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Home , Chen Jiru, Dong Qichang, Dong Yuan, Four Gentlemen, Huang Gongwang, Mogu

The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script

400 Exhibition overview

Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition.

Xubaizhai was designated by the late collector of Chinese and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”.

This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists.

401．Exhibit no. 1

Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 , ink and colour on paper 143 x 62.5 cm Xubaizhai Collection

Shen Zhou, Qinan, was a native of in province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Tingjian (1045 – 1105), while his students included Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the (1368 – 1644). Studying under Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his on the styles of Fu (1362 – 1416) and the Four Masters of the (1279 – 1368), but he also extended his interest to the works of the and incorporated its techniques into his art. In his younger days, he painted works in small formats using restrained and tightly-woven brushstrokes in a style known as “fine Shen”. After reaching the age

1 of 40, however, he turned to larger formats and began painting in a bold and expressive manner that is termed “rough Shen”. He opened up a new horizon in literati painting by developing the style known as xieyi method (painting the idea), which was based on the mogu (boneless) technique of flower-and-bird painting he had inherited from Qian Xuan (ca. 1235 – 1300) and which, with its emphasis on washes instead of lines, would go on to exert a significant influence on later painters such as Chen Chun (1483 – 1544) and (1521 – 1593).

This painting is executed with the rough brushwork that is typically found in Shen’s later works after his artistic style had matured. The upper portion of the painting was left blank to accommodate a lengthy inscription written by Shen himself to mark the appointment of his cousin Wang Rui (dates unknown) to the post of district magistrate in Kaifeng (in present-day Henan), and the painting is thus intended as a farewell souvenir. The main theme is concentrated in the foreground: Shen bids farewell to his cousin on the river bank while a small boat nearby waits to depart. The crooked line of the opposite bank links the rocks in the middle ground to those at the back, leading the viewer’s eyes from the foreground to the background, from the scene of the farewell to the distant bleak and desolate mountain. Both the atmosphere and the brushwork of the whole landscape reflect the styles of several masters of the Yuan dynasty. The ink dots invoke the brushwork of (1280 – 1354), the long textured strokes of the rocks are modelled after the style of (1269 – 1354), while the use of the side brush technique owes its origins to Zan (1301 – 1374). This work integrates painting with calligraphy in such a way that they interact with each other in perfect harmony.

402．Exhibit no. 2

Wen Zhengming (1470 – 1559) Cooling off the hot summer 1540 Hanging scroll, ink and colour on silk 147.2 x 61 cm Xubaizhai Collection

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Wen Zhengming, also known as Hengshan, was from Suzhou in Jiangsu province. He studied directly under Shen Zhou (1521 – 1593), and his landscapes can generally be categorised into broad stroke and fine stroke paintings. He was one of the core members of the Wu School and also one of the Four Great Masters of the Ming period. His style exerted a strong influence on later generations, and he had a large number of pupils, including his son (1498 – 1573) and his nephew Wen Boren (1502 – 1575) as well as Chen Chun (1483 – 1544) and Hou Maogong (late 16th to early 17th century).

Relatively rich and enjoying a high standard of living, the artists of the Wu School were known for depicting their daily surroundings and the experiences they encountered as a means of self-expression. Portraying a corner of what Wen considered an ideal garden, this painting shows how the literati of this era liked to relax, either taking a nap on the ground, enjoying the cool shade of a tree or soaking their feet in a pond, among other things. And from the household utensils and other items in the picture, it is easy to see that they also enjoyed more sophisticated activities, including drinking wine or tea, appreciating calligraphy and paintings and playing the lute or reading in their gardens.

The white lotus flowers in the bottom left-hand corner symbolise purity and virtue, because the lotus emerges from the soil completely untainted. Waterside willow trees are a common feature of garden landscapes, and the five willows in this picture occupy a large proportion of the painting. The few banana plants behind the rocks bring a touch of the subtropical to the garden. The Chinese word for the nodes of the plant, jie, also means integrity and fidelity, and so bamboo is used to symbolise these values. The bamboo in the painting separates the mountains from the slope leading down to the pond. Wen cleverly placed tall trees at the back of the painting to direct the viewer to look up from the level plane, guiding the eyes from near to far and from low to high, thus increasing the work’s attraction. On the other side of the water are two Chinese parasol trees, which are characterised by their late germination and early shedding of leaves. Large and luxuriant in this painting, these trees indicate that the scene is set in the high summer.

