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Two men are sitting comfortably together. "Playing the zither for the friend" - and this is exactly what the ink drawing by Zhang Lu (1490-1563) expresses. The joy of one to play for the friend, and the joy of the other to listen to the friend. In Shen Zhou's masterful ink drawing "Poet on a Mountain Peak," the aforementioned poet can be seen only in modest outline on a rocky plateau rising steeply out of clouds of mist, the rugged mountain landscape "artificially" draped with bushes, cedars and spruces, and two or three cottages. How different "realistic" painting can be! They are meditative miniature stories that the artists of the Ming Dynasty tell with their wonderful ink and wash painting. And although it is figurative painting, it is also at the same time reduced and abstracted to a few brushstrokes and outlines: People, forest or rocks are recognizable, but the paintings search for the essence of the landscape, evoking rather a mood and atmosphere with soft, delicate ink strokes. Realistic - yes. But it is a completely different realism than according to European understanding. Chinese art has been rooted in tradition for centuries. Major stylistic breaks are not recognizable in it from the 7th to well into the 20th century, comparable to icon painting, which is also frozen in fixed guidelines, themes, patterns, figures or colors. But to understand Chinese art as an art of pure copying is wrong: When Chinese artists imitated their predecessors, it was about approximation to the models, about their interpretation.
From the Chinese point of view, the Ming Dynasty (1368-1644) meant a return to Chinese tradition after the foreign rule of the Mongols in the Yuan Dynasty, a restoration not only of the domestic ruling class. The art of the Ming period harked back to the models of the Song and Tang dynasties (960-1279 and 618-907) and, especially in the 14th century, took rigorous action against "deviants"; many artists were arrested and killed. However, unlike in earlier eras, there was no central art academy at court; Ming artists retreated to the safety of their home regions. In the Ming period, two schools, brilliant in their landscape, bird, and flower compositions, are considered predominant: the Zhe School in Zhejiang Province and the Wu School in Suzhou Province at the mouth of the Yangtze River, both in the southeast of the empire. The Zhe school is known for its expressive ink painting. The Wu school is dominated by calligraphy techniques, fine brushstrokes in the tradition of Chinese penmanship, whose lines reflect not only the mood but the personality of the artist. From the late 15th century, the Wu school became increasingly important, including Shen Zhou (1427-1509) with his "Poet on a Mountain Peak." He is considered a major representative of the Wu School. Unlike the civil servant Zhe court painters and like many Wu artists after him, he was not active as a professional painter as part of the official Chinese civil service career, but a so-called gentleman artist, a scholar and "amateur" who was not commissioned by the court, but devoted himself (financially) independently to art.
Towards the end of the Ming era, in the 17th century, the works of art become increasingly free and independent of traditional styles - from the Chinese point of view: "wild" and "chaotic". In addition, with the sporadic appearance of light-shadow and perspective effects, the first European influences can be noticed, after Jesuit missionaries had brought engravings and oil paintings to China.
Two men are sitting comfortably together. "Playing the zither for the friend" - and this is exactly what the ink drawing by Zhang Lu (1490-1563) expresses. The joy of one to play for the friend, and the joy of the other to listen to the friend. In Shen Zhou's masterful ink drawing "Poet on a Mountain Peak," the aforementioned poet can be seen only in modest outline on a rocky plateau rising steeply out of clouds of mist, the rugged mountain landscape "artificially" draped with bushes, cedars and spruces, and two or three cottages. How different "realistic" painting can be! They are meditative miniature stories that the artists of the Ming Dynasty tell with their wonderful ink and wash painting. And although it is figurative painting, it is also at the same time reduced and abstracted to a few brushstrokes and outlines: People, forest or rocks are recognizable, but the paintings search for the essence of the landscape, evoking rather a mood and atmosphere with soft, delicate ink strokes. Realistic - yes. But it is a completely different realism than according to European understanding. Chinese art has been rooted in tradition for centuries. Major stylistic breaks are not recognizable in it from the 7th to well into the 20th century, comparable to icon painting, which is also frozen in fixed guidelines, themes, patterns, figures or colors. But to understand Chinese art as an art of pure copying is wrong: When Chinese artists imitated their predecessors, it was about approximation to the models, about their interpretation.
From the Chinese point of view, the Ming Dynasty (1368-1644) meant a return to Chinese tradition after the foreign rule of the Mongols in the Yuan Dynasty, a restoration not only of the domestic ruling class. The art of the Ming period harked back to the models of the Song and Tang dynasties (960-1279 and 618-907) and, especially in the 14th century, took rigorous action against "deviants"; many artists were arrested and killed. However, unlike in earlier eras, there was no central art academy at court; Ming artists retreated to the safety of their home regions. In the Ming period, two schools, brilliant in their landscape, bird, and flower compositions, are considered predominant: the Zhe School in Zhejiang Province and the Wu School in Suzhou Province at the mouth of the Yangtze River, both in the southeast of the empire. The Zhe school is known for its expressive ink painting. The Wu school is dominated by calligraphy techniques, fine brushstrokes in the tradition of Chinese penmanship, whose lines reflect not only the mood but the personality of the artist. From the late 15th century, the Wu school became increasingly important, including Shen Zhou (1427-1509) with his "Poet on a Mountain Peak." He is considered a major representative of the Wu School. Unlike the civil servant Zhe court painters and like many Wu artists after him, he was not active as a professional painter as part of the official Chinese civil service career, but a so-called gentleman artist, a scholar and "amateur" who was not commissioned by the court, but devoted himself (financially) independently to art.
Towards the end of the Ming era, in the 17th century, the works of art become increasingly free and independent of traditional styles - from the Chinese point of view: "wild" and "chaotic". In addition, with the sporadic appearance of light-shadow and perspective effects, the first European influences can be noticed, after Jesuit missionaries had brought engravings and oil paintings to China.