Page 77 - Ming_China_Courts_and_Contacts_1400_1450 Craig lunas

Plates 6.22–6.23 (left) Anonymous, Portrait of a Civil Official Awaiting Audience (Shangchao wenguan xiang 上朝文官像), 18th century;
(right) detail of official. Hanging scroll, ink and colours on silk, height 161.5cm, width 82cm. Royal Ontario Museum, The George Crofts
Collection, Gift of Mrs H. D. Warren, 921.32.102

Conclusion representational elements. Due to differences in each
The five related paintings, including the Zhu Bang version, painter’s role and experiences and variations in the
and the two examples based on it, show the spread and architecture depicted, the function of paintings like Zhu
recognition of this distinct composition by painters working Bang’s version changed, and their composition was also
inside and outside of the imperial court. They also reveal the modified over time. This provides additional visual material
respect that painters working in different environments felt for the study of painting history and the history of social
towards a master artisan like Kuai Xiang. Conversely, this customs in the Ming dynasty.
master artisan, who was an official of the second grade with
a grade-one salary, was not mentioned by Confucian Notes
scholars of the late Ming and Qing dynasties who wrote the 1 Mu Yiqin 1985, 79.
Ming History. This suggests their condescension towards 2 Whitfield 1972, 293, fig. 14.
leading artisans. Zhu Bang and other painters depicted Kuai 3 For a summary of the conservation work done on this painting, see
Qiu Jin Xian and Luk Yu-ping 2014.
Xiang as a towering figure in front of Chengtian Gate of the 4 For summaries of Kuai Xiang’s biography see Cao Xun 1996;
Forbidden City. Such a composition is unprecedented in the Meng Fanren 2011, 62–3.
history of China. In the authoritarian system of the Ming 5 Huang Yu 1999, juan 8, 155–6.
dynasty, not only was this composition allowed but it was 6 Huang Fulu 1985, 34.
7 Meng Fanren 2011, 62–3.
emulated by other painters. It is likely that it had the 8 Meng Fanren 2011, 62.
approval of the ruling Chenghua emperor, which suggests 9 MSL, Xianzong shilu, juan 213.7b–8a (17/3/辛丑).
the extraordinary status that Kuai Xiang achieved. 10 The date of his death is recorded in MSL, Xianzong shilu, juan
213.7b–8a (17/3/辛丑).
Furthermore, the Zhu Bang version, or Portrait of an Official in 11 Cao Xun 1996, 87–8.
Front of the Beijing Imperial Palace, provides valuable 12 MSL, Xianzong shilu, juan 213.8a (17/3/辛丑).
information about the painter’s possible activities in Beijing. 13 Zhu Mouyin 1631, juan 4; Xu Qin 1986, juan 1, 8. Also recorded in
This type of commemorative painting probably once existed Mu Yiqin 1985, 79.
in greater numbers, used by various branches of the 14 This is from an inscription by Song Lian 宋濂 on Wu Wei’s Figures
in Four Sections (Renwu si duan 人物四段) in the Shanghai Museum.
Xiangshan group to commemorate their leader Kuai Xiang, 15 Whitfield 1972, 293, fig. 11.
but this has been forgotten by posterity. 16 Cahill 1985, 133–4.
Based on sources relevant to Portrait of an Official in Front of 17 I would like to thank Klaas Ruitenbeek, Director of the Museum
the Beijing Imperial Palace, we can find a series of images that für Asiatische Kunst (Asian Art Museum) in Berlin, for this
appear to look roughly the same, connected by stylistic and information.

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