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403．Exhibit no. 3.

Tang Yin (1470 – 1524) Returning home with a qin Not dated Hanging scroll, ink and colour on silk 74.5 x 37.5 cm Xubaizhai Collection

Tang Yin, courtesy name Bohu, who was also known as Liuru Jushi, was from Suzhou in Jiangsu province. A pupil of Shen Zhou (1427 – 1509) and Zhou Chen (ca. 1450 – ca. 1535), he also studied the Academic style of the Song (960 – 1279) masters, including Li Tang (ca. 1049 – ca. 1130), Liu Songnian (ca. 1150 – 1225) and Ma Yuan (act. ca. 1190 – 1225), and the Four Masters of the Yuan dynasty. Creating his own style by applying different techniques at the same time, for example combining the “axe chop” and “hemp fibre” techniques to add grain and texture, he was acclaimed as one of the Four Great Masters of the Ming dynasty. He was also very friendly with Wen Zhengming (1470 – 1559), (1461 – 1527) and Xu Zhenqing (1479 – 1511), with whom he often discussed artistic matters. Together, they were known as the Four Gentlemen of Wu (the region around and Suzhou). His calligraphy style was derived from Zhao Mengfu (1254 – 1322), and he was particularly skilful in running script and .

This painting reflects the Academic style, which Tang learned from Zhou Chen, where the composition is particularly well-knit. He created the appearance of distance by a zigzag composition, where the towering mountains in the background recall characteristics of landscape paintings from the Song period, while the technique used for depicting rock surfaces originates from the “axe chop” technique of Ma Yuan and (act. ca. 1220 – ca. 1250). Tang’s brushstrokes show both strength and dexterity. The empty white spaces pull the whole painting together by creating a strong visual contrast. At the same time, ample focus is placed on the human figure, which attracts the viewer’s attention despite, or more likely as a result of, being screened by trees and foliage. Tang Yin was a very talented artist who succeeded in combining the characteristics of literati art with the techniques of professional painters and thus merging the two mainstreams of the Northern and the Southern Schools in his landscape paintings.

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404．Exhibit no. 4

Qiu Ying (ca. 1494 – ca. 1552) Secluded dwelling amid streams and mountains Not dated Hanging scroll, ink and colour on paper 121 x 47.5 cm Xubaizhai Collection

A native of in Jiangsu province who resided in Suzhou, was originally a craftsman who later became a professional artist. He studied painting under Zhou Chen (ca. 1450 – ca. 1535) and also received instruction from his mentor Wen Zhengming (1470 – 1559). He later got the opportunity to study and copy masterpieces from the Tang (618 – 907), Song and Yuan dynasties when he lived with the famous collectors Xiang Yuanbian (1525 – 1590) and Chen Guan (act. ca. mid 16th century) as a “painter in residence”.

Closely related to the landscape style of Zhao Boju (ca. 1120 – ca. 1170) and the Academy style of the Southern (1127 – 1279), Qiu approach to landscapes was characterised by a proficiency in jiehua (boundary painting) and the meticulous delineation of architectural subjects. He was able to assimilate the techniques of literati painting into his works to soften the stern and rigid brushwork of the tradition nurtured by Ma Yuan (act. ca. 1190 – 1225) and Xia Gui (act. ca. 1220 – ca. 1250). In addition to landscapes, Qiu is also acclaimed for his paintings of female figures, which he executed in the (meticulous) style with a high degree of verisimilitude and a charming colour palette. He is also credited as one of the Four Masters of the Ming Dynasty.

