Liu Danzhai (1931-1988?), Chinese
Untitled (Two Horses), 1980 Ink and light color on paper Gift of Dr. Marcus Jacobson
Museum # 1986.028.010 | | Unknown artist, Cambodia, Khmer region
Head of Buddha, 12th century Sandstone Purchased with funds from Friends of the Art Museum Museum # 1980.004 | | Unknown artist, Japanese, Edo Period (1615-1868), Kaihô School The Tale of Genji (a pair) Japanese ink, gouache, gilt, paper and wood Purchased with funds from the Marriner S. Eccles Foundation, with assistance from Professor and Mrs. Lennox Tierney Museum #1991.068.001A-B |
With an economy and facility of stroke characteristic of the Chinese calligraphic tradition, Liu created a naturalistic image replete with movement, depth, and striking contrast. The white horse depicted is but an outline; the black horse is, too, though filled with broad strokes of ink. So fully do they contrast that one is tempted to interpret the pair as a symbol of fundamental opposition and balance, concepts integral to oriental philosophy and art. Ironically, Liu learned to paint horses while banished to Gansu province, where horses abound. Today, he is best known for this subject matter. | | With the rise and spread of Buddhism came the creation of devotional images, expecially those of the historic Buddha. The artistic ancestry of the Khmer head lies in the classic Indian art of the Gupta period (ca. 4th-7th century A.D.), yet the later culture transformed those traditional idioms into a distinctly native expression. Characteristic of Kmer art is the squarish, powerfully conceived image of the Buddha, though the face retains a sense of serenity appropriate to the Enlightened One. | | Though early Japanese painting focused primarily on religious subjects, more secular themes gradually appealed to both artist and public. During the Momoyama period, a sumptuous decorative style was developed, which continued into later times. Greater compositional complexity, bold rhythms, and rich color characterized decoration applied to sliding panels, folding screens, and hanging scrolls that served to enliven dark interiors. The subject of these two screens is literary; the well-known Tale of Genji (or Genji monogatari) was written by the noblewoman Lady Murasaki (ca. 978-1014) and relates the adventues of Prince Genji and two generations of his descendants. The romantic exploits of this long novel became and remained durable subject matter for narrative painting. The anonymous artist of these screens used generous amounts of light-reflecting gold to offset clearly articulated and brilliantly colored patterns of landscape and architecture. In their elaborate design and execution, these screens exemplify the creative energy of the Japanese decorative tradition.
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