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LIBRARY OHIO STATE Uriversity LIBRARY OHIO STATE URiVERSITY Hills Beyond a River JAMES CAHILL HILLS BEYOND A RIVER -M'L Chinese Painting of the Yuan Dynasty, 1279-1368 New York • WEATHERHILL • Tokyo A NOTE ON THE DECORATIONS. The seal on the front cover shows the author's studio name in Chinese characters reading Ching Yuan Chai. The title page shows a section from Huang Kung-wang's "Dwelling in the Fu- ch'un Mountains" (Plates 41-44) reproduced with high-contrast effect. OhlO GTATE UNIVERSITY LIBRARIES FIRST EDITION, 1976 Published by John Weatherhill, Inc., 149 Madison Avenue, New York, N.Y. 10016, with editorial offices at 7-6-13 Roppongi, Minato-ku, Tokyo 106, Japan. Protected by copyright under terms of the International Copyright Union; all rights reserved. Printed and first published in Japan. Library of Congress Cataloging in Publication Data: Cahill, James Francis, 1926- / Hills beyond a river. / Bibliography: p. / Includes index. / 1. Painting, Chinese—Sung-Yuan dynasties, 960-1368. / I. Title. / ND1043.4.C33 / 7S9.9S1 / 75-44083 / ISBN 0-8348-0120-5 Contents List of Plates ix Preface xiii I THE BEGINNINGS OF YUAN PAINTING 3 1 The Yuan Revolution in Painting 3 2 Scholar-Amateur Painting 4 3 The Scholars Under the Yuan 6 4 The 1-min, or "Leftover Subjects" 15 Cheng Ssu-hsiao / 6 KungK'ai 17 Ch'ien Hsiian 19 Chao Meng-fu 18 II CONSERVATIVE TRENDS IN LANDSCAPE PAINTING 47 1 Contemporaries and Followers of Chao Meng-fu 47 Kao K'o-kung 47 Ch'en Lin 50 Sheng Mou SO 2 Wu Chen 68 3 Followers of the Ma-Hsia Tradition 74 Sun Chiin-tse 74 Chang Yuan 75 vi • CONTENTS 4 Followers of the Li-Kuo Tradition 76 T'ang Ti 78 Yao Yen-ch'ing 79 Chu Te-jun 79 Ts'ao Chih-po 80 III LANDSCAPE PAINTING OF THE LATE YUAN 85 1 Three of the "Four Great Masters" 85 Huang Kung-wang 85 NiTsan 114 Wang Meng / 20 1 Fang Ts'ung-i 127 3 The Lesser Soochow Masters 128 Ma Wan 128 ChaoYiian 129 Ch'enju-yen 130 Hsu Pen 130 IV FIGURES, BIRDS AND FLOWERS, BAMBOO AND PLUM 133 1 Figure Painting in the Yuan / 33 Yen Hui and a Bodhidharma 134 Yin-t'o-lo 152 Liu Kuan-tao 153 Chang Wu 153 Ch'enju-yen 154 Jen Jen-fa / 55 2 Flower-and-Bird Painting 156 Meng Yii-chien 156 Ch'enLin 157 Wang Yuan 157 3 Bamboo, Orchids, Blossoming Plum 158 Li K'an 159 CONTENTS • vii WuT'ai-su 160 Wang Mien 160 P'u-ming 161 Chao Meng-fu 162 4 Realism Versus Expression 163 WuChen 165 Ni Tsan 166 Notes 179 Bibliography / 83 Index 189 Maps appear on pages xvi and xvii Plates COLOR PLATES Between pages 6 and 15: 1. Ch'ienHsuan: "Wang Hsi-chih Watching Geese" (section) 2. Chao Meng-fu: "River Village: The Pleasures of Fishing" 3. Sheng Mou: "Pleasant Summer in a Mountain Retreat" 4. Sun Chiin-tse: "Villa by the River" 5. Huang Kung-wang: "Dwelling in the Fu-ch'un Mountains" (section) 6. WangMeng: "The Iris and Orchid Chamber" 7. Anonymous: '' Bodhidharma'' 8. Meng Yu-chien: "Magpies and Bamboo" HALFTONE PLATES For Chapter I, between pages 22 and 35: 1. Cheng Ssu-hsiao: "Orchid" 2. KungK'ai: "Emaciated Horse" 3. Ch'ienHsuan: "Lotuses" (section) 4. Ch'ienHsuan: "Gardenia" 5. Ch'ienHsuan: "Autumn Melon and Grasses" 6. Ch'ien Hsiian: "Yang Kuei-fei Mounting a Horse" 7. Ch'ien Hsuan: "Dwelling in the Floating Jade Mountains" 8. Chao Meng-fu: "A Horse and Groom in the Wind" 9. Chao Meng-fu: "Sheep and Goat" 10-11. Chao Meng-fu: "The Mind Landscape of Hsieh Yu-yii" (section) 12, 14. Chao Meng-fu: "Autumn Colors on the Ch'iao and Hua Mountains" 13,15-16. Chao Meng-fu: "Village by the Water" 17. Chao Meng-fu: "East Mountain in Lake Tung-t'ing" 18. Chao Meng-fu (copy after?): "Gazing at the Stream" ix X • PLATES For Chapter II, between pages 50 and 67: 19. Kao K'o-kung: "Clouds Encircling Luxuriant Peaks" 20. Anonymous: "Hills in Fog" 21. ShengMou: "Mountains and Rivers" 22. Ch'en Lin: "River Landscape" 23. Sheng Mou, probably by: "Wintry Trees by a Lake" 24. Wu Chen (old attribution to Chu-jan): "Autumn Mountains" 25. Sheng Mou: "Singing While Boating on an Autumn River" 26. Wu Chen: "Fisherman" 27. WuChen: "The Central Mountain" 28. Wu Chen: "Eight Views of Chia-ho" (section) 29. Chang Yuan, attributed to: "Travelers in Early Winter" (section) 30. Anonymous: "Pines and Houses by a River" 31. T'ang Ti: "Traveling in the Autumn Mountains" 32. T'ang Ti: "River Landscape" 33. ChuTe-jun: "Playing the Ch'in Beneath Pines" 34. Ts'ao Chih-po: "Two Pine Trees" 35. Yao Yen-ch'ing: "Winter Landscape" 36. Anonymous (Yang Wei-chen?): "Spring