Splashed-color+Landscape+-+Zhang+Daqian

=**Artwork Identification**= Title: Splashed-color Landscape Artist(s): [|Zhang Daqian] a.k.a. Chang Da-chien Date: 1965 Period:Contemporary Country of Origin: Neijiang, Sichuan province, China / Taipei, Taiwan Cultural/Ethnic Affiliation: Han Chinese Medium: Hanging scroll; ink and color on paper Dimensions: 23' 3/4" x 37' 3/4" (60.3x 95.9 cm) Museum/Collection: The Metropolitan Museum of Art, New York, New York Accession Number: Unknown Current Location: New York Manner of Display: displayed hung on wall within gallery of The Metropolitan Museum of Art, New York (Currently Not on View 10/5/11) //Provenance: N/A//

=**//__Introduction__://**=



Following a few years living in Brazil [|Zhang Daqian] a.k.a. Chang Da-chien developed eyesight problems in the late 1950s, and, as his eyesight deteriorated, during this period he developed his mature splashed-color (pocai) style (As seen in Splash-colored Landscape above, as well as some images below in descriptive analysis). His work in this style fetched the highest market prices for contemporary Chinese paintings at international auctions of the time. In addition many of Daqian’s forgery works are still in circulation to this very day.

=//**__Descriptive Analysis__:**//= The work "Splashed-color Landscape" depicts an abstract expressionist landscape with a titanium gray mountainous region luminescent with a phalo-blue and cerulean-blue deconstructed waterfall. The Pomo //(Haboku in Japanese)// "broken ink" technique, developed after the creation of the "gold-line" style, was to transcribe the ink upon the paper to the point where some work simulated of artists such as Wang Wei, Wang Chi and Tenshō Shūbun (Sullivan - 285), all who were influenced by Chinese Song Dynasty landscape paintings. The craftsmanship is impeccable with meticulous understanding of natural landscape settings as well as an academic background of Chinese painting. The thinness of the applied ink gives an almost transparent watercolor effect that almost begs the viewers first assumption that the medium used could hardly be ink. The texture of the painting itself stays true to fibers used and is auspiciously smooth to the eye, and assuming, to the touch as well. The smoothness to the ink painting seems to depict the subject matter with great justice. The smooth hues of blue only emphasize the conveyance of a waterfall and or waterscape forms graving on top of the gunmetal gray and blackened rock formations. These dang lucid formations can only bring the focal point and full attention to the vivid lucid turquoise, which pronounce the ultramarine forms preceding them. With the combination of the to blues the focal point is the clash between the two with the darkest ink encircling the two shades to create harmony in the painting. With the overall technique of loosely applied ink mimics the free form procedure of the ink splotches and delicate lines carving the images of stone bring dimension to the two foot by three foot finished piece. It also has been said by many that this particular Asian art is often mentioned as a source of inspiration to abstract expressionists such as Kline and Jackson Pollock.
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=__**Formal/Contextual Analysis:**__= [|Zhang Daqian] 張大千, 张 大千 (May 10, 1899 - April 2, 1983) (Hsiao-ting 1) was a world-renowned Chinese painter and collector. As a young man, he meticulously studied and copied the works of ancient masters so much so that he gained notoriety in Shanghai for his forgeries. Zhang advanced his career to northern China during the late 1920s, when he became active in the cultural circles of Beijing. He began to collaborate with the well-known Beijing painter [|Pu Xinyu], and together they became known as “South Zhang and North Pu.” In 1940 Zhang led a group of artists to the [|Mogao] and [|Yulin] caves for the purpose of copying their Buddhist wall paintings. These religious paintings greatly influenced him by increasing his own insights on the landscape painting. Their group completed over 200 paintings, and the experience left Zhang with a massive archive of religious imagery. During this period he became particularly known for his lotus paintings, inspired by works from the [|Tang and Song Dynasty]. Daqian was frequently forced to live abroad due to political and social climate in China starting from the early 1950's. In the late 1960s Daqian acquired two homes near Carmel on the Monterey Peninsula, which would become his principal residence for the next decade. His home became an important destination for artists from throughout Northern California, and he showed his work in exhibitions at several Bay Area venues. Daqian was acquainted with many prominent California art figures, including [|Ansel Adams] and [|James Cahill] (Hsiao-ting - 1).

