COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1967.36
amicoid
CMA_.1967.36
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Zhao, Zhong
crn
Zhao, Zhong
Creator Name
false
Creator Nationality:
Chinese
crc
Chinese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Zhong Zhao
crt
Zhong Zhao
Creator Name-CRT
false
Title:
Ink Flowers
otn
Ink Flowers
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Detail
rid
Detail
View
false
Creation Date:
1361
oct
1361
Creation Date
false
Creation Start Date:
1361
ocs
1361
Creation Start Date
false
Creation End Date:
1361
oce
1361
Creation End Date
false
Materials and Techniques:
handscroll, ink on paper
omd
handscroll, ink on paper
Materials and Techniques
false
Dimensions:
Overall: 31.8cm x 153.2cm
met
Overall: 31.8cm x 153.2cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1967.36
ooa
1967.36
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
This elegant work was painted by an artist who, like Zhang Wu, illustrator of the Nine Songs (see page 77), acknowledged his familiarity with the linear baimiao technique advanced by the Song master Li Gonglin. As stated in his inscription, however, other earlier masters inspired the painting: I did this scroll, using Tang Zhengzhong's [active in the Southern Song court of Ningzong, 1195-1224] method of "ink-flower painting." I also composed poems in the style of Li He in praise of the flowers. My poemsand painting may not be very good; they are nonetheless all derived from the heritage of the ancients. It is just as if one wants to draw a square or circle, one must first know how to use the ruler and the compass. May the connoisseur kindly refrain fromlaughing at them. By specifying his artistic model, adding poetry based on an earlier writer written in his own hand, and articulating explicitly his method of creation, Zhao Zhong assembled a paradigmatic image of Yuan personal expression. Isolated against the luminous surface of this especially powdery, sized fengjian paper, Zhao's sprays of lily, narcissus, and peony--each paired with his poem--appear frail and ghostly. Closer examination, however, reveals the strength of his precise brushwork that transforms these horticultural studies into brilliant vehicles of expressive painting. The choice of flowers is unusual as the three belong to no known seasonal or symbolic system current in the fourteenth century. The selection could be unique and influenced by his professional interests as a medical doctor and herbalist. It is known, for example, that lilies could be used to form a powder that dispelled grief; the young leaves, eaten raw, produced an intoxicating effect. The rough bark of tree peony roots, on the other hand, is prescribed to cure various blood disorders. K.W.
cxd
This elegant work was painted by an artist who, like Zhang Wu, illustrator of the Nine Songs (see page 77), acknowledged his familiarity with the linear baimiao technique advanced by the Song master Li Gonglin. As stated in his inscription, however, other earlier masters inspired the painting: I did this scroll, using Tang Zhengzhong's [active in the Southern Song court of Ningzong, 1195-1224] method of "ink-flower painting." I also composed poems in the style of Li He in praise of the flowers. My poemsand painting may not be very good; they are nonetheless all derived from the heritage of the ancients. It is just as if one wants to draw a square or circle, one must first know how to use the ruler and the compass. May the connoisseur kindly refrain fromlaughing at them. By specifying his artistic model, adding poetry based on an earlier writer written in his own hand, and articulating explicitly his method of creation, Zhao Zhong assembled a paradigmatic image of Yuan personal expression. Isolated against the luminous surface of this especially powdery, sized fengjian paper, Zhao's sprays of lily, narcissus, and peony--each paired with his poem--appear frail and ghostly. Closer examination, however, reveals the strength of his precise brushwork that transforms these horticultural studies into brilliant vehicles of expressive painting. The choice of flowers is unusual as the three belong to no known seasonal or symbolic system current in the fourteenth century. The selection could be unique and influenced by his professional interests as a medical doctor and herbalist. It is known, for example, that lilies could be used to form a powder that dispelled grief; the young leaves, eaten raw, produced an intoxicating effect. The rough bark of tree peony roots, on the other hand, is prescribed to cure various blood disorders. K.W.
Context
false
Related Image Identifier Link:
CMA_.1967.36.tif
ril
CMA_.1967.36.tif
Related Image Identifier Link
false