This painting, Secluded dwelling amid streams and mountains, depicts its high and steep mountain ridges in an ethereal and spiritual atmosphere. Overall, the work features the imposing power of the landscape paintings of the Northern Song dynasty (960 – 1127). Fine and meticulous, its texture strokes are loosely modelled on those of Fan Kuan (ca. 950 – 1031) of the Five Dynasties (907 – 960), but are supplemented by a touch of the “small axe-cut” texture stroke. The application of

5 colours displays the quietly elegant style of the renowned Yuan dynasty painters. The painting reveals the influence of the rigorous modelling and sturdy brushwork of the Academic style on Qiu. Yet it also embodies the elegant qualities of literati painting. Originally a craftsman who was proficient in lined painting, Qiu integrated this technique in the treatment of the landscape in this work. The pavilions, houses and trees are meticulously depicted in great detail, and the distinctive layering of the visual elements is characterised by unity and coherence. Moreover, the lines of the trees and the mountain ridges are drawn with a dexterous and energetic brush movement, producing vigorous touches and fine strokes.

405．Exhibit no. 5

Chen Chun (1483 – 1544) Flowers 1539 Handscroll, ink and colour on paper 25.5 x 595.5 cm Xubaizhai Collection

Chen Chun, courtesy name Daofu, was a native of Suzhou in Jiangsu province. Proficient in the classics, he studied painting and calligraphy under Wen Zhengming (1470 – 1559). Considered an artist of the Wu School of , Chen ranked second only to Shen Zhou (1427 – 1509) and Wen Zhengming in this style of literati art. His early bird-and-flower paintings usually showed segments of flowers and plants painted from life. Discernible influences from Shen Zhou and Wen Zhengming characterise these floral works, which display refined brushwork and charming colours. Chen later developed a highly spontaneous style, producing brilliant accomplishments in brush and ink and setting the trend for many later bird- and-flower painters. Chen and Xu Wei (1521 – 1593) were together known as “Qingteng Baiyang” and represented the new era of freestyle floral painting in the middle of the Ming dynasty.

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Chen learned painting under the tutorship of Wen Zhengming, but was also influenced by the artistic style of Shen Zhou. In this work, he made use of the long and horizontal characteristics of the handscroll to depict and arrange in an ingenious way 12 species of flowers that grow in various seasons. In order from the beginning to the end of the scroll, they are peony, orchid, hydrangea, rose, magnolia, lotus blossom, mallow, , hibiscus, narcissus, plum blossom and winter daphne. The gracefully portrayed shapes and forms of the flowers display the distinctive way each of them grows. In this scroll, Chen employed the outline technique to define the contours of the petals and the mogu, or “boneless”, method of impressionistic washes to render the leaves. The illustrations are furthermore complemented with quietly elegant colouring to produce a scroll of refined, delicate and beautiful flower paintings.

406．Exhibit no. 7

Dong Qichang (1555 – 1636) Landscape after rain Not dated Hanging scroll, ink on silk 101.5 x 41 cm Xubaizhai Collection

Dong Qichang, courtesy name Xuanzai, was a native of Songjiang near Shanghai. He passed the metropolitan level in the imperial examination, thus earning the highest degree of jinshi, and was subsequently appointed to the post of minister of rites. Dong developed the theory that could be divided into Southern and Northern schools, an idea that exerted a tremendous influence on later generations. He was known as one of the Nine Friends in Painting. In calligraphy, Dong specialised in writing regular, running and cursive scripts, in which he assimilated the styles of various masters. Alongside Mi Wanzhong (1570 – 1628), Dong was acclaimed as one of the most influential calligraphers in the Ming and Qing dynasties.

One of the proponents of the identified by Dong Qichang was (act. ca. 945 – ca. 960), also known as Dong Beiyuan, who was active in

7 the 10th century. The majority of Dong Yuan’s works feature landscapes of Jiangnan, the region south of the Yangtze River, and he is attributed with the invention of the coarse “hemp-fibre” texture stroke, which he used to depict rounded hills with boulders on their slopes and which he complemented with dotted accents (“moss dots”) between the hills to indicate luxuriant vegetation.