"The art piece “Splash-color Landscape” was dated in 1965 when the world powers, politics, military escalation, and civil rights were swelling. The U.S involvement in the Vietnam conflict was significantly increased by the deployment of (Note: it was a conflict not a war due to that the United States Congress did not declare war on North Vietnam) the 1st combat troops pertaining to 3,500 Marines, in Danang, South Vietnam. More than 4,000 Marines landed in South Vietnam. They joined some 23,000 Americans who had been serving as military advisers to South Vietnam for several years. Gen. Frederick Karch (Sung-sheng 243) landed with the 9th Marine Expeditionary Brigade on Red Beach at Da Nang. Prior to their arrival all military personnel in Vietnam were they’re as advisors. While on the northern end of the spectrum the Republic of China’s President [|Chiang Kai-shek] launched a plan for a counterattack to recover mainland China entitled “Project National Glory also known as Project Guoguang. Which ultimately at its peak failed. The heavy loss of life disheartened and depressed [|Chiang Kai-shek] hopes for retaking the mainland. Kai-shek realized China had significantly improved and reinforced its naval capability and overall military abilities to the point where it would be foolish to continue a serious non-propagated assault against china. Chiang was forced to scale back and eventually abandon his plan.

While worlds powers on the move in the Pacific [|Zhang Daqian] was shuffling abroad to many of his western studios accomplishing to perfect the forms of his subject matter. The source of the subject matter of Daqian's work stems from his affirmation to becoming a Zen Buddhist. It was after becoming a Buddhist, that he took the religious name Dai-chien, and after returning to the laity he called himself Dai-chien chu-shih or "Lay believer Dai-chien" (Hsiao-ting, 2010) that the root of his work became a direct reflection of his studies of Zen Buddhism. It was also after his previous studies in China that Daqian created series and studies of many of the ancient artworks of his religious creed. His subject matter ranged from human figure all the way to his well known abstracted lotus paintings. These rigid and at times loose paintings until he reached the final solution of his splashed-ink-and-color method to create abstracted landscapes. Yet, these broken-ink paintings are on a different spectrum of his first original works. Originally Daqian was trained in the fine-line kungpi painting technique, a style akin to Western realism with meticulous brushwork and close attention to detail. In order to render precise, vivid representations of the subjects in his works, he not only had to master painting skills, but he also had to study the anatomy of flowers, birds and other small creatures in the natural world. This early fascination would instigate his later fascination of nature and solidify his passion for natural forms from in his [|Zen paintings]. To gain a better understanding of Zen painting it is recommended to seek out Addiss, Stephen. //The Art of Zen: Paintings and Calligraphy by Japanese Monks 1600-1925.// New York: Harry N. Abrams, 1998.

It was after gaining an academic background, equivalent to a modern day high school diploma, Daqian moved to Japan with his brother to learn commercialized weaving and textile dying. These skills enabled him later in life to competently and masterfully dye silks and papers, which helped in the creation of "Splashed-color Landscape" as well as his master forgeries of ancient masters. His over all works were at first created and made for himself and the average person, but after his first exhibition in Paris, France, his work became more prioritized for private collections, museum galleries, and upper class exhibitions. While Daqian did his work out of a form of artistic and religious meditation, many of his critics and fellow artists in Europe found his work to be aesthetically beautiful. It was while he studied abroad in Europe that Daqian started engaging in more Western ideals of abstracted forms as well as answering the call to Western expressionism with his newly discovered broken-ink style (Hsiao-ting 1). It was also during his period in Europe where he had his meeting with well-known abstract cubist Pablo Picasso. It was after their affiliation meaning that he was dubbed the nickname of "The Picasso of Asia". In the with Though it is surmised that after 1950 Daqian lived in Hong Kong, India (where he studied more religious cave art), and Brazil where he set up residences. It was only after in his old age that Daqian moved to his established residence in Taipei (Taiwan) where he remained until his death. (Thorp 440)

