Plucking Chrysanthemums 1658

Editor: This is "Plucking Chrysanthemums," a 1658 ink drawing by Zhang Feng currently held at the Met. It feels so understated, almost quiet, and it includes calligraphy. What do you see in this piece? Curator: I see a poignant commentary on Ming Dynasty scholar-officials. Consider the context: the Manchus seized Beijing in 1644, marking the end of the Ming and the beginning of the Qing Dynasty. How does this act of “plucking” function symbolically, within the broader themes of displacement and cultural identity? Editor: That's interesting. So the act of picking chrysanthemums, is that connected to something specific? Curator: Chrysanthemums represented a refusal to serve the new dynasty, a quiet form of resistance. By depicting this scholar so simply, Feng emphasizes his virtue and quiet defiance against the Qing’s political oppression and cultural assimilation of Han Chinese. Is the gesture one of quiet rebellion? A reclaiming of personal space and intellectual freedom in a politically fraught moment? Editor: I hadn't thought about it in terms of resistance. So, his solitude is a deliberate choice then, a rejection? Curator: Exactly. It can be understood in dialogue with other artists who embraced similar symbols during this time. How does his isolated, reflective posture impact your reading now? Editor: It gives him a sense of integrity, of holding onto his principles despite the change in power. I never would have seen that without knowing the historical context. Thanks! Curator: Exploring these connections between art, identity, and historical change truly enriches our experience. It is exciting to consider these threads in Zhang Feng's composition.