In this painting by Dong Qichang, both the distant mountains and the knolls in the foreground are painted in the style of Dong Yuan using the “hemp-fibre” texture stroke, and the resemblance to Dong Yuan’s Jiangnan landscapes is clear to see. The layers of trees in the valley are also modelled on Dong Yuan’s style, but at the same time are mixed with dots in the style of (1052 – 1107). The simple composition and the large portions of blank space in the painting are also reminiscent of Mi’s technique. This demonstrates Dong Qichang’s interest in exploring brush and ink techniques rather than depicting realistic features.

407．Exhibit no. 9

Chen Jiru (1558 – 1639) Scholar in a forest hermitage Not dated Hanging scroll, ink on paper 120.5 x 28.5 cm Xubaizhai Collection

Chen Jiru, courtesy name Zhongchun, was a native of Songjiang in the area around Shanghai. In his younger days, he rejected the idea of taking up an official post and instead sought the life of a hermit on . His calligraphic style was derived from that of Su Dongpo (1037 – 1101) and Mi Fu (1052 – 1107), while his paintings were influenced by the Song and Yuan masters and attained the same prominence as those of his contemporary Dong Qichang (1555 – 1636), with whom he shared similar interests and tastes in terms of painting techniques and theory. Both advocated the division of landscape painting into Northern and Southern Schools. Chen was also known for his poetry and literary essays.

This work depicts a figure sitting alone in a forest hermitage. It conveys a quiet and relaxed atmosphere with an openness that draws the viewer’s attention into the

8 distance, where the painting bears a resemblance to the style used by Dong Qichang. The trees and the mountain ridges are both executed using an extremely wet brush and an ink wash to create the diffusion of ink and produce a lively and dexterous rhythm. In contrast, the round, blunt brushwork, the use of dark and thick ink and the forms and shapes of the trees all show the influence of the Yuan dynasty painter Wu Zhen (1280 – 1354). In this work, the artist has allowed ink washes of different concentrations to merge with each other, semi-consciously constructing the vague attraction of a secluded life in the forest that the literati yearned for. Having retreated to the outskirts of Kunshan at an early age, Chen immersed himself in calligraphy, painting and literature, and this work perfectly reflects his state of mind.

408．Exhibit no. 11 Zhao Zuo (ca. 1570 – after 1633) Landscape 1616 Handscroll, ink on paper 13.7 x 138 cm Xubaizhai Collection

Zhao Zuo was a native of Huating (present-day Songjiang in Shanghai). Together with Song Maojin (ca. 1559 – after 1622), he learned painting under Song Xu (1525 – after 1605) and was regarded as an important member of the Susong School. Zhao was heavily influenced by his close friend Dong Qichang, on whose behalf he sometimes also painted, and he based his landscape works on the styles of Mi Fu (1052 – 1107), Huang Gongwang (1269 – 1354) and (1301 – 1374), while also adopting elements from Dong Yuan (act. ca. 945 – ca. 960). His particular skill lays in using graded ink washes and parched brushstrokes to render the hazy atmosphere of the scenery in Jiangnan in a distinguished style. An esteemed art theorist, Zhao published Lunhua (A Discourse on Painting).

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In this landscape painting scroll, Zhao combined several techniques used by painters from the Southern School, including Dong Yuan, Mi Fu, Mi Youren (1074 – 1151) and Huang Gongwang. The composition is dense, but the brushwork is simple and plain. The ink is applied in a variety of thicknesses and tones. The humid and verdant landscape of the Jiangnan area is represented using shading and ink diffusion techniques. Relying on the dot technique of Mi Fu, the way the mountaintops are rendered is reminiscent of Mi’s “Cloudy Mountains” style, the long “hemp-fibre” texture strokes of Huang Gongwang’s technique are applied in abundance to depict the foot of the mountains, while the horizontal strokes applied with a dry brush to depict the nearby sandbank incorporate the style of Dong Yuan. Zhao’s artistic expression is clearly influenced by Dong Qichang, however, with the layering of the mountains and rocks and the absurd proportions of the trees in the foreground both reproducing distinctive characteristics of his friend’s style.

