CHINESE ART BOOK METROPOLITAN MUSEUM OF ART SACKLER COLLECTION

The Wilderness of Colors of Tao-Chi from the Metropolitan Museum of Art, hc, copyright 1973.

20" x 14 1/2"


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Image Text

Image 1:



THE
WILDERNESS
COLORS
OF
TAO-CHI
MARILYN FU AND WEN FONG
THE METROPOLITAN
MUSEUM OF ART
An album of twelve leaves
from the
Distributed by
NEW YORK GRAPHIC SOCIETY
Greenwich Connecticut
Collection
THE
WILDERNESS
COLORS
OF
TAO-CHI
and
translations
by
MARILYN
FU
AND
WEN
FONG
THE
METROPOLITAN
MUSEUM
OF
ART
An
album
of
twelve
leaves
from
the
Distributed
by
NEW
YORK
GRAPHIC SOCIETY
ARTHUR
SACKLER
Greenwich
Connecticut
Collection

Image 2:



IO. MOUNTAIN-BLOCKED CLOUDS
Tao-chi's inscription adapts two lines from Tu Fu and adds 2 com-
ment of his own:
It is good not to have any houses here,
Yetto have mountains blocking the clouds.
These words are unusual and this painting is also raw! There is
feeling beyond feeling, and yet no hint of an ordinary painting.
Here we have a case of Tao-chi changing the wording of verses to
enhance their pictorial interest. Tu Fu's original lines read:
It is good not to have any houses here,
So nothing obstructs the cloud-covered mountain.
While in real scenery the absence of any man-made structure indeed
dramatizes the purity of
MOUNTAIN-BLOCKED
CLOUDS
Tao-chi's
inscription
adapts
two
lines
from
Tu
Fu
and
adds
com-
ment
of his
own:
It is
good
not to
have
any
houses
here,
Yetto
have
mountains
blocking
the
These
words
are
unusual
and
this
painting
is
also
raw!
There
is
feeling
beyond
feeling,
and yet
no
hint
of an
ordinary
Here
we
have
a
case
of
Tao-chi
changing
the
wording
of
verses
to
enhance
their
pictorial
interest.
Tu Fu's
original
lines
read:
It is
good
not to
have
any
houses
here,
So
nothing
obstructs the
cloud-covered
mountain.
While
in
real
scenery
the
absence
man-made
structure
indeed
dramatizes
the
purity
of

Image 3:



3. RIVERBANK OF PEACH BLOSSOMS
The lines are from Li Po's "Parrot Island":
The mist parts and the fragrant breeze from
the orchid leaves is warm;
The riverbanks are lined with peach blossoms,
rising like brocaded wave
Although Parrot Island an actual locale in Hupei Province, had long
and complex historical associations, Tao-chi here concentrates on
LiPo's imagery. Laying down shimmering tones of scarlet, blue, and
he conveys both the brilliance and the softness of flower petals on a
misty sunlit day.
Painting in color without ink boundary lines is known as the "bone-
less" method (mo-ku-fa).
3.
RIVERBANK
OF
PEACH
BLOSSOMS
The
lines
are
from
Li
Po's
"Parrot
Island":
The
mist
and the
fragrant
breeze
from
the
orchid
leaves is warm;
The
riverbanks
are
lined with
peach
blossoms,
rising
like
brocaded
wave
Although
Parrot
Island
an
actual locale
in
Hupei
had
long
and
complex
historical
Tao-chi
here
concentrates
on
LiPo's
Laying
down
shimmering
tones
of
and
one
over
another in a
of dabs
and
smudges,
he
conveys
both
the
brilliance
and
the
softness
of
flower
petals
on
a
misty
sunlit
day.
in
color
without
ink
boundary
lines
is
known
as
the
"bone-
less"
method
(mo-ku-fa).

Image 4:



Copyright © 1973 by The Metropolitan Museum of Art.
LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA
Fu, Marilyn.
The wilderness colors of Tao-chi.
Bibliography: p.
1. Tao-chi, 1630-1707. 1. Fong, Wen, joint author. II. Tao-chi, 1630-
1707. III. Title.
ND1049.T3F78
759.951
73-9618
ISBN 0-87099-078-0
Copyright
1973
by
The
Metropolitan
Museum
of
Art.
LIBRARY
OF
CONGRESS
CATALOGING
IN
PUBLICATION
DATA
Fu,
Marilyn.
The
wilderness
colors
of
Tao-chi.
Bibliography:
p.
1.
Tao-chi,
1630-1707.
1.
Fong,
Wen,
joint
author.
Tao-chi,
1630-
1707.
III.
Title.
ND1049.T3F78
759.951
73-9618
ISBN
0-87099-078-0

Image 5:





Image 6:



108298
108298



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