The Art Institute of Chicago

Poetic Thoughts in a Forest PavilionAuthor(s): Stephen LittleSource: Art Institute of Chicago Museum Studies, Vol. 30, No. 1, Notable Acquisitions at TheArt Institute of Chicago (2004), pp. 38-39Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4129915 .

Accessed: 16/06/2014 02:06

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Instituteof Chicago Museum Studies.

http://www.jstor.org

This content downloaded from 62.122.72.154 on Mon, 16 Jun 2014 02:06:40 AMAll use subject to JSTOR Terms and Conditions

Poetic Thoughts in a Forest Pavilion

c. 1371

Ming dynasty (1368-1644)

Ni Zan

(Chinese; 1306-1374)

Hanging scroll; ink on paper; 124 x 50.5 cm (48 7/8 x 197/8 in.)

KATE S. BUCKINGHAM ENDOWMENT FUND; RESTRICTED

GIFT OF THE E. RHODES AND LEONA B. CARPENTER

FOUNDATION (1996.432)

A native of Wuxi in Jiangsu province, Ni Zan lived

during the brutal Mongol occupation of China

(Yuan dynasty, 1260-1368). Only at the end of his life did

he witness the reestablishment of native Chinese rule

under the Ming dynasty. Ni received a classical education

and the training to be a scholar-official. While still a

young man, however, his father and older brother died, and he became the head of his land-owning family. Living off enormous wealth, he became famous for his calligra-

phy, painting, and poetry. In this landscape we see a riverbank with trees, a

pavilion, and a tall garden stone in the foreground; a river

in the middle distance; and a range of desolate hills in the

background. The composition is elegant and deceptively

simple, with a refined, subtle handling of ink. Ni presents a pristine view of a world reduced to pure essences. The

Chinese regarded these landscapes as self-portraits of the

artist; in the utterly spare composition and deft pacing of

the brushwork, viewers saw something of Ni's moral

integrity and astringent, elusive personality. The scroll bears a poem written in Ni's elegant

calligraphy. Here he compares the music of the qin zither

to good government, which was noticeably absent in his

own day. The poem speaks of Master Fu, a district super- visor and qin master of the late sixth century B.C. Fu, a

contemporary of Confucius, ruled through a kind of

"nonaction"-merely by sitting in his house and playing the zither, he kept his district completely at peace. Ni

ends by bitterly contrasting the realities of his own time

with that of Master Fu. Both poem and landscape res-

onate with the image of the qin, reflecting Ni's fame as a

player and composer of qin music. The poem describes

the scholars who visit the house in the painting, where

they listen to the qin and chant poetry. For Ni and his

contemporaries, the idea that music could rectify a chaotic

political landscape was a joke. Viewed in this light, the

seemingly bland landscape is imbued with an intense

melancholy and irony.

STEPHEN LITTLE

38

This content downloaded from 62.122.72.154 on Mon, 16 Jun 2014 02:06:40 AMAll use subject to JSTOR Terms and Conditions

-...j

z ' .

IAA'

ALI

ILI m

- '. . ".p . "--". " t.

1t ". 4 fN

f. "

~~A1&

... :•:" • •• •'C -'

.- . ?: -• •:• co . .. :

.... . :•: /•'• • :.,

.______ .....4., •

• .( :.

•i: .- , . .

, , . , .-r" " ..i,.• •• .:. ,. ? ... • :':! ....

.'•:. :. . ...":.• :: '• '• "• •

•.• ...

.:.,._•, . ,.•, --.- •_,F•:, .tt,t. A"L

,.. :.•: • -• :"

.. . .... ..

•-- - •: :lrt

K

... • . . 4> "

This content downloaded from 62.122.72.154 on Mon, 16 Jun 2014 02:06:40 AMAll use subject to JSTOR Terms and Conditions