Vertical hanging scroll of calligraphic text consisting of five Chinese characters in black ink. One of a pair.
Subject Matter
These two calligraphic works are done by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher herself. Written in semi-cursive script, it demonstrates the artist’s affinity for bold and well-defined lines. The couplet of poetry, reads from right to left, praises the importance of one of China’s classics: There are many old books which have many special characters; yet only great I Ching (Book of Changes) shows us a path through past and future.
Label Copy
Gallery Rotation Spring/Summer 2012
Chen Shu-chen
China, 1908–2000
Two calligraphies
Last quarter of the 20th century
Hanging scroll, ink on paper
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang, 2006/1.130.1 & 2
These two calligraphic works are by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher. Written in semi-cursive script, they demonstrate the artist’s affinity for bold and well-defined lines. The text is a two-line poem distributed over the pair of scrolls and meant to be read from right to left; it praises one of China’s most important texts, the I Ching (Book of Changes), for offering an incomparable guide to understanding the past and future.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Vertical hanging scroll of calligraphic text consisting of five Chinese characters in black ink. One of a pair.
Subject Matter
These two calligraphic works are done by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher herself. Written in semi-cursive script, it demonstrates the artist’s affinity for bold and well-defined lines. The couplet of poetry, reads from right to left, praises the importance of one of China’s classics: There are many old books which have many special characters; yet only great I Ching (Book of Changes) shows us a path through past and future.
Label Copy
Gallery Rotation Spring/Summer 2012
Chen Shu-chen
China, 1908–2000
Two calligraphies
Last quarter of the 20th century
Hanging scroll, ink on paper
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang, 2006/1.130.1 & 2
These two calligraphic works are by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher. Written in semi-cursive script, they demonstrate the artist’s affinity for bold and well-defined lines. The text is a two-line poem distributed over the pair of scrolls and meant to be read from right to left; it praises one of China’s most important texts, the I Ching (Book of Changes), for offering an incomparable guide to understanding the past and future.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A rough, red rock seems to grow out of the hillside, almost as organically as the orchids growing next to it. Calligraphic text is in the upper left corner.
Subject Matter
Literati theory considered paintings modes of personal expression to be created for private occasions in which they were shared and appreciated by circles of friends. The creation of works with peer artists was also an established literati concept and practice. This painting is a cooperative work by Chang Ku-nien and his artist friends. Cooperative work celebrated respectful mutual relationships and reinforced affections within groups of painters. Inscriptions on such works often declare their corporate nature, mentioning all of the artists’ names and specifying who has done what part. It is common for each artist to be responsible for the part of the painting that best reveals his or her talents. Yet who painted what is not clearly indicated in this work; most likely Chang Ku-nien painted the rock while Liu Yantao and Gao Yihong were responsible respectively for the inscription and orchids. Orchids were appealing subjects to scholar-artists, and their elegance and subtle fragrance have long been regarded as the emblem of righteous gentlemen.
In Orchids and Red Rock, although it was not clearly indicated who did what, Chang most likely painted the rock and his two friends from the Seven Friends Painting Club that he participated, Liu Yantao and Gao Yihong, were responsible for the inscription and orchids respectively. Naturally, in a cooperative work, each artist often takes on a subject best representing his/her talents. Appealing to scholar-artist, the elegance and subtle fragrance of orchids have long been regarded as the emblem of righteous gentlemen, thus a suitable subject for scholars alike.
Label Copy
Literati theory considered paintings modes of personal expression, to be created for private occasions and shared and appreciated within circles of friends. The creation of works with peer artists was also a literati concept and practice. These two paintings are cooperative works by Chang and his wife (Plum Blossoms in Snow) and by Chang and his artist friends (Orchids and Red Rock). Cooperative work celebrated respectful mutual relationships and reinforced affections within groups of painters. Inscriptions on such works often declare their corporate nature, mentioning all of the artists’ names and specifying who has done what part. It is common for each artist to be responsible for the part of the painting that best reveals his or her talents. In Plum Blossoms in Snow, the inscription by Chang’s wife reports that she painted the blossoming plum and snowy bamboos and her husband the rest. A plum tree blossoming in snow symbolizes both purity and durability, since tender plum buds courageously bloom even while early spring snow is still on the ground.
Who painted what is not clearly indicated in Orchids and Red Rock, but Chang most likely painted the rock and Liu Yantao and Gao Yihong were responsible respectively for the inscription and orchids. Orchids were a subject appealing to scholar-artists, and their elegance and subtle fragrance have long been regarded as the emblem of righteous gentlemen.
