The Making of a National Treasure II

This exhibit presents a selection of National Treasures from the National Palace Museum's collection. The second part of this series features select masterpieces from the Song dynasty, including representative examples by Zhao Ji (Emperor Huizong, 1082-1135), 

Zhao Gou (Emperor Gaozong, 1107-1187), and Su Hanchen (12th c.). Many of these works, by some of the greatest artists over the ages, are renowned in the annals of Chinese art history.

The first section of this handscroll is the “Haiyu” modelbook, a letter written by Cai Xiang in his thirties to his friend Han Qi and an excellent example of Northern Song calligraphy in the style of Yan Zhenqing (709-785). 

The second section is “Poetry in Rhyme for the Master of the Three Colleges” done by Su Shi at the age of 52. Steady and firm, the calligraphy is not confined to conventional methods and serves as a classic example of Su’s free-spirited style.

The third is “Letter to Mingshu” by Huang Tingjian, in which the movement includes the methods of Huaisu’s (737-799) brush turns. Strong and thorough, the character forms slant mostly to the right, creating for a high-spirited feeling. 

The fourth section is the “Daowei” modelbook done by Mi Fu at the age of 49. It ranges greatly from light to heavy and fast to slow, being a masterful work in terms of technique and spirit.

In the early Qing dynasty, the collector Li Zongkong (1620-1689) had these four treasures of Northern Song calligraphy mounted together, the handscroll becoming a standard bearer for the study of Chinese calligraphy.

This painting depicts the scenery of high mountains with distant peaks appearing above clouds and a rising foreground enveloped in mist. The three groups of mountain forms skillfully echo each other, the blank areas of clouds and mist highlighting them further. Despite the small size of the painting, it nonetheless gives the effect of a broad vista. 

 This album leaf bears neither seal nor signature of the artist, the traditional title label giving the present title and the attribution to Yan Wengui. 

However, stylistic comparison shows it to be unrelated to Yan, a court painter active in the Northern Song period. Rather, it is a masterful work of the early Southern Song dynasty (1127-1279) influenced by Li Tang.

Wen Tong (style name Yuke) was gifted at poetry and prose as well as calligraphy, being also credited with inventing the genre of ink bamboo painting. He was praised by later generations as founder of the “Huzhou School” in this subject matter.
       

This painting depicts bamboo extending into the composition from the upper left, probably growing from a cliff left unseen. The stalk is twisting and strong like a dragon with the knots left blank, the strokes suggesting a connection between the forms. 

Rendered with centered brushwork, the tip of the brush turns and flies. Complemented by the light and dark tones of ink, the painting appears to have been done at one go, completely and dynamically expressing the turning leaves and branches. 

The motifs, lively and realistic, testify to the period trend in Northern Song painting of grasping the underlying principles of objects. Although unsigned, this work is rare for its exceptional quality, and the two seals of Wen Tong impressed on it undoubtedly point to him as the artist, making this a representative example of Northern Song literati ink painting.
 

This painting depicts a group of scholars in a garden by a pond enjoying a banquet. A large lacquered table has been placed under a tree with all kinds of tableware and food on it. 

In the foreground is a group of young attendants around a small table preparing tea. The figures are all spirited and elegant with clear expressions, while the objects and garden motifs are painstakingly rendered, indicating most likely a fine work of Huizong’s Painting Academy.

Although the painting is beautiful and exacting, it still has a scholarly air that fully represents the requirements of and results sought by Huizong for his Painting Academy. Both in terms of quality and research value, it is a rare and important work.

The Buddha, seated with legs crossed on a lotus pedestal, on either side a heavenly king as protectors of the Buddhist law, the great disciples Ananda and Mahakashyapa, and a bodhsattva making offerings. 

The Buddha has long eyebrows and delicate eyes for a refined yet majestic appearance, while the two heavenly kings wear armor and brandish a sword and lance to convey their fierce martial spirit. The figures in the painting all vary in terms of expression, each of them true to life.

The indistinct “ushnisha” (head protuberance) of the Buddha and the small mark on the forehead are features of Song Buddha figures, suggesting this scroll was painted in the early part of the dynasty.

A wide expanse of waves and surging clouds fill the composition of this painting as the Four Heavenly Kings support a lotus pedestal, on which stands Guanyin, the bodhisattva of compassion also known as Avalokitesvara. 

Attendant bodhisattvas are either in a reverential pose or hold religious implements to create a solemn and majestic setting.
       

The painting features fine and nimble strokes using a centered brush to depict Guanyin’s thousand arms and eyes, various hand gestures, religious implements, jewelry and heavenly robes, and bejeweled lotus pedestal. 

The coloring is beautiful but not vulgar, making for a dazzling sight to behold. Although bearing neither seal nor signature of the artist, the scroll is a masterpiece of Buddhist painting probably from the late twelfth century.