Mountains" 37. Ts'ao Chih-po: "Clearing After Snow on Mountain Peaks" For Chapter III, between pages 90 and III: 38-39. Huang Kung-wang: "Rivers and Hills Before Rain" (section) 40. Huang Kung-wang: "The Stone Cliff at the Pond of Heaven" 41-44. Huang Kung-wang: "Dwelling in the Fu-ch'un Mountains" and "Cut-off Mountain Picture" 45—46. Anonymous: "Portrait of Ni Tsan" 47. Ni Tsan: "Rustic Thoughts in an Autumn Grove" 48. NiTsan: "Mountains Seen from a River Bank" 49. Ni Tsan: "Autumn Clearing over a Fishing Lodge" 50. Ni Tsan: "The Jung-hsi Studio" 51. Wang Meng: "Secluded Dwellings in Summer Mountains" 52. Wang Meng: "Fisherman-Recluse at Hua-ch'i" 53-55. Wang Meng: "Dwelling in the Ch'ing-pien Mountains" 56-57. Wang Meng: "Retreat at the Foot of Mount Hui" 58. Wang Meng: "The Forest Grotto at Chii-ch'u" 59. Fang Ts'ung-i: "Divine Mountains and Luminous Woods" 60. Ch'en Ju-yen: "Firewood Gatherer of Mount Lo-fou" 61. Fang Ts'ung-i: "Cloudy Mountains" (section) 62. Ma Wan: "Clearing Skies over Hills in Spring" (section) 63. Chao Yuan: "Lu Yii Brewing Tea" (section) 64. Hsu Pen: "Streams and Mountains" For Chapter IV, between pages 134 and 151: 65. I-an: "Portrait of Chung-feng Ming-pen" PLATES • XI 66. YenHui: "Li T'ieh-kuai" 67. Yin-t'o-lo: "The Prince of Min Paying Reverence to Hsiieh-feng" 68-69. LiuKuan-tao: "Whiling Away the Summer" 70. Chang Wu: "The Nine Songs" (section) 71. Ch'en Ju-yen: "Meng-tzu and His Mother" 72. Jen Jen-fa: "Fat and Lean Horses" 73. Wang Yuan: "Autumn Scene with Quail and Sparrows" 74. T'an Chih-jui, attributed to: "Bamboo in Wind" 75. LiK'an: "Bamboo" 76. WuT'ai-su: "Plum and Pine" 77. Ch'en Lin: "Duck on a River Bank" 78. Wang Mien: "Plum Blossoms" 79. P'u-ming: "Orchids, Bamboo, Tree, and Rock" 80. Chao Meng-fu, attributed to ("Anonymous, Sung dynasty"): "Rock, Bamboo, and Old Tree with Bird" 81. Wu Chen: "Stalks of Bamboo Beside a Rock" 82. WuChen: "Windblown Branch of Bamboo" 83. Ni Tsan: "A Small Mountain with Bamboo and Tree" 84. Chao Meng-fu: "Rock, Bamboo, and Old Tree" 85. Ku An, Chang Shen, and Ni Tsan: "Old Tree, Bamboo, and Rock" SUPPLEMENTARY HALFTONE PLATES Between pages 166 and 175: 86. Han Kan, attributed to: "Shining Light of Night" 87. Hsia Kuei: "A Pure and Remote View of Rivers and Mountains" (section) 88. Li Kung-lin: "Five Horses and Grooms" (section) 89. Ma Yuan, attributed to: "Banquet by Lantern-light" 90. Tung Yuan, attributed to: "Wintry Trees by a Lake" 91. Tung Yuan, attributed to: "Dragon Boat Festival" 92. Kuo Hsi: "Early Spring" 93. Ch'iao Chung-ch'ang: "Ode on the Red Cliff" (section) 94. Huang Chii-ts'ai, attributed to: "A Pheasant and Sparrows Among Rocks and Shrubs" Preface This book is the first in a projected series of five that will make up a history of later Chinese painting. Several of these are already in preparation, and I hope to complete the writing of the whole series over the next five years. The remaining four volumes will be devoted to painting of the Ming and Ch'ing dynasties and the first half of the twentieth century. Each volume is planned to be complete in itself, covering an important segment of this later development, and will thus be comparable in scope—and perhaps in overambitiousness as well—to a book on paint- ing of the Renaissance or Baroque or some other period in European painting. Similarly, the whole series is intended to stand by itself, although it is not impossible that it will be followed eventually by another on painting of the early periods, through the Sung dynasty. The present volume, beginning as it does in the late thirteenth century, when Chinese painting already had a millennium and a half of history behind it, might seem to be introducing the reader into the middle of the story. But in fact, as will be shown in the chapters that follow, the history of later Chinese painting, which began in the Yuan dynasty, is a new story, not merely a con- tinuation of the old one (although of course some themes from the old do persist); it well de- serves the separate presentation that it will receive in this series. As recently as thirty years ago, the serious study of later Chinese painting had only begun in countries outside the Far East and was still somewhat controversial. It was common to regard all painting after the late thirteenth century as a degenerate aftermath of the great tradition that ended, or at least declined sharply, with the fall of the Sung dynasty.
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