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Dong Qichang

(1555 -  1636 ) Wikipedia® : Dong Qichang
DONG QICHANG Calligraphy

Christie's /May 30, 2016
79,058.46 - 101,646.59
Not Sold

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Along with Dong Qichang, our clients also searched for the following authors:
Hong Ren, Chen Hongshou, Shiqi
Artworks in Arcadja
238

Some works of Dong Qichang

Extracted between 238 works in the catalog of Arcadja
Dong Qichang - Running Script Calligraphy

Dong Qichang - Running Script Calligraphy

Original 1671
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Lot number: 920
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Description:
DONG QICHANG (1555-1636) Running Script Calligraphy Handscroll, ink on paper 40 x 2,613 cm. (15 3/4 x 1,028 3/4 in.) Signed, with two seals of the artist Colophon by Shen Quan (1624-1684), signed with two seals and dated second month, tenth year of the Kangxi period (1671) Sixteen collector’’’’’’’’s seals of Luo Jialun (1897-1969) Titleslip by Luo Jialun
Dong Qichang - Landscape

Dong Qichang - Landscape

Original -
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Lot number: 2821
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Dong Qichang 1555 - 1636 LANDSCAPE AFTER HUANG GONGWANG signed Xuanzai and with one seal of the artist Titleslip and inscription on the wooden box (both on the mounting) by Uzan Nagao (1864-1942) and each with one seal of his ink and color on gold paper, fan leaf, framed 18.7 by 58.7 cm. 7 1/3 by 23 1/8 in. Please notify me when the condition report is available
Dong Qichang - Poems In Running Script And Landscapes After Old Masters

Dong Qichang - Poems In Running Script And Landscapes After Old Masters

Original
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Lot number: 527
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Description:
Dong Qichang 1555-1636 POEMS IN RUNNING SCRIPT AND LANDSCAPES AFTER OLD MASTERS (1, 3, 5, 7, 9, 11, 13, 15) signed xuanzai, with one seal of the artist, chang (6) (2, 6, 10, 16) signed Qichang, (4, 8, 12, 14) signed Dong Qichang, all with two seals of the artist, zong bo xue shi (8), dong shi xuan zai (8) With one collector's seal, ou yang lin ping wu shi yi hou shen ding (2) painting ink and color on gold paper, calligraphy ink on silk, album of sixteen leaves 31.8 by 23.1 cm. 12 1/2 by 9 1/8 in. (16) Exhibited 1. Heritage of the Brush (exhibition detail see lot 523) 2. Lyrical Traditions: Four Centuries of Chinese Paintings from the Papp Collection, The Frist Center for the Visual Arts, Nashville, June 22-October 7, 2007 Literature 1. Kei Suzuki (Compiled), Comprehensive Illustrated Catalog of Chinese Paintings (Vol. 2, Southeast Asian and European Collections), Tokyo University Press, 1983, pl. S13-034, pp. II-105 to II-107 2. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting, Phoenix Art Museum, 1989, cat. 5, pp. 34-39 3. Claudia Brown, "Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting", in Orientations, vol. 22, no. 9, September 1991, fig. 3, p. 78 Catalogue Note Artist's inscription: (1) After the brush idea of Zhao Wuxing's Warm Greenery on Spring Mountains. (2) Clouds and the moon have their place; the familiar mountains of Luonan are clear. How has that single flower blossomed? A spring dream by a pool. (3) After Beiyuan's brush method. (4) As the stream turns, as does the path; how very cold, the quiet stream. If a building exists here, it must be Caoxuan Pavilion. (5) Pines Over a Stream. (6) How luxuriant the green forest, with tall pines standing above the rest. So the narrow and unfrequented path, is fine even without bamboos. (7) Imitating Juran's Autumn Clouds Emerging from a Grotto. (8) Frosty winds frighten the migrating wild geese; moonlight and dew illuminate the sparse forest. Everywhere the sound of washing clothes arises, as profound as the galaxy on an autumn night. (9) Time and again I lean on the cliffside tree, and gaze distantly into Yuanshang Village. (10) Under a bright moon, Shuangxi's water; in pure wind, the Bayong Tower. To where I sojourned yesteryear, Today I send my friend on his travels. (11) After Huang Zijiu's Shade Amidst Mountains and Streams. (12) The rapid currents thunder throughout the river, as I follow it towards its southern mouth. Wild ducks glide across the water, now and then seeming to approach me. (13) After Zhao Lingrang's Pavilion Amidst Rivers and Mountains. (14) How vast the flowing river! I am alone yearning for the past. The fishers are no sages; among the reeds are protruding rocks. (15) On riverside ground leaves fall; around Mount Longshou autumn clouds fly. (16) I sit alone on a rock beneath a tree; the grass has slight frost. The same scene but not the same person; clouds and birds fly from the south. See More
Dong Qichang - Calligraphy

