Learn more about the exhibition Mastering the Art of Chinese Painting: Xie Zhiliu (19101997), on view at the Met February 6, 2010 - August 1, 2010: tinyurl.com/XieZhiliu
Methods of a Master
A lecture by Maxwell K. Hearn, Douglas Dillon Curator, Department of Asian Art, The Metropolitan Museum of Art
This exhibition includes a selection of around one hundred and fifty works by Xie Zhiliu (pronounced "shay jer-leo"), one of modern China's leading traditional artists and a preeminent connoisseur of painting and calligraphy. The rare trove of material on view demonstrates how studying and copying earlier models were as much a part of Chinese artistic tradition as learning from nature. Drawn from a recent gift of sketches, calligraphic works, manuscripts, and seals presented to the Museum by the artists daughter, Sarah Shay, the installation commemorates the one-hundredth anniversary of Xie Zhilius birth.
Xie Zhiliu received a traditional Chinese artistic education, which combined the two disciplines of copying the work of earlier masters and drawing directly from life. His finished paintings, like those of many other Chinese artists, appear to be freehand creations-the work of a master draftsman who handled his brush with a confidence borne of years of practice. However, unlike many artists, Xie preserved numerous copies and sketches he made throughout his career, not only building a unique record of his creative process but also revealing how a seemingly spontaneous composition could be preceded by one or more sketches and drafts. These preparatory works could also serve as templates, thus liberating Xie from the need to visualize a completed composition in advance and allowing him to concentrate instead on making each of his brushstrokes as dynamic and fluid as possible. Juxtaposing Xie's preparatory sketches with images of earlier models and with his own finished works, this exhibition seeks to demonstrate not only how traditional Chinese masters developed their personal styles through a combination of careful imitation and creative adaptation but also how they often relied on preparatory drawings to practice their craft-in a manner not dissimilar to that of Western painters.