2018年5月15日 – 6月15日
每周二至周日 14:00 – 18:00
嘉德艺术中心 B2层（B2 空间）
Eye-catching and Mind-opening
Ink Painting Exhibition
Curator: Jia Yuntao
Date: 15 May 2018 - 15 June 2018
Hours: 2 pm - 6 pm ( Closed on Mondays )
B2 Gallery, Guardian Art Center,
No.1 Wangfujing Street
Dongcheng District, Beijing
Several Feet of Horizontal Strokes
Makes the Width of a Hundred Miles
Handscroll, a form of mounting for traditional Chinese painting, allows the viewers to hold both ends of the painting and unfold it for viewing. Due to its features of length and width, it is also called "long scroll" or "lateral scroll." Handscroll was originated from bamboo or wood slips, and ancient books and paintings of China were all in the form of scrolls. Handscroll is the most complicated mounting form. When unfolded, a scroll of painting or calligraphy work will show the following parts in order: frontispiece, front vertical strip, artwork, back vertical strip and colophon panel. The artwork is certainly the main body of the handscroll, and the other parts were originally designated for protecting the artwork and then gradually developed into setoffs of the artwork. The inscription on the frontispiece and the postscript on the colophon panel have both become organic components of a handscroll. The older the work is, the richer information it contains. With the handscroll being passed down or remounted repeatedly, the colophon panel continuously extends, and even the vertical strips are filled with text of appreciation. The creation of an artwork is just the beginning of its life. It will be continuously enriched in the eyes of appreciation and then keep growing.
The greatest feature of handscroll is the expandable layout. The content and composition of a handscroll are both based on this feature; and proper content and reasonable composition in turn can better highlight the charm of such layout. "Several inches of vertical strokes create the height of a thousand meters; several feet of horizontal strokes makes the width of a hundred miles", which describes a landscape long scroll. The immortal masterpiece Dwelling in the Fuchun Mountains of Huang Gongwang, the great master of the Yuan Dynasty just portrays the scenery along the Fuchun River and Fuchun mountains for hundreds of miles in the form of a long scroll. After unfolding the scroll, you can first see a high hill, then gentle slopes and sandy islets, which are followed by continuous mountains, and then gentle landforms and finallyanother steep mountain echoing the front.In this work, wavy mountains naturally form a paragraph of their own, the river runs throughout the full width, and the sceneries are perfectly arranged and linked.It makes the viewer feel rowing on the river, enjoying the sceneries that seem to move with the viewers.
Long scroll can also utilize the narrative function of the painting. The Painting of Goddess Luo Rhapsody by Gu Kaizhi in the Eastern Jin Dynasty, based on Cao Zhi's Goddess Luo Rhapsody, charmingly tells the encounter of Cao Zhi and the Goddess Luo by converting imaginative text into graceful image. The Painting of Han Xizai's Dinner Party by Gu Hongzhong in the Five Dynasties adds the actuality to the narrative function and gives full expression of a noble dinner in several sections. Such narrative long scrolls also include the Amusement of Emperor Xuande in the Ming Dynasty and Emperor Kangxi's Southern Inspection Tour in the Qing Dynasty, etc. The famous Riverside Scene at Qingming Festival is both a genre painting and a figure painting. It is incomparable in terms of the diversity of sceneries, the richness of details and the refinement of description.
The scenes are the imagery projection of the artist's inner state, and the linear participation of time is incorporated in the creation of the long scroll work. Afterwards, every unfolding of the scroll is a replay of such period. The viewer's eyes move along with the scroll, just like the creations of the artist displayed slowly. When appreciating a handscroll, the ancient people often unfold part of the scroll first and then the rest gradually. Today, even if a scroll is fully unfolded in the exhibition hall, the viewers can only enjoy the scroll section for section due to limited angle of view. Therefore, unlike hanging scrolls and albums that allow viewers to see the full pictures, handscrolls can only be viewed in a flowing manner, and so the appreciation must also be a flowing process. The viewer's experience includes both the appreciation of what they are watching now and the lingering thoughts about the previous scenes, and, more possibly, the expectation and imagination of the following works. At this moment, perhaps, time is not that important.
Contact: Jia Yuntao Wu Chenming