(Tradition Transformed: Chang Ku-nien, Master Painter of the 20th Century, Winter 2010)
Gallery Rotation Spring/Summer 2012
Orchids and Red Rock
1980
Hanging scroll, ink, and light color on paper
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang, 2006/1.132
Literati theory considered painting to be a mode of personal expression; often works were created for private occasions at which they were shared with and appreciated by circles of friends. The creation of works with artist-peers was also an established literati practice and often celebrated respectful mutual relationships, reinforcing affections within groups of painters. This is a cooperative work by Chang Ku-nien and some artist friends. Inscriptions on such works often declare their communal nature, mentioning all of the artists’ names and specifying who has done what part. It is common for each artist to be responsible for the part of the painting that best reveals his or her talents. Yet who painted what is not clearly indicated in this work; most likely Chang Ku-nien painted the rock while Liu Yantao and Gao Yihong were responsible, respectively, for the inscription and orchids. Orchids were appealing subjects to scholar-artists, and their elegance and subtle fragrance have long been regarded as the emblem of righteous gentlemen.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This is a vertical format painting surrounded by green and gold fabric. It is painted in tones of black with some areas of pink and blue color. It depicts a landscape scene with a cluster of small houses nestled in a craggy mountainous area. There is a river that runs through the landscape with two figures crossing a small footbridge. Other figures are shown in the open area of the village. The trees and vegetation are painted with short abbreviated brushstriokes.
Subject Matter
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
Label Copy
This small village tucked in the mountains is brimming with life. Travelers carry loads with pack animals on the bottom right, and two figures trudge across a waterfall bridge with their backs bent—indicating the weight of old age or hard work. The theme of meeting recurs in the painting, as figures bow to one another in both the foreground and middleground. The majestic mountains tower upwards and seem to disappear in the skillfully suggested mist. In the background, mountain peaks created by subtle washes of blues recede into the distance.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
(Japanese Gallery Rotation, Fall 2010)
Gallery Rotation Fall 2010
Formerly attributed to Hasegawa Nobuharu (Tôhaku)
Japan, 1539–1610
Mist Clearing Over a Mountain Village
Japan, Momoyama Period (1583–1615)
late 16th–early 17th century
Hanging scroll, ink, and light color on paper
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund, 1967/2.5
This small village tucked in the mountains is brimming with life. Travelers carry loads with pack animals on the bottom right, and two figures trudge across a waterfall bridge with their backs bent—indicating the weight of old age or hard work. The theme of meeting recurs in the painting, as figures bow to one another in both the foreground and middleground. The majestic mountains tower upwards and seem to disappear in the skillfully suggested mist. In the background, mountain peaks created by subtle washes of blues recede into the distance.
This painting was once attributed to Hasegawa Nobuharu (Tôhaku), one of most celebrated painters of the Momoyama Period, whose large workshop of artists decorated the walls and screens of castles occupied by flamboyant military leaders. The rocky outcroppings and dotted outlines in this painting reveal his style, but it is more likely that this work was done by one of his pupils.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A native of Nagasaki, Japan, Kakutei (1722-1785) became a Zen monk in the Ôbaku School, which had been founded by emigré monks from China in the mid-seventeenth century. While he was a resident of the Seifuku-ji monastery in Nagasaki, Kakutei studied painting with Kumashiro Yûhi (1693/1713–1772), who in turn had studied Chinese decorative bird-and-flower painting with Shen Nanpin, a merchant-artist who had visited Nagasakin in the early 1770s. When Kakutei was later promoted to a position at Shiun'in, a subtemple within the vast Obaku headquarters monastery of Manpukuji, he brought the new style to the Kyoto region. He became close friends with Yanagisawa Kien (1706–58), who would inscribe many of his paintings. Kien in turn had an major influence on the growth of Chinese-style painting in 18th century Kyoto. Kakutei died in Edo (modern Tokyo).
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Vertical hanging scroll of calligraphic text consisting of five Chinese characters in black ink, with artist signature and seal. One of a pair.
Subject Matter
These two calligraphic works are done by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher herself. Written in semi-cursive script, it demonstrates the artist’s affinity for bold and well-defined lines. The couplet of poetry, reads from right to left, praises the importance of one of China’s classics: There are many old books which have many special characters; yet only great I Ching (Book of Changes) shows us a path through past and future.
