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Ming Dynasty (1368–1644) Education and Tradition

Grade Levels

College and Beyond, High School (9-12), Middle School (6-8)
Regions

China
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History & Social Science

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Ming Dynasty: Education and Tradition

The eagle often symbolizes the quality of heroism. In this painting the theme has been enhanced by the inclusion of two eagles— symbolically, “ double heroes”— and by the depiction of them fighting the chill of winter. Their fierce, glaring eyes and hunched, intent poses provide a riveting focal point for the painting. Lin Liang was an exception among court painters of his time. Instead of adhering to the colorful and technically precise style commonly used for flower-and-bird paintings, he experimented with black ink and freehand brushwork that resembled cursive script calligraphy. His paintings were so popular that a workshop was formed around him, so while this work may not have been painted by Lin Liang himself, it may instead be a piece from his workshop.

The genre of flower-and-bird painting reached its golden age during the Ming dynasty. Executed by a court artist, this colorful painting of geese and wagtails showcases a precision in rendering details, as if the artist had observed the scene in nature. This work exemplifies the court painting tradition associated with the former Southern Song dynasty (112–1279). Professional painters of and outside the Ming court did not always sign their works. Not only does this make it difficult to assign paintings to individual artists, but it has historically made it easy for unscrupulous collectors and dealers to add false signatures in the attempt to raise the economic value of paintings from this time. On the other hand, many Ming dynasty paintings, like this hanging scroll, have survived because of attributions to earlier periods.

In this fan painting the professional artist Zhou Chen depicts an official traveling in the mountains. The official is seen on the left mounted on a horse. He is greeted by a local peasant and followed by his servant, who carries on his shoulders a chest, an umbrella, and a roll of cloth. On the right side of the painting a person stands barefoot before a temple. His cape, which is made of grass, and the gourd-like vase he holds in his hand identify him as a Taoist. This suggests the underlying theme of this work might be an official seeking refuge in a Taoist temple. A native of Suzhou in Jiangsu province, Zhou Chen was known for his skill at figure-and-landscape painting. He based his style on those practiced at the court of the Song dynasty, especially Li Tang (active 1101– 1130) and Ma Yuan (1189– 1224). He was also influenced by Ming court painter Dai Jin (1388– 1462).

Eagles, Lin Liang (Chinese, 1450–1500), Ming dynasty (1368–1644), 1450–1500. Hanging scroll; ink on silk. Museum purchase, B69D12.

White-fronted geese and pied wagtails, approx. 1400–1600. China. Hanging scroll; ink and colors on silk. Museum purchase, B69D11.

Hermit in landscape, by Chen Hongshou (Chinese, 1598–1652), Ming dynasty (1368–1644) – Qing dynasty (1644–1912), approx. 1618–1652. Hanging scroll; ink and colors on silk. Museum purchase, B79D8.

During their nine decades of rule, the Mongols of the Yuan dynasty (1279–1368) had focused on extracting as much wealth as possible from their Chinese subjects, in the process rejecting or altering many Chinese traditions.

After overthrowing the Yuan in 1368, the first Ming dynasty rulers looked to the traditions of earlier Chinese dynasties, particularly those of the Tang (618–906) and Song (960–1279) dynasties, in efforts to legitimize their rule and to build a system of governance. One clear reflection of this can be seen in court paintings.

Although in the Ming dynasty there was no true art academy at court — as there had been during the Song dynasty — Ming emperors sought artists working in Song styles and themes to decorate their palaces and provide a visual link to the earlier dynasty’s much-admired traditions.

By the beginning of the Ming dynasty, Confucianism had been the dominant Chinese philosophy for more than 1,500 years. Of all the Confucian commentaries, those written during the Song dynasty had the greatest impact on Confucianism’s later practice. Influenced by these commentaries, Confucianism during the Ming dynasty placed its prime emphasis on maintaining proper relationships in society; the relationship between ruler and subject — viewed as analogous to that of father and son — served as the foundation for the education and philosophy of the Ming court. Benevolence, loyalty to state and family, and observance of established rituals were highly prized.

The impact of Confucian teachings can also be seen in the choice of themes for arts patronized by the court and in civil service recruitment and training methods.