| In the Sung dynasty, a
sense of "harmony," or "resonance," between artist and subject as well
as viewer and object, became one of the ideals of art. This elusive quality proved
difficult to pinpoint, but once achieved, it transcended the subject and went beyond
external appearances. In other words, as skills and techniques for representation grew
increasingly sophisticated in the Sung, scholars felt that allusion and suggestion, as
indicated through subtle introspection, became as important as outside form. This realm of
ideas and aesthetic refinement could be reached through mature yet simple--even seemingly
bland--styles. Sung calligraphy, painting, ceramics, and lacquerware are a concrete
expression of this trend. In calligraphy, for example, the greatest advances took place in
running script, where scholars strove to express themselves with sometimes more personal
flair than technical perfection. Likewise, in painting, the apparently simple scholar
styles of monochrome ink and pai-miao (outlines) rose as color was completely eschewed in
favor of plain ink. Sung artisans were able to create such opulent and advanced
lacquerware techniques as carved red, gold inlay, mother-of-pearl inlay, and hide texture.
However, it was the subtle beauty of black lacquer that was appreciated in tea ceremonies
by scholars and for imperial occasions. Likewise, beautifully carved and colored ceramics
were often fired at private kilns during the Sung dynasty, but it was often the
ultra-refined and subtle beauty of monochrome glazes with engraved decoration or crackle
that was favored by the court and produced at imperial kilns. |