409．Exhibit no. 21

Wang Shimin (1592 – 1680) Landscape in the style of Dong Yuan Not dated Handscroll, ink on paper 44 x 135.2 cm Xubaizhai Collection

Wang Shimin (1592 – 1680), also known as Yanke, was a native of Taicang in Jiangsu province. After passing the metropolitan level in the imperial examination and earning the highest degree of jinshi in 1601, he was appointed to the post of vice minister of the Court of Imperial Sacrifices, but he retired after the fall of the Ming dynasty. His family’s rich collection of art and his passionate interest in traditional styles prompted him to attain a consummate mastery of the techniques of the Song and Yuan masters, particularly the landscape style of Huang Gongwang (1269 – 1354). He started to paint at a very young age and was closely associated with Dong Qichang (1555 – 1636) and Chen Jiru (1558 – 1639), both of whom acted as his mentors. Together with his contemporary (1598 – 1677), he was an ardent advocate of the revival of archaic styles in the early , and he is regarded as the founder of the Loudong School of Painting. Wang Shimin was known as one

10 of the alongside Wang Jian, (1632 – 1717) and (1642 – 1715), and he was also numbered among the Nine Friends in Painting.

Wang states in the inscription that this painting is modelled on the style of Dong Yuan (act. ca. 945 – ca. 960), but he also applies features from other masters of the Song and Yuan dynasties in it. The hill in the scroll’s first section is painted using Dong Yuan’s “hemp-fibre” texture stroke, while the slanted flat-topped ledges and the mountains near the village are reminiscent of Huang Gongwang’s style, and the rock mountains from the middle to the end of the scroll are rendered using the “roiling clouds” texture stroke of Guo Xi (ca. 1000 – ca. 1090). The composition of the cliffs is clearly different from the one used by Dong Yuan in his panoramic Jiangnan landscapes.

Wang Shimin also combined the styles of several masters to paint the trees. Some of the small trees are rendered using the dots popularised by Dong Yuan, but the fan- shaped pines are modelled on the style of (ca. 1308 – 1385), while the bare branches at the end of the scroll that appear like the claws of a crab are typical features of (916 – 967) and Guo Xi, which they used to render the desolate atmosphere of a wintry forest.

410．Exhibit no. 26

Yun Shouping (1633 – 1690) Rising clouds in the southern mountains 1670 Hanging scroll, ink on paper 102.5 x 57 cm Xubaizhai Collection

Yun Shouping (1633 – 1690), who was originally called Ge, but was later more commonly known by the style name Shouping, was born to a prominent family in in Jiangsu province. An intelligent child, Yun was expected to enter the civil service, but for various reasons he instead devoted himself to painting, which he studied under his uncle Yun Xiang (1586 – 1656). Although he excelled at landscapes, Yun switched to painting flowers and birds in middle age, adopting the “boneless”

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(mogu) method employed by Xu Chongsi (act. 11th century). Through their emphasis on painting from life to capture the inner spirit of the subject, his works show a sense of freshness and simple elegance. His succinct, refined style of painting was imitated by many artists, which led to the establishment of the Changzhou School of Painting. Regarded as the foremost bird-and-flower painter of the Qing dynasty, Yun Shouping was known as one of the Six Masters of the Qing Dynasty alongside Wang Shimin (1592 – 1680), Wang Jian (1598 – 1677), Wang Hui (1632 – 1717), Wang Yuanqi (1642 – 1715) and (1632 – 1718).

This painting is evidently modelled on the style of Ni Zan (1301 – 1374). Yun adopts the “one river, two banks” composition typically used by the Yuan dynasty master: a gentle slope scattered with a few trees dominates the foreground, but Ni’s distinctive lone pavilion is replaced by several huts. At the top of the slope is a large blank space representing the expanse of a river, beyond which are mountains and a distant sandbank. What’s more, Yun used Ni’s unique “folded belt” texture stroke to paint the slope and the cliffs, with these slanted strokes thus extending from the foreground to the background to render a deep perspective in the pictorial surface. The six tall trees with different forms and foliage are also reminiscent of Ni’s style, but Yun’s leaves are painted with more frequent washes.

