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Chang Dai-chien and Dunhuang

Early in the 1940s, Yeh Kung-chao (a prominent politician of the ROC) encouraged Chang Dai-chien to expand his art career by "forging a path of his own" and taking the responsibility to become a changemaker in Chinese painting. It would become a catalyst behind Chang Dai-chien's travels to the caves of Buddhist art in Dunhuang. In more than two-and-a-half years of study there, Chang produced approximately 276 copies of wall paintings. Breaking through the barrier of Song and Yuan painting styles, he was able to go back even further to the high antiquity of Chinese painting in the Northern Dynasties to Tang period. Major changes became apparent in Chang's ideas on and practice of painting as a result. For example, he spent more time focusing on Buddhist and figure painting, refining the quality of his lines, pursuing the revival of outlines with coloring, finding magnificence in trifling details, turning brevity into precision, and representing ladies in curvaceous form. Developing a beautifully refined yet grand manner, it was a refreshing and eye-opening revelation to him. In this exhibition are such figure paintings as Chang Dai-chien's copies of Shakyamuni Buddha preaching, a bodhisattva at the Yulin grottoes, and a Song dynasty musician figure. They display the fluid dynamism of Chang's lines, his dazzling use of beautiful colors, and the spirited and full figures he depicted. Together, these masterpieces not only represent the essence of ancient Chinese wall painting, they also testify to how Chang Dai-chien transformed antiquity into something refreshingly new and his ideas on forging a new path in Chinese art during modern times.

Copy of a Northern Wei Painting of Sumagadha's Cause for Seeking the Buddha from Mogao Cave 257 at Dunhuang

Chang Dai-chien (1899-1983), Republican period

Handscroll, ink and colors on silk, 62 x 591.7 cm

Stories of "cause," or karmic affinity, refer to various events in which the Buddha enlightened the people. The story of "Sumagadha's Cause for Seeking the Buddha" at the Dunhuang grottoes is only found in cave numbered 257 by the Dunhuang Research Academy. Chang Dai-chien copied the latter half in 1943, from left to right representing the supernatural powers of the Buddha's disciples, who take flight on spirit beasts and finally with a Vajra lord surround a manifestation of Shakyamuni Buddha preaching the Law. Although incomplete, the painting still retains much of the form and spirit of the original. Chang Dai-chien also attempted to restore the various red and ochre colors in juxtaposition with blue, green, and white hues to recreate the dazzling and dynamic atmosphere seen in the original.

Mr. Chang Dai-chien, the artist, donated this painting to the National Palace Museum.

Copy of an Early Tang Painted Vaulted Ceiling at a Mogao Cave at Dunhuang

Chang Dai-chien (1899-1983), Republican period

Hanging scroll, ink and colors on silk, 64.6 x 65.1 cm

Before the Western Wei and Northern Zhou period in the sixth century, the Dunhuang grottoes featured strong red colors in the wall and plafond paintings there. Later, in the early Tang period, more blue, green and white hues were used instead, creating a luminous and elegant effect. This painting is copied from the cave numbered 329 by the Dunhuang Research Academy. At the center of the square decorated ceiling of the original is a painting of a large lotus blossom, the area around it transformed with Chinese-style lines. The encircling ring of clouds floating in the sky gives the impression of an abstracted representation of the heavens. The four corners of the roof are decorated with symmetrical flower petals, the area outside ringed by scrolling vegetation and stringed bead patterns. The extremely fine and beautiful rendering is typical of the early Tang dynasty (618-907).

Mr. Chang Dai-chien donated this painting to the National Palace Museum.

Copy of a High Tang Painted Vaulted Ceiling at a Mogao Cave at Dunhuang

Chang Dai-chien (1899-1983), Republican period

Hanging scroll, ink and colors on silk, 68 x 67 cm

A "vaulted ceiling" refers to a pattern of crossing timbers used to support a wooden structure along with the colorful painting on it. Similar in appearance to a game board, the name for this type of painting translates literally as "intersecting timbers painted with vegetation." The caves at Dunhuang, however, do not have timbers, so the patterns adorn the ceiling as plafond paintings . By the High Tang period, the center of such imitation vaulted ceiling decoration became smaller with more pink and light red colors. The outer framework was increased to four or five levels; the inner frame was painted with blue and green vegetation patterns, the outer one decorated with peony and floral masses. The delineation of the ceiling structure in the High Tang is clearly seen in this copy, revealing also attention to the arrangement of colors and suggesting the order of painting.

