吳派의 蘭그림과 <十竹齋書畵譜>

Abstract

This study investigates the development and characteristics of the orchid paintings of the Ming Dynasty Wu School, while examining their connection to the “Orchids” section of Shizhuzhai shuhua pu, which was based upon them. Orchids, which first emerged as a motif in literati painting in the Song Dynasty, acquired different undertones in the 16th and 17th centuries in accordance with orchids-loving trend, part of the wider popularity of flower cultivation as a hobby, and changes in the social circumstances of literati. The orchid, which symbolizes men of virtue, loyalty and hermitic seclusion, was an indispensable object of appreciation in the refined life of men of letters. It functioned as a medium for revealing the identity of Suzhou literati who pursued an unworldly way of life, outside public office. In addition to its traditional symbolism, the orchid had come to represent the contemporary value of “a life of virtue in the city.”Wen Zhengming and Chen Chun established their own independent painting styles, pioneering new territory in the genre of ink orchid paintings. Wen set a new precedent for his long scroll-form works with orchids, bamboos and rocks of various shapes against backgrounds of high mountains and steep valleys, as well as simple canvases composed of orchids, bamboos and rocks. Based on the technique of Zhao Mengjian and Zhao Mengfu, he perfected ink orchid painting technique characterized by leaves spreading naturally to each side, three or four petals, flower centers rendered in dense ink. He also followed the simple expressive style of Zheng Sixiao, while combining it with a technique of breaking bilateral symmetry. He demonstrated outstanding ability in the goule(鉤勒) orchid technique and showed a brand new tendency to integrate birds into “Four Gentlemen” paintings. Generally, Chen Chun painted the orchids in the flower-plant painting handscrolls which he had established. His ink orchid paintings are characterized by their simple expression, diagonal composition, contrast of fat and thin and emphasis on broken orchid leaves. Using a carefree brush and ink style unfettered by conventional rules and forms, Chen sought to create ink orchid paintings in a freehand(寫意) mood that went beyond that of Wen Zhengming's works. Later Wu School painters inherited the styles of Wen and Chen while producing ink orchid paintings to which they added their own individual characteristics. Lu Zhi and Zhou Zhimian produced orchid paintings using the goule coloring method. The “Orchids” section of the Shizhuzhai shuhua pu, which is based on the works of Wu School painters, added the character of a multiple-printed collection of famous paintings to that of a painting textbook, giving it an appearance different to that of previous orchid painting manuals. Its illustrations were generally characterized by their diagonal compositions, with orchid leaves spreading from one side to another; simple depictions of orchids; and large number of broken leaves. This tells us that the manual is generally a reflection of the styles of Wen Zhengming and Chen Chun, which were in turn based on the technique of Zheng Sixiao.