While such works as "Splash-color Landscape" have been deemed the definition for the conception of modern Asian abstracted painting. These paintings, and Daqian's final piece of work at a scale of 6.6" x 33' illustrates a all-inclusive series of styles which Daqian had mastered during his life. Some areas of the painting were created with his splashed-ink-and-color method with cerulean and jade blues and pale greens in swirling patterns wash the pieces surface, producing the images of mountains and forests while other areas were touched by fragile brushwork and soft washes of ink. Standing in front of the painting, the audience is almost demanded by Daqian to be amazed by the enormity and the technical skill that the artist displayed. The work is above all fascinating natural world draws the viewer deeply in and gives him the feeling that he is actually in it. This painting alone set an almost impossible bar for anyone to match and single handedly made //[|Zhang Daqian]// into a legend.

=__**Personal Interpretations:**__= When I first viewed this artwork I was initially blown away by the use of blues and greens. At first I did not comprehend the actual landscape until I started analyzing the gray hues and what seems to be black outlining. The fact that this was done with ink and then teased with a brush to gain natural form as if using water colors is nothing but impressive to me. Yet what got me the most was the fact that the painting in itself is so lucid, free, and tranquil in its display that heightened an interest in this form of modern Zen painting. I also took this painting as an interpretation of how Zhang meditated and viewed the world around him. I feel that while he labored over the painting splash color landscape he did it under the scrupulous idea of playing and manipulating the ink to form how you felt not how landscapes should look, but how they have always fought to be in his mind and soul. I feel that Splashed-color landscape is a pinnacle Zhang’s work and a true interpretation of color and understanding of one’s skill of innovation. Essentially I feel they can be viewed as a dreamscape and a representation of where Zhang truly called home.

=**Online/Text Sources:**= [] - Website depicting the Mongo Caves in China that Chang Dai-Chien studied on location at. [] - Website explaining and showing the zen cave art that Chang Dai-Chien studied on location at. [|Zhang Daqian and his Painting Gallery] at China Online Museum - Examples of Chang Dai-Chien's lotus paintings as well as a brief biography. [|Chang Dai-chien in California] at San Francisco State University - A website containing a brief biography and examples of "Broken-Ink" style done by Chang Dai-Chien. [|Chang Dai-chien] at the Cultural Affairs Bureau of Macao - Time line of Daqian's life

Thorp, Rober L. Vinograd, Richard Ellis. //Chinese Art & Culture .// New York: Harry N. Abrams, 2001.
 * Text with an brief overview of Chang Dai-Chien work as well a other formidable Chinese artists.

Sung-sheng, Chang, Yvonne. //Modernism and the Nativist Resistance Contemporary Chinese Friction from Taiwan .// Durham: Duke University Press, 1993.
 * Explanation of "Project National Glory"

Hsiao-ting, Wu. "The Art and Life of Chang Dai-chien." [] (accessed December 13, 2010).
 * An in-depth well researched biography of Chang Dia-Chien as well as a brief essay written by Chang Dhien himself.

Addiss,Stephen. //The Art of Zen: Paintings and Calligraphy by Japanese Monks 1600-1925.// New York: Harry N. Abrams, 1998.
 * Well written text on the understanding of Zen Painting and the art of Calligraphy.

Sullivan, Michael. //The Arts of China.// 4th ed. Los Angeles : University of California Press, 1999.
 * A text with a overview of affiliations of artist during the movement Chang Dai-Chien is affiliated


 * Image Sources**

The Metropolitan Museum of Art, New York, New York. [] my.opera.com [] - Personal image of artist.

__This lesson meets the following National Standards for Arts Education (Visual Arts)__ 1. Use art materials and tools safely and responsibly to communicate experiences and ideas. 2. Use subjects, themes, and symbols that communicate intended meaning in artworks. 3. Describe how personal experiences influence the development of specific artworks. 4. Analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art. __This lesson meets the following National Educational Technology Standards for students__ Use models and simulations to explore complex systems and issues.
 * Lesson Title:** Zen and the Art of Painting
 * Grade Level:** High School (9-12)
 * Time:** Six 60min class periods
 * Standards:**
 * 1) Communicate information and ideas effectively to multiple audiences using a variety of media and formats.
 * 2) Collect and analyze data to identify solutions and/or make informed decisions
 * 3) Select and use applications effectively and productively.


