Waiting for the Moon at Six Bridges
Artist/Maker
Mào Xiāng 冒襄
(Chinese, 1611–1693)
Date17th century
MediumHandscroll, ink on satin
DimensionsOverall: 14 3/16 × 218 1/2 in. (36 × 555 cm)
Credit LineGeneral Acquisitions Fund
Object number1970.39
Status
Not on viewMào Xiāng ranks among the most colorful characters in 17th-century China. Perhaps best known today as a poet and romantic, Mào also enjoyed considerable fame as a calligrapher during his own lifetime. He was a disciple of one of the most important calligraphers and painters of his age, Dǒng Qíchāng 董其昌(1555–1636).
The text of the calligraphy, recounting a visit to West Lake near the city of Hangzhou, is a well-known vignette from a travelogue by poet and essayist Yuán Hóngdào 袁宏道 (1568–1610). Yuán was a central figure in a group of late Ming writers and poets who believed that good writing originated from genuine feeling and authentic experience, rather than from strict imitation of traditional literary models. Throughout his short life, Yuán sought to balance tradition and innovation and to keep his perception of the world fresh. Although he died a year before Mào was born, the younger man undoubtedly became familiar with Yuán's philosophy of life through their mutual friend, Dǒng Qíchāng. Mào's choice of this text is an interchange both with Yuán (in part because he was also a bon vivant) and with his teacher, Dǒng, whose style of calligraphy Mào strongly alludes to in this scroll.
Exhibition History
The text of the calligraphy, recounting a visit to West Lake near the city of Hangzhou, is a well-known vignette from a travelogue by poet and essayist Yuán Hóngdào 袁宏道 (1568–1610). Yuán was a central figure in a group of late Ming writers and poets who believed that good writing originated from genuine feeling and authentic experience, rather than from strict imitation of traditional literary models. Throughout his short life, Yuán sought to balance tradition and innovation and to keep his perception of the world fresh. Although he died a year before Mào was born, the younger man undoubtedly became familiar with Yuán's philosophy of life through their mutual friend, Dǒng Qíchāng. Mào's choice of this text is an interchange both with Yuán (in part because he was also a bon vivant) and with his teacher, Dǒng, whose style of calligraphy Mào strongly alludes to in this scroll.
Woodblock Illustrations in Imperial China: Selections from the Gest Oriental Library at Princeton University
- Allen Memorial Art Museum, Oberlin, OH (March 7, 1989 - April 30, 1989 )
When Words Meet Pictures: East Asian Painting and Sculpture
- Allen Memorial Art Museum, Oberlin, OH (August 25, 1994 - November 15, 1994 )
An Eclectic Ensemble: The History of the Asian Art Collection at Oberlin
- Allen Memorial Art Museum, Oberlin, OH (August 27, 1999 - August 30, 2000 )
The Cultured Landscape in China and Japan
- Allen Memorial Art Museum, Oberlin, OH (February 6, 2007 - August 13, 2007 )
Conversations: Past and Present in Asia and America
- Allen Memorial Art Museum, Oberlin, OH (July 12, 2016 - July 10, 2017 )
Collections
- Asian
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first half 20th century
first half 20th century
early 19th century
18th–19th century
first half 20th century
first half 20th century
19th century