[EAsiaUVa] [Fwd: PRESS:"Yellow Mountain: China's Ever-Changing Landscape" Open May 31 at the Arthur M. Sackler Gallery]
East Asia Center
eastasiacenter@virginia.edu
Mon Mar 24 15:48:55 EDT 2008
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Subject: PRESS:"Yellow Mountain: China's Ever-Changing Landscape" Open
May 31 at the Arthur M. Sackler Gallery
Date: Fri, 21 Mar 2008 15:10:09 -0400 (EDT)
From: Freer and Sackler Galleries <publicaffairsasia@si.edu>
Reply-To: publicaffairsasia@si.edu
To: eastasiacenter@virginia.edu
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*Media Contact:* James Gordan (202) 633-0520
Amanda Williams (202) 633-0271
*Media Web site:* www.asia.si.edu/press
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*Monday, March 17, 2008*
*"Yellow Mountain: China's Ever-Changing Landscape"
Opens May 31 at the Arthur M. Sackler Gallery*
Washington, DC- Yellow Mountain, also known as Mt. Huang or Huangshan,
is one of the most beautiful locations in China. With its magnificent
peaks, some soaring thousands of feet, the mountain holds as much allure
to artists today as it did in the early 17th century, when the great
traveler and geologist Xu Xiake (1587-1641) toured its peaks twice and
recorded the journeys in his diary. Woodblock prints, including a set of
43 illustrations created by the monk painter Xuezhuang (ca. 1646-1719),
further popularized the image of Yellow Mountain.
"Yellow Mountain: China's Ever-Changing Landscape," on view May 31
through Aug. 24 at the Smithsonian's Arthur M. Sackler Gallery, presents
10 leaves from the very important album of artist Xuezhuang, who fled to
the mountain for political sanctuary after the fall of the Ming dynasty.
In addition to woodblock prints and album leaves, the exhibition
features a number of magnificent hanging scrolls and an impressive
handscroll, measuring nearly 20 feet in length, that will hang in the
exhibition's opening gallery. The handscroll, dated 1704, offers a
panoramic view of the mountain that allows visitors to virtually travel
from peak to peak and valley to valley.
While many of the exhibition's prints and paintings present an overall
view of the mountain's ever-changing landscape, others provide up-close
observations of particular topographical features, such as individual
spires, monastic cottages and twisted pine trees.One such painting by
monk painter Hongren (1610-1664) depicts a single pine tree perched
precariously atop a mountain peak while bending awkwardly toward the
ground.
Around 1646, young scholar Jiang Tao became a Zen monk and took the
religious name of Hongren. He developed a unique style of landscape
depiction and is considered one of the most important individualistic
artists of the 17th century. Hongren traveled extensively in southern
China, but the location that most captured his imagination was the
isolated Yellow Mountain range in his native Anhui Province. With their
bare granite peaks and deeply fissured cliffs, the Yellow Mountains
became an emotional sanctuary for him. The distinctive rock contours
rendered with sharp, angular brushstrokes and the repetitive use of
overlapping rectilinear forms are typical of Hongren's style, which is
particularly suited to describing the terrain of the Yellow Mountains.
While Hongren has remained a familiar name in Chinese painting circles,
little is known of Xuezhuang. Various poems and written accounts
indicate that he spent some time in Nanjing in the 1670s and then
migrated to Cuiluoshan (also known as Caishishan) in Dangtu, Anhui
province, where he stayed for five years before moving to Yellow
Mountain in 1689. He settled in an area of the mountain called Pipeng,
where a single opening allows clouds to rush in between the peaks
creating what the artist described as "a sea of clouds" and reflected in
a painting entitled "Cloudy Boat in the Yellow Ocean." It was painted
for a friend, Cheng Ting (1672-1727), who visited the monk in spring
1718. An inscription in the upper right-hand corner of the canvas
explains that the painting was a token of thanks for the visit.
Joseph Chang, associate curator of Chinese art at the Freer Gallery of
Art and Arthur M. Sackler Gallery, is the curator of "Yellow Mountain:
China's Ever-Changing Landscape."
The Arthur M. Sackler Gallery, located at 1050 Independence Ave. S.W.,
and the adjacent Freer Gallery of Art, located at 12th Street and
Independence Avenue S.W., are on the National Mall in Washington, D.C.
Hours are 10 a.m. to 5:30 p.m. every day, except Dec. 25, and admission
is free. The galleries are located near the Smithsonian Metrorail
station on the Blue and Orange lines. For more information about the
Freer and Sackler galleries and their exhibitions, programs and other
events, the public is welcome to visit www.asia.si.edu
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For general Smithsonian information, the public may call (202) 633-1000
or TTY (202) 633-5285.
# # #
*Note to Editors:* For hi-res images, please call or email the Freer and
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Image credit:*/Landscapes for Mr. Liweng/* by Xuezhuang (Chinese, (d.
ca. 1646 - 1719)) China, Qing dynasty, December 18, 1695;Album of
eighteen leaves; Ink and color on paper;Gift of Charles Lang Freer.
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Graham Odell
Graduate Assistant
East Asia Center
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