Page 21 - Sothebys Fine Chinese paintings Hong Kong

Judging from the brushwork, ink and calligraphy, and spontaneity. In short, this is a masterpiece possible. The failure to visit Mount Tiantai is
7
instead of intermittently, the scroll should have from Qian’s best years and rivals those produced further referred to in another poem. A second
8
been painted within a short period of time, if not by his friend and mentor Dong Bangda. attempt made in 1764 following a second visit
at a single sitting. Except for those of River Qingxi to Mount Yandang was again unsuccessful as
and Mount Chicheng, all the sectional paintings The painting is undated and the date inscribed mentioned in yet another poem. Weather not
9
have adopted the deep-distance composition by Emperor Qianlong was already two years permitting on both occasions, Qian never had the
that allows the painting surface to be filled with after the painter’s death. A search through an chance to visit the area again. Unlike paintings
peaks, valleys, streams, waterfalls, woods and anthology of the emperor’s poems yields a short from life, this particular painting was in fact
historic sites all at the same time in order to note that is omitted in the painting inscription. based on ancient accounts and the painter’s
capture in full the characteristic views of Mount It reads, “Qian Weicheng visited Mount Tiantai personal impressions of the mountain when he
Tiantai. The focus is often placed on the centre, when he was inspecting education in Zhejiang admired it from a distance on Mount Yandang
which connects with the rest of the painting with and painted this for presentation. Now that he on his two visits there. In other words, it is more
not only sophistication but also ingenuity. As far has been gone for two years, all that is left is this a marriage of the painter’s imagination and his
as execution is concerned, the light ink is effected scroll.” It can therefore be assumed that the profound understanding of and skill in landscape
6
with a relatively dry brush whereas the centre painting was made during or shortly after Qian’s painting. The expression hinges on not only
tip is used for crisp yet delicate delineation as tenure as Education Commissioner of Zhejiang technical virtuosity but also yearnings for the
promoted by the late Ming painter Dong Qichang. between 1763 and 1765. past as well as literary sensitivity, testifying
By comparison, texture strokes prevail over to the fascinating realm of literati painting
dotting to achieve depth and volume. These Like Emperor Qianlong, viewers of this painting where literariness reigns side by side with
texture strokes in light ink tones are in turn would intuitively presume that the painting was aesthetics and prompting the viewer to pursue
washed in primarily light crimson, light indigo produced after a physical visit to Mount Tiantai. the spirit in preference to the form and to seek
The author begs to differ, enlightenment with a serene mind.
The expression hinges on not only technical however. The reason
virtuosity but also yearnings for the past as is Qian had never set
well as literary sensitivity, testifying to the foot on the mountain 1 See the section “Qing Gaozong: The 16 th & 17 th day of the 12 th months
of the 37 th year of the Qianlong reign,” in Qing Lichao Qijuzhu.
all his life and had even
fascinating realm of literati painting where documented the same 2 Qian Chenqun, “Jiajiaxuan Shaosekou Shiji Xu,” in Xianshuzhai
Shiwenji (Qing Qianlong carved version), juan 87.
literariness reigns side by side with aesthetics in writing. In 1762 after 3 Zhao Yi, Oubei Ji (1812 Zhanyitang carved version), juan 53.
and prompting the viewer to pursue the his first visit to Mount 4 Qian Weicheng, “Lu Lianlu yi Huace Suoti, Zoubi Zengzi,” see Chashan
spirit in preference to the form and to seek Yandang, he was invited Shichao, juan 9, in Qian Wenmingong Quanji (1776 Meishoutang
carved version).
enlightenment with a serene mind. by Zhang Lunxuan from 5 “Ti Qian Weicheng Shanshui Xiaoce,” in Qing Gaozong Yuzhi Shiwen
the Ministry of War Quanji (Zhongguo Renming Daxue Chubanshe, August, 1993).
and juice green, contributing to tonal variations to go onto Mount Tiantai together with him. 6 See the 10 th poem of “Inscriptions on Qian Weicheng’s Ten Views of
the Tiantai Mountains,” in Gaozong Yuzhi Shiwenji, vol. 4, juan 112.
with the tasteful palette. Stylistically, the painting Unfortunately, the plan was thwarted by a winter 7 Both in Chashan Shichao, juan 6.
as a whole is akin to Wang Yuanqi. Although rain but the guest thanked the host all the same 8 “Tianlao Shan,” in Chashan Shichao, juan 7.
somewhat less vigorous than the early Qing with a poem. And, because of this change of 9 “Fa Taizhou Kouzhan,” in Cha Shichao, juan 9.
painter, it more than makes it up with refinement plans, a welcome stay with Zhang was made

A REDISCOVERED IMPERIAL HEIRLOOM – TEN AUSPICIOUS LANDSCAPES OF TAISHAN BY QIAN WEICHENG 19