Silhouette of a Great Master: A Retrospective of Chang Dai-chien's Art on the 120th Anniversary of His Birth,Period 2019.04.01-06.25,Galleries 202,204,206,208,210,212
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Chang Dai-chien's Teachers and Friends

     Chang Dai-chien's interest and training in the arts began early when he learned painting and calligraphy as a child from his mother Zeng Youzhen and from his second eldest brother, Chang Shan-tzu. Later, he would take two famous artists in Shanghai as teachers, Zeng Xi and Li Ruiqing, further solidifying his foundation in the traditional scholar arts of painting, calligraphy, and poetry. Led by Chang Shan-tzu, he entered the Shanghai art world and quickly became a center of attention. Universally recognized as a rising star, Chang Dai-chien started on his illustrious career as an artist. He made the acquaintance of many masters of painting and calligraphy, interacting and exchanging ideas with them. As Chang's creative genius and vision expanded, he soon attained a lofty reputation in the arts. Family members and mentors over the years, as well as close friends who offered unfailing support and mutual encouragement, combined into sources who played an essential role in the milestones that Chang Dai-chien reached. The works in this part of the exhibit are a small but concrete example of the influence from friends, teachers, and family on Chang Dai-chien as well as the gratitude he showed to them. They include such artworks as Zeng Youzhen's "Cat and Butterfly," Chang Shan-tzu's "Large Tiger by a Grassy Marsh," Zeng Xi's "Prosperity and Longevity with No End," Li Ruiqing's "Amitayus," and Chang Dai-chien's "Day Lilies" and letters written by him.

Cat and Butterfly

Cat and Butterfly
  1. Zeng Youzhen (1861-1936), Republican period
  2. Hanging scroll, ink and colors on paper, 70.6 x 37.2 cm

This work dated to 1918 by the mother of Chang Dai-chien, here referring to herself as Zhang-Zeng Yi (her double surname with a personal name), is very rare, the use of brush and colors quite skillful and engaging. Fu Tseng-hsiang (1872-1949), who wrote the long inscription seen on the work, praises the artist's ability to skillfully integrate the ancient manners of Huang Quan (903-965) and Xu Xi (886-975) in a lively and spirited fashion. He also rightfully points out that the artistic roots of Chang Dai-chien and his brother, Chang Shan-tzu, can be traced to their mother. In 1982, Li Yeh-shuang brought a picture of this painting to Chang Dai-chien to ask about its authenticity, at which time Chang immediately began to shed tears and sought information about its whereabouts. The following year, Shen Wei-chuang (1918-1995) finally found it in Hong Kong, but Chang had just passed away. Nevertheless, Shen did what Chang would have wished and had it presented to and hung at Chang's last residence and memorial, the Abode of Maya, this work coming from its former collection.
Prosperity and Longevity With No End

Prosperity and Longevity With No End
  1. Zeng Xi (1861-1930), Republican period
  2. Hanging scroll, ink on silk, 110.4 x 80.4 cm

In 1927 Zeng Xi did this painting of plum blossoms as a birthday gift for Chang Dai-chien's mother, Zeng Youzhen. For the title that he wrote in Bronze script on the painting, he researched the etymology for one of the characters, "mei 眉," determining that it corresponds to that seen in writings from the Song to Qing dynasty. In particular, he pointed out the error in explanation made by the Bronze and Stele scholar Liu Xinyuan (1848-1917), who traced it back to the character "gui 貴." Chang Dai-chien had always been filial to his mother and was a great admirer of Zeng Xi as his teacher. Thus, despite the few quick strokes in painting the plum blossoms, the work here had special significance for Chang.

This painting, along with Chang's Abode of Maya studio-residence, were later donated to the National Palace Museum.
Amitayus

Amitayus
  1. Li Ruiqing (1867-1920), Republican period
  2. Hanging scroll, ink and colors on silk, 105 x 53 cm

In 1919, Chang Dai-chien at the age of 21 returned from Japan and settled in Shanghai, forming close ties with Li Ruiqing and Zeng Xi there. Saddened by the death of his fiancée, Xie Shunhua, Chang decided to become a monk, taking the Buddhist name Daqian (Dai-chien) but returning to the laity after three months. Li Ruiqing once mentioned that Chang Dai-chien appreciated his paintings, often rummaging through his wastebasket and finding a discarded work that Chang would have mounted. For this reason, Li copied in that year an inscription from a Buddhist sculpture at Longmen and combined it with a Buddhist image for Chang, creating the painting seen here. Since Li passed away the following year, Chang would especially treasure this work. In the painting, the Buddha Amitayus is seen with layers of strange rocks and a coiling old tree rendered in eccentric forms, the style echoing the archaic manner of the calligraphic inscription.

This work is from the former collection Chang Dai-chien's Abode of Maya residence near the National Palace Museum.
Large Tiger by a Grassy Marsh

Large Tiger by a Grassy Marsh
  1. Chang Shan-tzu (1882-1940), Republican period
  2. Hanging scroll, ink and colors on paper, 137.4 x 68.6 cm

Chang Shan-tzu, a native of Neijiang in Sichuan, originally had the name Ze (meaning "marsh") and the sobriquet Huchi ("Fancier of Tigers"). Like his younger brother Chang Dai-chien, he learned painting from his mother in younger years and once also took Li Ruiqing as his teacher; he excelled at the depiction of landscapes, flowers, and beasts. In 1917, he traveled with Chang Dai-chien to Japan, the two of them residing in Shanghai after returning to China. Chang Shan-tzu once lived at the Master of Nets (Wangshi) Garden in Suzhou, raising a tiger cub there and observing closely its actions and behavior, which is why he became so skilled at depicting this animal in painting. This work from 1929, at a time of continued conflict in China, shows a fierce tiger roaring at a marshy bank in a powerful and imposing manner, appearing not only realistic but also very determined.
Day Lilies

Day Lilies
  1. Chang Dai-chien (1899-1983), Republican period
  2. Framed, ink and colors on paper, 60 x 45 cm

Chang Dai-chien often liked to paint for himself day lilies and white cats, subjects that he used to express longing for his mother. This work done in 1965 features another form of artistic expression by Chang Dai-chien, the "boneless" manner of color washes. From the ink bamboo in the lower right to the slender blades of cyan-blue, the composition follows with green to the floral stem, culminating in the orange day lilies, the brightness and luminosity of which create for a dramatic climax to the transition of colors. On the flower appears a butterfly not in color but monochrome ink instead, which heightens the contrast between the two for an exceptionally skillful arrangement.

This painting is from the collection of the National Museum of History.