Mr. Chang Dai-chien donated this painting to the National Palace Museum.

Copy of Shakyamuni Preaching the Law at Cave 11 of the Western Thousand Buddha Caves at Dunhuang

Chang Dai-chien (1899-1983) and Chang Hsin-te (ca. 1922-1953), Republican period

Hanging scroll, ink and colors on silk, 119.7 x 96.9 cm

This is a copy of a wall painting from the Western Thousand Buddha Caves at the grotto numbered 9 by the Dunhuang Research Academy. It shows Shakyamuni Buddha in the center seated cross-legged with a full and majestic figure. With the right hand held in the gesture of preaching the Law, the Buddha in a frontal view gazes at the viewer in a calm and solemn manner. Two bodhisattvas stand on either side as attendants; they are adorned with beautiful heavenly robes and jewelry as they look inwards toward the Buddha and listen attentively. Below in ink outlines are nine donor figures, including two monks, all kneeling in reverence. The proportion of the main figures' heads is slightly large, the chest and facial features full and rounded but not fleshy, conforming to the style found in the early to High Tang and demonstrating how well Chang Dai-chien preserved the original appearance.

The artist, Mr. Chang Dai-chien, donated this painting to the National Palace Museum.

Copy of a Song Painting of a Musician from Mogao Cave 327 at Dunhuang

Chang Dai-chien (1899-1983), Republican period

Hanging scroll, ink and colors on paper, 51.4 x 72.4 cm

This copy from a wall painting in cave numbered 327 by the Dunhuang Research Academy comes from the bodhisattva musicians depicted below a seated Buddha there.The bodhisattva shown here holds a pan flute, the head and body surrounded by colorful ribbons and decorated with jewels. The dark blue background highlights the opulence and beauty of the figure. The ribbons on either side seem to flutter rhythmically with the music, forming "S" shapes of various sizes in the air that twirl and expand in a symmetrical yet lively fashion. Contrasting with the majestic deportment and focused gaze of the bodhisattva, it imbues the painting with greater dynamism.

Mr. Chang Dai-chien donated this painting to the National Palace Museum.

Copy of a Tang Painting of a Bodhisattva in Cave 28 at the Anxi Yulin Grottoes in Dunhuang

Chang Dai-chien (1899-1983) and the monk Angji, Republican period

Hanging scroll, ink and colors on silk, 237.2 x 96.5 cm

This is a copy from a wall painting in a cave in Yulin numbered 28 by the Dunhuang Research Academy. In the original, the bodhisattva and a young monk possibly representing Ananda (the Buddha's primary disciple) appear together as attendants to the Buddha depicted in the niche at the cave. The bodhisattva is shown tilted right in the direction of the main niche figure, the hands clasped in reverence. The head also turns to the left as if looking at somebody outside the niche in worship, thereby connecting the interior and exterior areas of the space. Chang Dai-chien further omitted the monks in his copy, creating a portrait of this bodhisattva standing elegantly alone in a bamboo grove.

Mr. Chang Dai-chien donated this painting to the National Palace Museum.

National Palace Museum

Chang Dai-chien and Dunhuang

Copy of a Northern Wei Painting of Sumagadha's Cause for Seeking the Buddha from Mogao Cave 257 at Dunhuang Chang Dai-chien (1899-1983), Republican period Handscroll, ink and colors on silk, 62 x 591.7 cm

Copy of an Early Tang Painted Vaulted Ceiling at a Mogao Cave at Dunhuang Chang Dai-chien (1899-1983), Republican period Hanging scroll, ink and colors on silk, 64.6 x 65.1 cm

Copy of a High Tang Painted Vaulted Ceiling at a Mogao Cave at Dunhuang Chang Dai-chien (1899-1983), Republican period Hanging scroll, ink and colors on silk, 68 x 67 cm

Copy of Shakyamuni Preaching the Law at Cave 11 of the Western Thousand Buddha Caves at Dunhuang Chang Dai-chien (1899-1983) and Chang Hsin-te (ca. 1922-1953), Republican period Hanging scroll, ink and colors on silk, 119.7 x 96.9 cm