411．Exhibit no. 27

Wang Yuanqi (1642 – 1715) Landscape in the style of Huang Gongwang 1714 Hanging scroll, ink and colour on silk 96.3 x 53 cm Xubaizhai Collection

A native of Taicang in Jiangsu province, Wang Yuanqi (1642 – 1715), courtesy name Maojing, was the grandson of Wang Shimin (1592 – 1680). He passed the metropolitan level in the imperial examination, earning the highest degree of jinshi, in 1670 and was appointed “left” vice minister of the Ministry of Revenue. He received direct tutelage from both his grandfather and Wang Jian (1598 – 1677) in his youth and thus became the heir to the Orthodox painting tradition. He

12 meticulously copied masterpieces from his family’s collection of old paintings and calligraphy works, forging an individual style based on the masters of the Five Dynasties and the Yuan dynasty. Owing a great debt to the brushwork of Huang Gongwang (1269 – 1354), his landscapes were painted with layers of dry brushstrokes. In his later years, his landscape style was imbued with a sense of archaic bluntness and forceful simplicity. He had an extensive following and was regarded as the leader of the Loudong School of Painting. He was known as one of the Four Wangs alongside Wang Yuanqi, Wang Shimin, Wang Jian and Wang Hui (1632 – 1717).

Wang Yuanqi learned the tradition of painting from his grandfather, but it is from Dong Qichang (1555 – 1636) that he gained his understanding of the composition, brush techniques and depiction of objects practised by Huang Gongwang, whom he came to regard as the greatest ancient master. In addition to imitating the old masters, however, Wang broke fresh ground in composition. The tips of the few tall trees in the foreground of this scroll are connected with the hillside in the centre. The circuitous line followed by the mountains then leads the viewer’s gaze to the major peak in the background. Wang Yuanqi called this linking technique longmai (dragon veins). He deliberately left a blank space between the mountains to represent the mistiness of clouds so that the composition does not appear too compact. It is this kind of variation from the styles of the old masters that makes Wang Yuanqi’s landscapes so distinctive.

412．Exhibit no. 30

Jin Nong (1687 – 1763) The lone horse 1761 Hanging scroll, ink on paper 120.5 x 57.5 cm Xubaizhai Collection

Jin Nong, also known as Dongxin, was a native of Renhe, present-day in province. He was nominated by the imperial court as a candidate for the prestigious boxue hongci (“Erudite Literatus” examination) the year after it was

13 launched in 1735, but he failed the test. He then started travelling throughout the nation and never embarked on an official career. He finally settled in Yangzhou, where he sold his paintings to make a living. Jin had already become an accomplished scholar, poet, calligrapher and art connoisseur well before he started to paint at the age of 50. He assimilated the calligraphic styles of the inscriptions of ancient bronzes and stone stele into his pictorial works, which are thus imbued with a sense of archaic simplicity and austere bluntness. Noted for painting a variety of subjects, including plum blossom, bamboo, landscapes and figures, he also invented a new calligraphic style known as qishu (lacquer script). Jin was also a prolific writer.

This painting of a horse by Jin Nong may cause some surprise for the viewer. Normally, Chinese paintings depict horses with a strutting gait or galloping at speed. But this horse looks odd both in its stance and its proportions. The artist has applied a brush style commonly used for carvings, and the result is a naïve, childlike appeal.

The inscription is written in the qishu, or lacquer script, style that Jin created himself. The manipulation of the brush produces characters that are deliberately squared off, which is said to have been achieved by cutting off the tip of the brush. The effect is as odd as the horse in the picture.

It was unorthodox art forms like this that earned Jin Nong and other famous Yangzhou artists the name “Eccentrics”.

