The Transition from Song to Yuan - Essay Example

The Transition from Song (960-1279) to Yuan (1279-1368) Introduction Throughout history, painting has been an integral representation of Chinese history. Contemporary custodians of the painting art usually borrow from ancient styles by artists. This kind of imitation goes beyond just copying by adding patterns that represent changes in the society’s way of life over time. Consequently, artists are expected to plough immense effort and care in their work as they seek to bring the past into the present. This essay examines the transition and relationship between two of the most important epochs in the history of Chinese painting: Song (960-1279) and Yuan (1279-1368). These two eras recorded tremendous change and transformation of the interpretation of knowledge and culture among others. During the Yuan Dynasty (1271-1368) for example, keen historians have noted unfamiliar nature of artistic creations which indicate relating trends of the previous eras. Studying the relationship between these two epochs substantially demystifies the Chinese historical gap. There is a fine line defined by the transition between the two well-defined epochs with unclear and overlapping changes. Song historians have identified the collapse of the Northern Song and the adoption of the Southern Song policies in 1132 as the critical period that spark political and artistic changes. As a result, the Yuan massively borrows intellectual strands of artistry from the southern Song. This paper details different paintings during the two epochs and describes close transformational depictions relating to transition. The Song Epoch (960-1279) This was a crucial Chinese era which saw was impacted by many artists including Xu Xi. His Snow Bamboo painting is a notable representation of his creativity. Xu Xi, attributed, Snow Bamboo. Ca. 950, Five Dynasties period. Hanging scroll, ink on silk The Snow Bamboo painting by Xu Xi (lived in the early Song period) has been described as being “worth more than 500 pieces of gold” by historians keen on the Song era. Painted on silk using grey ink, the painter manifested marvelous insight and deep sense of realism. The brushwork (bifa) is massively compliant of descriptive detail achieving magical results. One can hardly believe that this is the creation of human hands. Xu Xi presents the painting using a reserve skill where the bamboo plants are lightened against a dark background. This technique is then reversed in some parts of the painting where the bamboo leaves and stalks are darkened on a lightened silk. This technique went on to define the Song period and many artists “return” and creatively present their contemporary work using the reserve-reverse method. Xu Xi creatively switches between the two methods unnoticeably and carefully draws attention away. Suggestions have been proposed that he used wax-resist method to achieve this feat. However, even the wax-resist skill cannot even reach the high standard portrayed by the painting above. The details that Xu Xi technique achieves are extraordinary. The light and dark effect illuminates an incredible measure of realism. The admirer is left engrossed on the subject depicted on the picture, subconsciously drifting away from the artist’s hand. The ever varying state of nature is further depicted by the weathered rocks and the thin, ragged leaves. These changes are also naturally attributed to the weather, seasons and living organisms. Xu Xi was particularly keen not to miss any of these key attributes in his painting. This is clearly an amazing magnificent painting that needs more attention from emerging artists. It is worth noting that this painting lacked much colors, a common phenomenon in our time. One can only marvel at the thought of how a colored painting of the same would have looked like. The Yuan Epoch (1271-1368) The Yuan dynasty succeeded the Song era with a slight overlap which has been identified as the transition period between the two epochs. A closer study of the Dwelling in the Fuchun Mountains by Huang Gongwang would clearly represent the dominant technique and skill of the Yuan epoch. Huang Gongwang, Dwelling in the Fuchun Mountains (section). Dated 1347-50, Yuan Dynasty. Handscroll, ink on paper. Gongwang’s Dwelling in the Fuchun Mountains painting achieves realism by cropping the tops towards the end of the scroll darkened rocks on the hillsides. This element of differentiation is borrowed from the Song epoch. The painting of the weathered rocks on the sides of the hills also suggests that Gongwang may have been inspired by Xu Xi’s artistry. The misty details on the hillsides are also similar to the snowy representation of the bamboo vegetation painting by Xu Xi. Both attributes make these environments unsuitable for human habitation although Gongwang is believed to have been a recluse in the Dwelling in the Fuchun Mountains where he performed his painting. Huang Gongwang is also believed to have borrowed his creativity from Guan such as the one shown below. Again, stylistic comparisons can be made of the two epochs as reflected in their paintings Guan Tong, attributed, Autumn Mountains at