Label Copy
Gallery Rotation Spring/Summer 2012
Chen Shu-chen
China, 1908–2000
Two calligraphies
Last quarter of the 20th century
Hanging scroll, ink on paper
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang, 2006/1.130.1 & 2
These two calligraphic works are by Chang Ku-nien’s wife, Chen Shu-chen, who was an accomplished painter and calligrapher. Written in semi-cursive script, they demonstrate the artist’s affinity for bold and well-defined lines. The text is a two-line poem distributed over the pair of scrolls and meant to be read from right to left; it praises one of China’s most important texts, the I Ching (Book of Changes), for offering an incomparable guide to understanding the past and future.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Son of Kanô Takanobu and younger brother of the famous Kano Tan'yû. Worked with Tan'yû and other Kanô school painters to decorate the fusuma panels at Nijô Palace in Kyoto in the 1620s. In 1630 he was summoned to Edo, appointed official painter (J. goyô eshi) to the Tokugawa shogun, and made head of the Kobikichô branch of the Kanô school.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A native of Shanghai, Zhang Gunian (Chang Ku-nien) first studied painting at the age of nine under the tutelage of his uncle. His work clearly embraces the free brushwork that flourished in Shanghai painting circles in the early part of the twentieth century. After his move to Taiwan, he frequently did scenes that reflected the accomplishments of the Nationalist Government in creating a modern China. He organized a group of like-minded colleagues as the "Seven Friends of Painting and Calligraphy," and together they often did collaborative works. His paintings and calligraphy were much admired in Taiwan and Japan in the second half of the twentieth century, although less known in the West. A major donation to UMMA of nearly forty paintings by Zhang Gunian, given by his son and daughter, will allow for serious study of this artist's work in North America.
The Rooster is singled out by its expressive outlining brushwork and the vibrant red color of the comb. Its decorative flavor is also enhanced by using a specific type of paper called “cloud-dragon paper” (yunlong zhi), as the pattern of décor resembles motifs of cloud and dragon. Vertical calligraphic text in in the upper left corner.
Subject Matter
This work is reminiscent of the Shanghai school both in its subject and style. Shanghai school painting, which was patronized largely by merchants, often had a strongly decorative character, combining broad calligraphic brushstrokes in ink and vivid colors. Lone Rooster has notably expressive outlining and is enlivened by areas of vibrant red. Its decorative character is enhanced by the use of “cloud-dragon paper” (yunlong zhi), the pattern of which resembles clouds and dragons. The rooster, which belonged to the traditional genre of bird-and-flower paintings popular in the Shanghai school, may have been chosen as a subject to commemorate the Chinese year of the rooster.
Label Copy
Although Chang was trained in Shanghai during the early twentieth century, his works rarely display a connection to the celebrated Shanghai (or Haipei) school of the nineteenth and early twentieth centuries. Lone Rooster is an exception; it is reminiscent of the Shanghai school both in its subject and style. Shanghai school painting, which was patronized largely by merchants, often had a strongly decorative character, combining broad calligraphic brushstrokes in ink and vivid colors. Lone Rooster has notably expressive outlining and is enlivened by areas of vibrant red. Its decorative character is enhanced by the use of “cloud-dragon paper” yunlong zhi, the pattern of which resembles clouds and dragons. The rooster, which belonged to the traditional genre of bird-and-flower paintings popular in the Shanghai school, may have been chosen as a subject to commemorate the Chinese year of the rooster.
(Tradition Transformed: Chang Ku-nien, Master Painter of the 20th Century, Winter 2010)
Gallery Rotation Spring/Summer 2012
Chang Ku-nien
China, 1906–1987
Lone Rooster Summons the Spring
1981
Ink and color on paper
Gift of Dr. Cheng-Yang and Mrs. Shirley Chang, 2006/1.112
This work is reminiscent of the Shanghai school both in its subject and style. Shanghai school painting, which was patronized largely by merchants, often had a strongly decorative character, combining broad calligraphic brushstrokes in ink and vivid colors. Lone Rooster has notably expressive outlining and is enlivened by areas of vibrant red. Its decorative character is enhanced by the use of “cloud-dragon paper” (yunlong zhi) with patterns suggesting these motifs. The rooster, which belonged to the traditional genre of bird-and-flower paintings popular in the Shanghai school, may have been chosen as a subject to commemorate the Chinese year of the rooster.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This scroll is an example of "haiga," a Japanese style of painting where the freely painted image accompanies a short poem called "haiku." Sakaki Hyakusen was a pioneer of this style. The poem on this scroll is entitled "At Yatshuhashi":
On the bridge posts,
I laid down my brush,
the iris.
The spontaneous quality of the brushstrokes can be seen in the iris leaves. Notice how the dark leaf "bleeds" into the lighter one underneath because the srokes were done quickly before the ink had a chance to dry.
Inscription
Signed: Hassen Itsujin; Artist's seal: Hokkyo; The poem : Titled "At Yatsuhashi" ... On the bridge posts, I laid down my brush, the iris...
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