Dong Qichang - Calligraphy

Original
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Lot number: 924
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Description:
DONG QICHANG (1555-1636) Calligraphy – The Peach Blossoms Land Handscroll, ink on silk 33 x 306.5 cm. (13 x 120 5/8 in.) Inscribed and signed, with two seals of the artist Dated summer, fifth month jiachen year (1604) Five collectors’’’’’’’’ seals, including two of Yi Xin (1832-1898) Two colophons, with a total of four seals
Dong Qichang - Landscape And Calligraphy

Dong Qichang - Landscape And Calligraphy

Original
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Lot number: 3015
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Description:
DONG QICHANG (1555-1636) Landscape and Calligraphy Handscroll, ink on silk 36.5 x 1034 cm. (14 3/8 x 407 in.) Painting inscribed and signed, with one seal of the artist Calligraphy signed, with two seals of the artist Three collectors' seals Frontispiece by Wang Zhideng(1535-1612), with two seals “Artistry is largely inherent, yet can be acquired to some extent through reading and travelling. With a clear mind, mounds and gullies are formed, and the cities in Shangdong and Hubei are built.” - Essays on Paintings Theories, Dong Qichang A prominent figure in the history of Chinese painting and calligraphy, Dong Qichang advocated the classification of Chinese paintings into Southern School and Northern School, based on the two different styles and techniques employed in landscape paintings. The Northern School was represented by artists like Li Sixun, Zhao Boju, Ma Yuan and Xia Gui, while the Southern School was represented by masters such as Guan Tong, Dong Yuan, Ju Ruan, Mi Fu and Mi Youren. Elegant, smooth and light, Dong's calligraphy stems from the characters of the Jin dynasty. His great mastery of the wrist and brush renders calligraphy with rhythm and vigour, which seems clumsy but actually very skillful. Dong's calligraphy was highly regarded by Emperor Kangxi and Qianlong, which became the model to be learnt by scholars and officials of the Qing court and hence, had a profound impact on the development of Chinese calligraphy. Landscape and Calligraphy is based on the poem Ode to Misty River and MountainPeaks in the collection of Wang Dingguo by Su Shi of the Song dynasty and on the painting Misty River and Mountain Peaks by the Song master Wang Shen (aka Wang Jinqin). Su Shi created the poem in 1088 for his friend, Wang Dingguo whose collection of paintings included Misty River and Mountain Peaks by Wang Jinqin. According to the colophon of this work by Dong Qichang, Misty River and Mountain Peaks was in the collection of Wang Shizhen (1526-1590) who lent it to Chen Jiru (1558-1639) for his appreciation. Chen showed the painting to his close friend Dong Qichang who regretted not being able to copy it on time and as a result, his version was not a full copy of the original work. Dong Qichang asked his friend Wang Zhideng (1535-1612) to furnish a frontispiece for this work. The artist's friendship with his contemporaries including Chen Jiru and Wang Zhideng was depicted in another painting by Dong, Exalted Gathering in the Green Woods, now in the Minneapolis Institute of Art,Minnesota, the United States. Compare with another handscroll of Misty River and Mountain Peaks by Dong Qichang, now in the Shanghai Museum of Art, which comprises a larger landscape and a poem by Su Shi in small script. The talent of Dong Qichang is manifested through his versatile treatment of the same subject.
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