The early Ming dynasty was a period of cultural restoration and expansion. The reestablishment of an indigenous Chinese ruling house led to the imposition of court-dictated styles in the arts. Painters recruited by the Ming court were instructed to return to didactic and realistic representation, in emulation of the styles of the earlier Southern Song (1127–1279) Imperial Painting Academy. Large-scale landscapes, flower-and-bird compositions, and figural narratives were particularly favored as images that would glorify the new dynasty and convey its benevolence, virtue, and majesty. The Ming Dynasty is a period when various painting styles arose and different genres of painting flourished. The genres and subjects of painting, the traditional painting of human figures, landscapes, flowers and birds continued the trend of popularity. The painting of plums, orchids, bamboos and miscellaneous subjects were also in full motion. In regards to painting skills, great achievements had been made in ink painting on landscapes and freehand brushwork of flowers and birds.
In Ming Dynasty paintings, the customs of both the Southern Song painting academy and the Yuan scholar artist were improved further. While the Zhe School of painters continued on with the descriptive, ink-wash style of the Southern Song with great technical ability, the Wu School looked into the expressive calligraphic styles of Yuan scholar painters emphasizing restraint and self promotion. In Ming painting, each form is built up from a set of brushstrokes; the execution of these forms is an inimitable personal performance. Imposing the importance of personality in art over just technical skill, the Ming artist aimed for mastery of performance rather than lengthy craftsmanship.
The poem at the top of the piece reads below.
I hear you have opened up a “Dao path” near the ocean,
Where clouds of leaves and frost-covered flowers vie in wondrous splendor.
I too have built a new residence at Zhixing Mountain,
May I share some of your autumn colors on my eastern hedge.
I chose this piece of art from the Ming Dynasty, by Lu Zhi called Planting Chrysanthemums. I chose this piece because it caught my eye with its light colors to help emphasize the detail of the rocks and trees and also the landscape of the piece is stunning, with the high cliffs and shadowed mountains, like apparitions in the background. In addition I also found charming the huts tucked into the trees, low in the valley of the cliffs, it has fantastic detail, the fence protecting the entrance with its gate welcoming visitors to the valley residence. The roofs of each hut are well detailed you can see the difference between the straw or bamboo and the stone roofs. It is a breath taking view that I enjoy very much. Lu Zhi was the son of a Suzhou schoolteacher and a pupil of Wen Zhengming. After his father’s death, Lu supported his family by selling his paintings. About 1557, Lu retired to the mountains west of Suzhou, where he led a reclusive life cultivating rare flowers, writing poetry, and painting. Awash in mist and soft colors, the crystalline mountains in Lu’s painting evoke perfectly the dreamlike Peach Blossom Land of the immortals.
Source: Ming Dynasty (1368–1644) | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
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