Dusk. Ca. 950, Five Dynasties period. The gently sloping hills of the Autumn Mountains at Dusk and the strand-like strokes can be noted in Gongwang’s work. Ink dots and hanging mist and snow are evident in the three paintings discussed above. The flow of the mist is represented by a bare surface of the silk, a tactic seemingly attributed to previous artists. Again, these blank areas of the paper aim to bring out the sensational force of life breath in the painting. The song and Yuan artists appear to have preferred solid (shi) parts to represent life breath. However, some still sought empty (Xu) parts of silk to represent the same. All in all, the alternating application of ‘solid’ and ‘empty’ within a painting brought life in the works. These inherent little transformations of styles were rampant during the transition period of major epochs, including the Song and Yuan. Huang also draws inspiration from earlier masters to instill a sense of liveliness and newness in his painting. This clearly indicates maturity and careful generation of creativity. His brushwork portrays a great deal of naturalness achieved through varying shades of ink texture. There is also an element of sketchiness in Huang Gongwang painting which is an inspiration by the works of artists belonging to the Song dynasty. The Dwelling in the Fuchun Mountains has been used for a long time by various artists to transmit lineage traditions. The first of this undertaking was by the original painter, Huang Gongwang who was one of the renowned masters of the Yuan era and pioneers of creative imitation. He represents, to a large extent, the transitional period and propagation of ideas from the Song to Yuan dynasties. One of his followers, Wang Yuanqi, acknowledges Gong as the artist who bore the burden and successful orchestrated the transfer of artistic validity from the previous eras to the eras that came after him. His style was unique, and attracts as well as inspires many a admirers to this date. Huang Gongwang’s style therefore passed on the works by the previous artists in the Song epoch. He has been reserved praise for introducing the spirit of essence (shensui). Of great interest is the continued application of brushwork in the Yuan era. This painting creatively “imitates” compositional aspects as well as superficial elements of painting. In this case, the painter is inspired by the works of the previous epoch (Song) while integrating his own ideas in his art. The result is a unique inspirational new style. For example, the continued use of brush and ink brought realistic representation of the varying and artistic activities of nature (huagong). This feat is believed to be inspired in the spirit rather than merely observing physical appearances. Of an essence is the fact that mastering previous techniques does not qualify one to represent the art of creative imitation. Artists in the two epochs consciously show a sense of beauty, descriptive account and display of technical ability. Every detail of a painting was carefully considered and rid of intimidating aspects like brilliance associated with other genres of art such as music. However, comparisons such as composition and brushwork variations can be made of music. The key aspects that govern the transformation between the two epoch are: the rules, thought and concepts that define the paintings. This achieves a style, not paintings, that are similar to the one copied from. The borrowing artist is encouraged to create their own style instead of being enslaved by their master’s ideas. The existence of an energy (Qi) embodied in a spiritual breath is believed to be the driving force behind the creative imitation between the Song and Yuan eras. On the same wavelength, Huang’s Dwelling in the Fuchun Mountains is a true reflection of this energy at work. This is the energy that drives the artist and inspires him to look at other works and blend both into a breathtaking new style of their own. Nature is also a driving force because most of these paintings are landscapes or other forms of nature. The scroll or the silk as used by both epochs further illuminates the expressions of the painting. Conclusion The Chinese history has been enriched by many eras that have been defined by various artistic styles. Transition from one epoch to another has been made possible by the willingness of artists to borrow styles of earlier masters and eras. The Song epoch was a tremendous platform from which artists like Huang Gongwang drew inspiration and went on to paint one of the most revered paintings in the Chinese history. Artists carefully consider their masters painting, not style, and blend in their own new style. This aspect of originality, yet maintaining close relativity across epochs, has been a great custodian of the Chinese history and artistry. As a result, artists are encouraged against slavery to their master’s paintings. Clearly, there must be an energy that drives this phenomenon and various artists appreciate and acknowledge it. Works Cited Richard Barnhart, "The Five Dynasties (907-960) and the Song Period (960-1279)," from Yang Xin, et.al., Three Thousand Years of Chinese Painting, pp. 87-96. Read More