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Yuan dynasty Wu Zhen (1280-1354)

Twin Pines

Hanging scroll, ink on silk　
180.1 x 111.4 cm

Wu Zhen was a native of Jiaxing in Zhejiang who went by the style name Zhonggui and the sobriquet Meihuadaoren. As a youth, he studied under Liu Tianji and became learned in Daoism and Buddhism. He vowed to remain in reclusion and therefore never desired public attention or office.

He began to learn painting sometime during the Dade era (1297-1307). In his early period, Wu often copied the works of famous Five Dynasties and Northern Song landscape painting masters as Dong Yuan, Juran, Li Cheng, and Guo Xi. After the age of 50, his style gradually matured. Wu, however, rarely associated with other scholars, so few people knew about his painting. Only the middle of the Ming dynasty when such scholar-painters as Shen Zhou (1427-1509) and Wen Zhengming (1470-1559) promoted Wu's painting did aspects of his life come to light. He then came to be praised along with Huang Gongwang (1269-1354), Ni Zan (1301-1374), and Wang Meng (1308-1385) as one of thee Four Masters of the Yuan .

The 1328 date on this painting indicates it was done by Wu at the age of 48, making it his earliest surviving work. The calligraphy in his inscription also somewhat differs from that appeared on later works. The title is based on that given in the Qing dynasty imperial catalogue (Shiqubaoji ), but the trees shown are actually cypresses, not pines. In An Qh'i 'sMoyuanhuiguan (Classification of Works Viewed), he recorded the work as "Level Distance of Twin Cypresses," which appears to be a much more appropriate title.

In "Eulogy on Auspicious Cypresses" by Yuan Jue (1266-1327), he mentioned that in the first lunar month of 1326, the majestic cypresses were reportedly planted by the ancient Daoist master Lu in the Xuanmiao Abbey located in Siming (modern-day Yinxian, Zhejiang). The trees were said to suddenly splay out at the top, forming an unusual shape like a phoenix coronet. People had long praised the sight, considering it an auspicious omen. Two years after Yuan Jue's record, Wu Zhen did this work for the Daoist Zhang Shanyuan of the Xuanmiao Abbey. Perhaps, then, the cypresses in this painting were the auspicious ones at that Daoist abbey.

The composition here takes the level distance approach to space found in the Li Cheng and Guo Xi's school of painting. The ancient cypresses stand tall and majestic in the foreground as a small stream winds its way in the area viewed between the tree trunks . On either side of the banks are rolling hills complemented by houses at the edge of a forest . The cypress trees were rendered equally with outlining and washes. In this fine depiction, the branches and trunks are elegant and exacting with a majestic air to them. In the background, the rolling hills and mountains were mostly done using washes of light ink. Between the fore-and background is an expanse of space that successfully creates a subtle scene of peace and tranquility.

Four Masters of the Yuan

This is a collective term for the four representative masters of Yuan landscape painting. However, there are two versions for the four members making up the group. One was introduced by Wang Shizhen, whose four members comprised Zhao Mengfu, Wu Zhen, Huang Gongwang, and Wang Meng. The other was presented by Dong Qichang, whose four members consisted of Huang Gongwang, Wang Meng, Ni Zan, and Wu Zhen. The latter is the mostly commonly accepted grouping.

Shiqubaoji

The Qing dynasty (1644-1911) imperial catalogue Shiqubaoji, which follows Midianzhulin, was commissioned in 1744 and completed the following year. Composed of 44 chapters, it records in detail the works of painting and calligraphy in the collection of the inner court. Catalogued according to storage site and by number, the works are also categorized by format as well as artist. Outstanding works of unquestioned authenticity ranked at the top and aspects of medium, size, inscription, and seal were recorded. Authentic works of lower quality or undetermined authorship were ranked lower, and information concerning them was recorded in less detail.

An Qi

An Qi (1683-?) was of Korean descent and later entered the Manchu banner system of the Qing dynasty, living in Tianjin. Passed away between 1744 and 1746, he was a noted connoisseur of painting and calligraphy at the time. An Qi came from a wealthy family that had a monopoly in salt-selling. Studying since he was a youth, he also appreciated painting and calligraphy. When other connoisseurs of his time passed away, he often bought the masterpieces in their collections. Most of his treasured collection were recorded in his Moyuanhuiguan (Catalogue of Works Seen).

Moyuanhuiguan

Written by An Qi (1683-?), his preface to this book was written in 1742. Most of the works catalogued in the book were in his collection, while others were in his friends' collection or for sale. Many of them, which were written between the Six Dynasties period and the end of the Ming dynasty, were recorded masterpieces. Composed of a main part and an addendum, painting and calligraphy each take up half the content. The main edition, with more detailed records, often provides research information and commentary along with discussion of techniques and brushwork for works from the Song dynasty or before. The addendum includes works acquired after 1742. With An's old age possibly playing a factor, the content of this part is inferior to that of the main part.

Yuan Jue

Yuan Jue (1266-1327), after the fall of the Song dynasty, became the president of the Lize Academy and later went on to serve as a Hanlin Academician-in-waiting. Coming from a family with an extensive library, Yuan Jue was of broad learning and gifted in the connoisseurship of painting and calligraphy. His writings were also praised by contemporary scholars. Many of his records in his collected writings describe the literary activities and collection of painting and calligraphy at the court.

Splay

Area viewed between the tree trunks

Houses at the edge of a forest