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A page from “Winter Landscapes and Flowers” (album ca. 1770, Qian Weicheng) ink on silk

Here is a lovely little winter landscape from Qing Dynasty master landscape painter Qian Weicheng (錢維城). Qian was a proponent of the orthodox painting style, and, indeed, we can see that his simple, elegant calligraphic lines emulate the techniques of the Song and Ming artists who preceded him. Although he was perhaps not a master of bravura ink-wash realism to the unearthly degree of Fan Kuan or Guo Xi, Qian brings his own 18th century virtues to the art, and there is a delightful & unaffected simplicity to his work which captures the austere beauty of winter’s bare rocks, leafless trees, and frozen mud. In this little painting, flocks of geese glide through the overcast sky above a branching river which is swollen with melt water. The simplicity of the countryside must have been a dramatic contrast with the opulent splendor of court life in 1774 when this image was dated and inscribed. Of course Qian himself died in 1772, so the inscription and the date were added posthumously by Qian’s greatest fan, the Qianlong Emperor himself!

Qian Weicheng painted over 275 paintings during his time at court and he rose up through the imperial bureaucratic ranks to the exalted position of second-in-command of the Imperial Board of Works. Perhaps you are wondering how it is that Qian came to the capital from his native Jiansu to begin with. Any discussion of dynastic China includes mention of the famous, formidable imperial civil service exams, the great standardized test which was at the center of imperial China’s administrative system. In 1745, Qian came in first place on the exam, an academic feat which brought him to imperial attention and guaranteed his success as a mandarin and as a painter. This path to artistic greatness (acing a standardized test about Confucian principles!) brings up a variety of questions about meritocracy, politics, and aesthetics which we are still wrestling with!

Ye Olde Ferrebeekeeper Archives

July 2022