, Ma Yuan, 31 Double-outline Bamboo, Li Kan, 45 Double Screen, The, Zhou Wenju, 19 Dragon, Ink and Wash, Chen Rong, 39

e Eight Autumn Views, leaf from, Dong Qichang, 83 Eight Immortals, The, Huang Shen, 97 Emperor Taizong Receiving the Tibetan Envoy, copy after Yan Liben, 6

f Filtering Wine, Ding Yunpeng, 79 Fisherman, Wu Zhen, 50 Fishing Village after an Autumn Rain, Ni Zan, 57 Five Oxen, Han Huang, 13

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g Ge Zhichuan Moving His Dwelling, Wang Meng, 58 Goddess and the Lady of the Xiang River, The, Wen Zhengming, 71 Going up the River during the Qingming Festival, Zhang Zeduan, 28 Golden Pheasant on Hibiscus, Emperor Huizong, 26

h Han Palace Garden, Li Rongjin, 52 Hariti (detail of fresco of Indra), at Fahai Temple, 85 Horse Herding in the Autumn Countryside, Zhao Mengfu, 46

i Ice-tipped Plum Blossoms, Ma Lin, 37 Imperial Maids of the State of Shu, Tang Yin, 72 Ink Plum, Wang Mian, 54

K

269

Kublai Khan on a Hunting Expedition, Liu Guandao, 48

L Lady Guoguo’s Spring Outing, copy after Zhang Xuan, 10 Landscape in Green and Blue, Wang Hui, 90 Landscapes of the Four Seasons, Liu Songnian, 33 Leopard Cats and Banana Tree, Ren Yi, 103 Listening to the Zither, Emperor Huizong, 25 Literary Gathering, A, Zhou Wenju, 18 Lofty Lushan, Shen Zhou, 68 Lofty Sages, Sun Wei, 15 Looking Three Times at the Thatched Hut, Dai Jin, 60 Lotus and Duck, Bada Shanren, 86 Lotus Flowers and Mandarin Ducks, Chen Hongshou, 81 Lotus Flowers in May, Xu Wei, 78 Lotus out of Water, attributed to Wu Bing, 38

M Ma’an Shan, She Zhou, 69 Magnolia and Taihu Lake Rock, Chen Hongshou, 80 Man Herding Horses, Han Gan, 12 Mencius’s Mother Cuts the Loom, Kang Tao, 99 Moonlight Stroll on the Jade Terrace, Chen Qingbo, 40 Mountain in Clouds, A, Shitao, 88 Music and Dance Screen, unknown artist, 8 Musical Performance, unknown artist, 35

5/10/11 6:21 PM