 * Central Concepts:** Zen and Buddhism in artworks: Combining the religion or though of Buddhism with artwork. Zhang Daqian combines the painting strategy of splash ink with Zen Buddhist thought.


 * Lesson Activities:**

Students will explore the religions and ideas of Buddhism. Have students write a journal entry before viewing the video. Have them asnwer the question: What do you know about Buddhism?
 * Activity 1:** Who is Buddha? Video (1 class)
 * Student will watch the [|Video] on YouTube
 * With remaining time in class have a class discussion about the BBC video.

Class will be divided into eight groups. Each group will get a Buddhist termto discuss. They will be given a lap top to research their concept. After 30 minutes each group will go up to the chalkboard and write down a few Buddhist ideals that stood out to them. Each group will give a mini lesson of the concept. After all 8 groups have gone the groups will participate in a class discussion on the topics. 1. Eightfold Path: the basic moral teaching of Buddhism. 2. Enlightenment: the highest level of consciousness, believed to be attainable through meditation and an adherence to the principles of the Eightfold Path. 3. Four Noble Truths: outlines Buddhist philosophy on suffering and how to overcome it. 4. Nirvana: a spiritual state of perfect peace beyond selfish attachments; reaching nirvana frees the soul from the endless cycle of birth and rebirth. 5. Reincarnation: the belief that human souls proceed through multiple lives until they attain enlightenment and reach nirvana. 6. Renunciate: to give up something. 7. Sutra: Buddhist holy writing or text. 8. Wheel of dharma: a symbol of the Buddha’s teachings that was set in motion on the day the Buddha gave his first sermon.
 * Activity 2:** Presentation of Buddhist Terms (1 class)

The instructor will present the slide show covering a few Zen Buddhist landscape paintings. After the slideshow and discussion the students will have the remainder of the period to sketch.
 * Activity 3:** Slideshow and Sketches (1 class)
 * Present [|SlideShow]
 * Students are asked to point out how each of the artists convey any of the Buddhist concepts visually in the artwork.
 * Students are encouraged to ask questions about any Zen concepts or paintings.
 * Students will have the remainder of the class to produce 3 thumbnail sketches. Sketches must be checked by the instructor before the students start on the final project.

Liberman, F. (n.d.). Zen Buddhism and its relationship to elements of eastern and western arts. Retrieved from http://artsites.ucsc.edu/faculty/lieberman/zen.html The art of Buddhism. DOI: www.asia.si.edu/explore/teacherResources/ArtofBuddhism2.pdf
 * Activity 4:** The Artwork (3 class)
 * Students will create a landscape scroll painting applying the concepts of Buddhism such as enlightenment, nirvana.
 * Students will assemble a wall scroll using watercolor paper and dowel rods
 * Students will be given a short demo on painting with watercolors are the start of the first class.
 * Students will paint their landscape using India ink and watercolors.
 * Assessment:**
 * Activity 1: Students will be present and awake for video. Students will participate in class discussion.
 * Activity 2: Student will be present and participate in group discussion. Students in each group will be required to discuss the concept they looked at.
 * Activity 3: Students will participate in slideshow discussion. Students will have 3 thumbnail sketches done before final project.
 * Activity 4: Students will assemble a wall scroll. Students create a Zen Buddhist landscape painting.
 * **Buddhism in Art Rubric** || Good-2pt || Ok-1pt || Poor-0 ||
 * Student was present and awake for the class video ||  ||   ||   ||
 * Student was present and participated in the class discussion ||  ||   ||   ||
 * Student is present for slideshow and turns in 3 thumbnail sketches ||  ||   ||   ||
 * Student completes wall scroll ||  ||   ||   ||
 * Student participates in a in class critique ||  ||   ||   ||
 * References**: