Courtesy Name: Zhanghou
Sobriquet: Laotian “Old Lotus”
Revival of Figure painting since Song times:
With the arrival of western-styled art, artists in this era explored more natural elements in their works. Diving into more individualistic notions of thinking. Questioning the interpretation of contemporary art. Another artist who held this philosophy was Xu Wei.
The shift toward a more saturated choice of colour and stepping away from the structure forms of scholar-artist pieces.
Born 1599 Zhuji, Zhejiang and passed 1652
He involved himself in the conflicting ideas of Confucian governing service and Buddhist retirement. His paintings suggested a tone of tension and expression of struggle dealing with such worries.
Chen Hongshou painted mainly figures however he has painted landscapes and natural elements as well.
His manner of painting was described as exaggerated and this allowed him to be known as one of the artists that brought forward the development of the art scene in the late Ming period. He also illustrated works for woodblock painting and largely contributed to the scene in late Ming.
Lotus Flowers and Mandarin ducks (Hanging scroll, ink and colour on silk)
This painting depicts some mandarin ducks floating in the pond and some stalks of lotus flowers. Butterflies are seen fluttering around the flowers.
Again mandarin ducks symbolise eternal love and finding a fated pair. They are known to choose a single mate and be together for the rest of their lives. Thus in Chinese culture, they are often seen as a symbol of fated love. The lotus flower in Chinese culture symbolizes the heart and mind's ultimate purity because it rises untainted and beautiful from the mud. To the Chinese, butterflies symbolize freedom, conjugal love, beauty and soul but at the same time death, the vulnerability of life, female vanity and transient joy. Its metamorphosis is the extrication from flesh to the soul and rises from the heavy, ugly reality to the light and beautiful spiritual world.
In a positive light, this can be seen as the blossoming of pure fated love, it is free and beautiful. One that is free and delightful.
On the other hand, if taken in a darker light, a fated pure love will be tainted with sorrow. That would slowly come to light and show a dark and ugly nature.
However, a small frog can be seen on the leaf of the lotus plant. In Chinese belief, frogs often signify prosperity. Looking at this little sign, it can maybe be summed that this painting symbolises a lighter more innocent meaning, a pure fated auspicious love.
Pine and Longevity (ink and colour on paper)
With the indication of the title, it is as it depicts a pine tree amidst a valley. A man is seen in his robes with red shoes, it is said that this was one of the only self-portraits that he has painted.
The brush strokes in this painting showcase a very decisive and strong intention. The colour choice in this piece is bright and vibrant. The composition however unusual yet unique, referring to the placement and structure of the pine tree. The anatomy of the figure is a little larger than proportion with exaggerated facial features with a strange and eccentric appearance. Chen Hongshu focuses on the expression of the man, an odd expression as he glances straight at you as you admire the painting, The pine and rock forms are regulated, reflecting a strong detail in its patterned decorativeness. A servant is seen behind him glancing up at the pine tree and its wonder as he carries some belonging.
Alongside the expression of these paintings is accommodated with the symbolism of pine trees in Chinese culture. The pine tree symbolises longevity, steadfastness, self-discipline, endurance, long life.
With us knowing it was a self-portrait, Chen Hongshu had painted it with the hope that he had lived a long life filled with self-discipline.
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