Enlightening by Education, Upholding Social Relations: The Confucianist View of Painting's Primary Role
The 9th century art historian Zhang Yanyuan emphasized that the most important function of painting was to "enlighten through education and uphold social relations." The exhibition objects in this section reflect how these ideas were historically put into practice. Narrative paintings such as The Twenty-Four Paragons of Filial Piety and Yuan An Lying Down in a Snowstorm were used to instill views on ethics and proper social relationships in the general public. Meanwhile, works such as The Mirror of Emperorship Illustrated Handbook and Wei Bin Fishing were intended to inspire rulers to learn from others and follow their example. The continued depiction of stories of loyalty, filial piety, integrity, and righteousness by artists across different time periods reflects such Confucian cultural ideals filtered through time and passed down through generations.
Zhu Yun Breaking the Balustrade- Anonymous, Song dynasty
- Silk
This painting illustrates an instance of admonishment from the reign of Emperor Cheng of Han (33-7 BCE). The magistrate of Huaili District Zhu Yun publicly accused Zhang Yu—both Counselor-in-chief and imperial tutor—of being a sycophant, infuriating the emperor. When ordered to be arrested and executed, Zhu Yun did all that he could to cling to the palace railing, breaking the balustrade in the process. Emperor Cheng ultimately pardoned Zhu Yun due to the persuasive remonstration of Xin Qingji, and the broken balustrade was left as to serve as a warning.
The artist sets the scene in a courtyard constructed with towering pine trees, rocks from Lake Tai, and ornately adorned railings, diverging from historical accuracy to increase the work's aesthetic appeal. Though unsigned, its figures are done in fluid lines and the details are delicately and thoroughly portrayed, suggesting this work is by a Southern Song court painter.
Yuan An Freezes in the Snow- Attributed to Yan Hui, Yuan dynasty
- Silk
The Eastern Han dynasty figure Yuan An was once caught in a heavy snowstorm in Luoyang. Rather than disturbing others, he chose to lay motionless in his snow-covered home. He was later discovered by the local magistrate during an inspection and was nominated for office for his filial piety and integrity. The painting depicts the governor arriving by carriage, while his attendant peeks through the gate on tiptoe, seeming to imply an allegory of a ruler calling on men of worth to serve their country.
The scene captures the desolation of the snow-covered landscape, with rapid brushwork depicting the interlacing dead trees and bare branches. Swift, parallel lines articulate the vegetation and the wicker gate, while ink wash creates the hazy, veiled atmosphere of the fields of snow. The figures and their drapery are dynamic and drawn with energetic lines, close in style to the mid-to-late Ming dynasty Zhe School, suggesting this is a Ming period work.
Fishing on the Banks of the Wei River- Dai Jin, Ming dynasty
- Silk
This painting depicts the story of King Wen of Zhou (1112-1050 BCE) paying a visit to the recluse Taigong Wang while the latter was fishing by a riverbank. Time and again, King Wen was tested by Taigong Wang and emerged as a person of virtue and talent, receiving an official post. Two figures are shown bowing to each other by a willow-lined embankment, with the fishing pole on the shore pointing to the white-haired man as Taigong Wang. Five attendants wait behind the trees, keeping their distance from the protagonists. The saturated axe-cut strokes on the stones in the foreground serve to draw the viewer's attention to the central figures.
Dai Jin (1388-1462), courtesy name Wenjin, was a court painter during the Ming dynasty. This work mainly follows the painting styles of the Southern Song artists Li Tang and Ma Yuan, with the most of scenery placed on the composition's right side. The figures and their robes are punctuated with angular lines, while the rocks are depicted using axe-cut texture strokes.
Liu Bei's Third Visit to Zhuge Liang- Attributed to Li Di, Song dynasty
- Silk
This painting depicts the late Han Dynasty tale of Liu Bei making three visits to the recluse Zhuge Liang living in seclusion in the mountains, inviting him to join his cause. The composition centers on a massive rock wall, which imitates a stage setting and serves as a backdrop for the main figures, drawing the viewer's gaze to the foreground. Liu Bei, Guan Yu, and Zhang Fei stand in front of the stone bridge, while their attendants and horses wait in the grove to the right. On the left, a young servant opens the door, and Zhuge Liang can be seen reclining by the window of his thatched cottage beyond the wicker gate.
The work shows signs of multiple repairs, and the signature of Li Di was added later. The articulation of the landscape, trees, rocks, and figures is characteristic of Ming court painting, suggesting the work was created by an artist connected to that tradition.
Visiting Dai Kui on a Snowy Night- Zhou Wenjing, Ming dynasty
- Silk
This painting portrays a story of a famous, self-willed literatus from the Eastern Jin. Waking from a dream on a snowy night, Wang Huizhi (338-386) was drinking alone under the bright moonlight when he was suddenly struck by the mood to visit a friend. He then ordered his attendants to quickly steer a boat to call on Dai Kui (331-396). When Wang arrived at the door, however, he changed his mind, leaving behind the famous saying, "I arrived in high spirits and departed content."
The styles of Southern Song artists Ma Yuan and Xia Gui are implied in the composition and brushwork, though the texture strokes of the rocks are sparse, perhaps to convey the effect of accumulated snow. The lone skiff cutting through the silence of the snowy night brings out the literatus's spontaneous nature, making this work a fine example of narrative painting from the Ming court.