413．Exhibit no. 34 Luo Pin (1733 – 1799) Ghost amusement 1797 Handscroll, ink and colour on paper 26.7 x 257.2 cm Xubaizhai Collection

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Luo Pin (1733 – 1799), also known as Liangfeng, was born in Yangzhou, where his ancestors, originally from Anhui province, had moved. At the age of 20, he studied poetry and painting under Jin Nong (1687 – 1763), for whom he would sometimes paint works that his teacher would sign and sell under his own name. A successful career in later brought Luo nationwide renown as a painter. His versatility allowed him to paint a great variety of subjects, including landscapes, figures, flowers, plum blossoms and bamboo, but he was most famous for his paintings of ghosts. Known as one of the Eight Eccentrics of Yangzhou, Luo was influenced by the other members of the group, especially Jin Nong, but also Hua Yan (1682 – 1756) and (1642 – 1707). Luo’s paintings were characterised by a consummate mastery of various painting techniques, but also tinged with a sense of archaism.

Luo caused a great stir in art circles in his later career with his paintings of ghosts, and this scroll demonstrates his great capacity for imagination in this respect. The ghosts come in a variety of unique shapes, postures and appearances: there are tall, short, slim and plump ghosts with vivid gestures, and there is a ghost in white wearing a tall hat, a ghost in green with their hair in disarray, ghosts trapped in skinny bodies with angular faces and ghosts dressed as ordinary people with human features. The dark ink background contrasts with the clouds painted in light ink. The grotesque atmosphere of this unnatural world is created in an exaggerated way. At the end of the handscroll, a skeleton, serving as a reminder of mortality, holds an arrow and a sandglass in its hands, symbolising the swift passage of time and suggesting that people should value the years on this earth that they have. The accurate shape of the skeleton and the use of the sandglass show Western influences. Luo lived in the bustling city of Yangzhou for most of his life and, having experienced the way of the world, he created this scroll to satirise human existence. He once said he could see ghosts during the day: they bullied those who lived in poverty, but were scared of the rich. The ghosts he depicted are incarnations of the living and, metaphorically reflecting real life in this era, reveal his view of the hypocrisy of the world.

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414．Exhibit no. 37

Qi Baishi (1864 – 1957) Morning glory and bottle gourd 1943 Hanging scroll, ink and colour on paper 102.3 x 33.8 cm Xubaizhai Collection

Qi Baishi, also called Qi Huang, was a native of in province. He served as a carpenter’s apprentice in his youth, and it was only much later that the largely self-taught artist received formal training in painting, calligraphy and seal carving. After travelling extensively throughout , he eventually settled in Beijing in his 60s, where he earned a living from selling seals and paintings and also became acquainted with Chen Shizeng (1876 – 1923), who inspired him to make significant changes to his painting style. He now began to depict red flowers and black leaves in vivid contrasts, a style he continued to develop during what became known as his “reform in later age”. Qi was influenced by the works of Xu Wei (1521 – 1593), Zhu Da (1626 – 1705) and Jin Nong (1687 – 1763), and his style is characterised by a free brush manner and succinct formal treatment. He was highly proficient at painting landscapes, flowers, birds, insects and figures, while crabs and shrimps were among his favourite subjects.

This painting was completed after his “reform in later age” period. Rendered using free and powerful brushstrokes without outlines, the flowers, gourds and leaves are colourfully shaded in red, yellow and black respectively. The cicada on the top of the branch is painted with fine brushwork to produce a lively yet delicate appearance. Morning glory and bottle gourd (calabash) are common plants in rural areas and, given his peasant background, Qi found them an attractive subject to paint. In the 1920s, Qi made friends with the Beijing opera master Mei Lanfang, who later became a student of Qi. Fond of morning glory, Mei planted almost a hundred kinds in his courtyard and would invite friends to his mansion when the flowers bloomed. Qi was among the guests, and he was so inspired by the beauty of the flower that it became a frequent subject of his works. Symbolising goodness and peace, bottle gourd is a traditional subject for painting that also allows room for self-expression.

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Qi once said that “the excellence of a painting lies in its being alike, yet unlike. Too much likeness flatters the vulgar taste; too much unlikeness deceives the world.” With its witty depiction of vivacious plants topped by an insect, this expressive painting perfectly exemplifies his philosophy.

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