Selections

Chia Shih-ku, a native of K'ai-feng in Honan province, served in the Imperial Painting Academy during the Shao-hsing reign (1131-1162) in the Southern Sung period.

On a craggy outcropping appear three pines overlooking temple buildings outside a city gate. The vegetation is luxuriant, with steps nearby winding up to the gate. In the lower right are two monks carrying sutras as they make their way upwards. The composition is simple yet striking, while the rock texturing is derived from that of the Painting Academy master Li T'ang. The ink is thick and the brushwork forceful yet stubby. In the lower left appears the signature "Chia Shih-ku".

On either side of the banks in this work grow orange and tangerine trees. The flat countryside is interrupted by water tumbling over the rocks. Among the shoals are pairs of wagtails and wild ducks milling about. Mist extends among the trees to the water's edge, creating elegant and isolated scenery. This is an outstanding example of "minor blue-and-green" by a Sung dynasty artist.

It was said that Chao Ling-jang was both talented and refined, painting shoals and waterfowl with an utmost otherworldly manner. These qualities are also found here, which is perhaps why this work was attributed to him.

Ts'ai Ching (style name Yüan-ch'ang) was a Northern Sung calligrapher from Fukien. He served as a high official at the court of Emperor Hui-tsung and exercised great power. In politics, he favored the Old Faction

The brush manner in this letter is free and easy, the force being strong yet soft for a manner of its own. Later Ming and Ch'ing dynasty connoisseurs discussed calligraphy in terms of the personal character of the artist. Due to criticism over Ts'ai Ching's political career, he was replaced by another calligrapher surnamed Ts'ai (Ts'ai Hsiang) as one of the Four Sung Greats.

Chao Meng-fu (style name Tzu-ang; sobriquet Sung-hsüeh tao-jen) was a member of the Sung imperial clan and a native of Wu-hsing, Chekiang. Posthumously entitled Wen-min, he excelled at painting and calligraphy, being ranked as one of the leading artists in his day.

Chung-feng, a high monk of the Yüan dynasty, was highly respected. Both Chao and his wife took him as their master, hence the letters between them. The mature brushwork and lofty manner, as well as the spirited writing and casual appearance here, remind one at once of Wang Hsi-chih's style.

Liang K'ai, a native of Tung-p'ing, Shantung, was a court painter during the Chia-t'ai reign of Emperor Ning-tsung in the Southern Sung. Taking joy in wine, he was unencumbered by rules and hence known as "Madman Liang".

This immortal in splashed ink, except for the fine rendering of the head and facial features, was done completely in a liberated bravura of wet ink strokes. The condensed brushwork nonetheless fully reveals the graceful air of the immortal. Though the artist did not seek formal likeness, he still was able to capture the complete spirit and vibrant feeling of the subject.