Jakabffy Imre szerk.: Az Iparművészeti Múzeum Évkönyvei 13. (Budapest, 1971)

HOPP FERENC MÚZEUM - MUSÉE FERENC HOPP - Kecskés, Lili: Several Works of Four Ch'ing Painters

LILI KECSKÉS SEVERAL WORKS OF FOUR FIFING PAINTERS The hulk of the Chinese painlings in our eolleelion. numbering nboul a hundred, is represented by paintings from ihe Ch'ing dynasty. They originated chiefly from the eighteenth and nineteenth centuries. Our best Ch'ing paintings have already been published in our publications, such as Kao Ch'i-p"ei"s finger-painted Hermit. Pion Shou-min's Wild Ducks. Kai Ohi's Seem* of Walking and Lang Shih-ning's Monkey, etc. Here I intend lo introduce four less known painters' works with an attempt lo point mil the variety of our painting eolleelion either from the thematic or from the time aspect. I. Yang T'ing. Landscape, hanging scroll in ink. It is executed on fine velvety drab silk which has losl its velvetiness in the course of time. If is mounted on brown Japanese brocade with green patterns. Inventory number: 9604. 99 X 50 cm. (fig, 1) Yang Ling, l/u Yiian-c'ao. landscape painter of the seventeenth century. He was a native of Yangchou, lived in Moling in thai age when the power had been lodged into the hands of an other nation, bul in the art of painting there had not yet been any change, lie lived for 70 years as a Buddhist believer and died in poverty. His landcape paintings display his individual style, especially his picturing of mountains.

1 In this painting the scene seems to announce the approach of the spring. It can be divided into two parts: the distant mountains and the near trees on a bank. The background is made up of outlines delineating high mountains, towering cliffs with sleep faces on two sides and a descending waterfall. Among the bald flallened peaks and slopes brushstrokes and dois in darker and wetter ink mark the grasses, claspers and trees, with one of ihem in blossom. All these unobtrusive hints place the scene in early spring. Just visible behind the mountains at the center are several peaks drawn with plain wet washes. The contours of the cliffs in pah- dry ink give us an atmosphere of bleakness. On the left at the foot of ihe mountain a storied hut is seen halfhidden in the valley. On the right runs through a mountain stream which bed is unpainted. Nevertheless the far waterfall, the stone bridge and the black dois as gravels suggest that water flows in its bed. In the foreground stand trees growing on rocky ledges of a bank, painted in different foliage patterns. The leafless trees with forked boughs are painted with thin brush strokes. Their irregular trunks are drawn powerfully stretching towards the sky. As a whole they are painted delicately and in detail. The leaved trees also 1 Chou Liang-kung: T'u-hua-lu. — Mao Ta-lun: T'u-hui pao-cbien hsii-lsiian.