Page 126 - September 20 2021 Fabian Collection of Chinese Paintings Art Bonhams NYC

“The nation has collapsed, but the mountains and rivers remain”
When the great Tang Dynasty poet Du Fu (712-770) wrote these words in the late spring
of 757 he was imprisoned by the rebel forces of the An Lushan rebellion in the capital
city of Chang’an. Eulogizing the collapse of the dynasty, the poet strains to find hope
and constancy in a moment of turmoil and upheaval. For centuries after Du Fu wrote
these words, they have resonated as a common saying suhua in Chinese culture as a
contemplation on impermanence and perpetuity.
Although Du Fu contrasts the human and natural worlds, the constancy of the
mountains and rivers are also symbolic of the strength and resiliency of Chinese
culture, persisting despite the tumultuous changes that occurred politically as
dynasties rose and fell over the millenia. By the middle of the 20th century, China had
endured 100 painful years of foreign invasion, internal rebellions, and devastating civil
and global wars. Amidst the turmoil, many Chinese artists sought inspiration from the
distant past.
Lot 57, Golden Valleys and Snowy Passes 1954 by Chen Da (1899-1969), depicts a
magical winter scene where travelers approaching a multi-story complex, with a temple
in the deep distance and snowy peaks and bare trees framing the human realm. In the
inscription, the artist cites the Song Dynasty Academy style as his source of inspiration,
recalling a golden age of Chinese painting. In lot 58, Landscape after Fan Kuan (b.
960) by Yang Shilang (1915-2000), the artist not only creatively reinterprets the earlier
artist’s brush method and compositional approach, but he also inscribes the painting
with an encomium declaring the importance of Fan Kuan, who painted 900 years
before. With lot 59, Dragon amid Clouds, 1943 by Fang Yi (1889-1979), the artist does
not explicitly name her source, however it is clear she is recalling the ink dragons of
Chen Rong, who was active in the Lin’an, the Southern Song capital, in the first half of
the 13th century.
Fugu (return to antiquity), has been a recurring theme in China, as waves of
antiquarianism repeatedly washed over the aesthetic culture. These three lots were
painted 1940-1960, a period of Chinese history that generated sweeping changes in
every corner of society. During this time, artistic inspiration from Japanese and Western
sources were readily available and newer aesthetic styles were unveiled. However,
Chen Da, Yang Shilang and Fang Yi chose to revive and reinterpret the majesty of Song
dynasty painting, asserting the superiority of Chinese traditions, the artists finding their
inspiration from within the culture.