drawing, painting, watercolor, ink
drawing
water colours
ink painting
painting
asian-art
watercolor
ink
botanical art
watercolor
calligraphy
Dimensions 12 1/8 x 9 1/16 in. (30.8 x 23 cm)
Curator: This elegant painting, dating to 1656, is titled "Blossoming Plum from a Flower Album of Ten Leaves" and was created using ink and watercolors. It’s currently located here at the Minneapolis Institute of Art. The artist is Xiang Shengmo. Editor: It's deceptively simple at first glance, but there's a quietness that's rather compelling. The visible brushstrokes show a delicacy of gesture that makes it quite touching. And look at the way the material—probably handmade paper—embraces the pigment! Curator: Plum blossoms in Chinese art and culture have multiple layers of symbolism. The most prominent meanings associated with the plum blossom are resilience and renewal. It also became connected with Confucian values, purity and integrity of character. This imagery links art and ideology. Editor: Absolutely, it’s also very material! Notice how much the surface quality of the painting contributes to this impression? There's such fine, nuanced use of ink here; and with watercolors you can really achieve soft effects. The way ink merges into the paper texture speaks of the artist's awareness and engagement with the materials. Curator: And that awareness connects the physical object back to the tradition itself! Think of calligraphy also present. Each written word is itself a mark, mirroring the painting strokes, creating textual symbolism and meaning beyond language itself. Editor: You’re right to note the way the artist seems to use writing to almost map thought itself; ink-saturated, each line so purposeful. Curator: For me, considering these blossoms now, it prompts deeper questions of resilience within the culture. They suggest cycles of perseverance beyond an individual, reflecting deeper currents of history. Editor: I keep thinking about the hand that guided the brush, and the specific resources Xiang Shengmo had. Considering those constraints is important when contemplating something like resilience, which may have emerged out of specific socio-economic conditions of production. It’s remarkable how much can be revealed within this spare depiction of a plum.
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Xiang Shengmo was born into one of the most prestigious families in Jiaxing, a city in northeastern China. When the Manchu invasion reached Jiaxing, in 1645, many of Xiang’s friends and relatives died in a vain attempt to save their city. His homestead was destroyed and his family’s art collections lost. Following this upheaval, Xiang’s painting changed from an amateur, literati pursuit, becoming a source of income. Xiang was at the height of his technical and expressive powers when he created this album, featuring a wide range of flowers including wintersweet, cockscomb, apricot, pear, daylily, and cassia. He worked here in pure color without ink outlines and in shaded brushstrokes, which give the impression of three-dimensional modeling.
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