The Floating Studio of Tung Ch’i chang
Resource
美術史研究集刊, 15, 205-297
Journal
美術史研究集刊
Journal Issue
15
Pages
205-297
Date Issued
2003-09
Date
2003-09
Author(s)
Fu, S.
Abstract
Since Mi Fu (1051-1107) of the Sung Dynasty used to bring his collection of ancient calligraphies and paintings accompanied with him while he was traveling by boat, this famous term of “The boat of Calligraphy and Painting” was cast and became the model of elegant life of later literate calligraphers and painters. Among them, especially the late Ming Tung Ch’i-chang (1555-1636), an admirer of Mi Fu, who was “Apathy in Government and Favor on Art”, became one of the most typical practitioners of this tradition. Tung was born and lived in the watery region of southern China taking advantage of his eight official assignments within his 40 years career to travel back and forth from his hometown to the northern capital and different regions in south. During his long trips, he was not only enjoying the scenery which enrich to his landscape paintings, but also viewing ancient masterpieces of art works which inspired him to write or paint, or express his connoisseurship about them on these scrolls, or form part of his theoretical opinions in art history. This paper concentrate on Tung Ch’i-chang, is the middle part of a serial studies of “The Boat of Calligraphy and Painting”. From Tung’s numerous examples of calligraphies and paintings created on boat as well as many colophons written on ancient works, prove the importance of his boat trips as he uses the boat as his floating and moving studio. His landscape paintings especially in handscrolls format often reflect his view of scenery along the river from his boat ships. Together with many landscape paintings by artists before and after Tung Ch’i-ching, we can simplify there were two basic types of “landscape in the mountains” and the other “landscapes along the river”. Especially the handscroll format is the ideal to express or record the artist’s experiences from their boat trips. At the same time, for the same reason, Tung’s understanding and appreciation of those river landscape paintings since Five Dynasty until Yuan Dynasty were deepened and favored and eventually formed his famous and influential theory of Southern and Northern school of painting. Its is this author’s believe that to understand Tung’s numerous experiences and love for boat travel ad habitually devote himself to creating and studying of calligraphy and painting as well as engaging himself in connoisseurship and theoretical thinking on boat are crucial to understand his painting style and the formation of his theoretical thinking. On boat are crucial to understand his painting style and the formation of his theoretical thinking.
Subjects
書畫船
董其昌
舟中
舟行山水
Tung
Chi-chang
The boat of calligraphy and painting
On boat
Landscape view from boat
SDGs
Type
journal article
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