Dong qichang biography examples
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Dong Qichang and the Wuyi Mountains: A New Perspective on Dong's Wanluan Thatched Hall of 1597
Celia Carrington Riely Dong Qichang and the Wuyi Mountains Dong Qichang and the Wuyi Mountains: A New Perspective on Dong’s Wanluan Thatched Hall of 1597 Celia Carrington Riely*（李慧聞） Abstract: In 1591 Dong Qichang paid a visit to the Wuyi Mountains, on the far northwestern edge of Fujian province. This paper suggests that the scenery he saw there was to play a role in some of the paintings he was later to create, in particular, in his hanging scroll of 1597, The Wanluan Thatched Hall. In this painting, with its strikingly distinctive forms and their equally distinctive modeling, Dong broke new ground, and set himself on a course that would stamp his mark on landscape painting in China down to the modern age. Keywords: Dong Qichang, Wanluan caotang tu (The Wanluan Thatched Hall), Wuyi Mountains Prologue: When one has devoted long years to studying the life of a Chinese landscape painter and the works he created, it is hardly surprising that one would wish to see something of the places in which he lived and to which he traveled. But in the case of Dong Qichang 董其 昌 (1555—1636), those places, by and large, are today so changed beyond recognition that regrettably little is to be ga
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Ho Wai-kam most recent Judith G. Smith (eds.), The c of Tung Ch'i-ch'ang, 1555-1636, Washington, Pedagogue University Exert pressure, 1992. Vol. 1, 465 pages ; vol. 2, 603 pages ; take to task.
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Wang Hui (1632–1717)
Wang Hui, the most celebrated painter of late seventeenth-century China, played a key role in reinvigorating past traditions of landscape painting and establishing the stylistic foundations for the imperially sponsored art of the Qing court. Drawing upon his protean talent and immense ambition, Wang developed an all-embracing synthesis of historical landscape styles that constituted one of the greatest artistic innovations of late imperial China. Wang’s stature was confirmed in 1698 when the emperor bestowed upon him the encomium “Landscapes Clear and Radiant.”
Wang’s landscape art was not based on direct encounters with nature; rather, he sought to achieve a spiritual resonance with an orthodox lineage of great masters while creatively transforming their styles. Engaging in an inventive dialogue with the past, Wang evoked the stylistic personas of earlier masters while making works that were distinctly his own. Wang’s paintings not only pay homage to his gifted predecessors but demand to be judged in comparison to them.
Traditional accounts of Wang present him as a virtual reincarnation of the ancient masters, but in modern times this tribute has not been viewed as a compliment. As revolutionary China increasingly rejected