The Mactaggart Art Collection and "18th Century China's Changing World View as Revealed in Art"Who'd have thought Maxwell K. Hearn of the Metropolitan Museum of Art would be envious of the U of A? The reason:
The Mactaggart Art Collection.
Stumbled on a poster advertising Hearn's lecture earlier in the week and decided to go. Was very glad I did. His hour long talk was a short history course mixed with art. He explained that C18 (Qing dynasty) was a time of change and Western influence (Jesuit Missionaries). With different art pieces from the period, he showed what was the traditional style and what was the new style, and later related to how China was seeing the world differently as a result.
Two portraits he started off with were of
Emperor Qianlong (new) and one of his grandfather, Kangxi (traditional). They are not actually in the Mactaggart collection, but I found these two that are representative of
traditional and
new. It's pretty clear that they are different, but it was truly illuminating when Hearn pointed them out: The traditional style was flat - very little perspective was used and wrinkles on the face were drawn in as lines; The new style had perspective - (in the Bannerman) there's a table that is viewed from the corner, created with diagonal lines - and most of all, it is shaded, there is contouring where light hits different surfaces (look again to the face).
He continued by comparing Qianlong's documented Southern inspection journey to his grandfather's, Kangxi's. Qianlong's incorporated the new Western style and had the diagonal lines to show perspective, and the artist seemed to have stood in one spot observing the scene and documenting. Kangxi's he pointed out that the landscape twists so that the most interesting parts are depicted (no back of mountains here), that the people looked like cartoon characters lined up in rows, with large heads, and impossible postures... and he didn't mean it in bad way. If anything it seemed he wanted to tell us how great this was, how it added another dimension.
The Eastern (traditional) style was about
experiencing space. It was dramatic and gave a sense of movement (more abstract). Art was a vehicle of expression. The Western (new) style was about
measuring space and aimed to give a scientific, photo/snapshot of reality.
It was this "real" element that Hearn said was very attractive and useful for Qianlong. The Qing dynasty marked Manchu rule over Han. Manchu's were known as warriors and to convince the Han (even after decades and decades) that the Manchu could be all things to all people (cultivated, literate...), large murals were created with the Western style showing the Emperor taking part in key activities with key people (e.g. reading and writing, sitting in the garden with family) promoting values. And as most of this art was locked up it became a record of history. Wow. Propaganda, baby!
His formal talk ended too soon I thought, but then he opened the floor for questions. From my notes:
Q: What about maps? Where these expressive too?
A: Cartography is a Western idea. Register books would list distances from one landmark to another, a separate picture would be a visual concept without the measured space.
Q: How did these paintings leave China?
A: Chinese collectors in 1949 fled China taking their collections with them. Prior to that in the Boxer Rebellion and other wars there was looting and the art pieces were sold out of the country. (He didn't mention the Communists... but did wrap things up nicely by saying "Humanity owns all art, it should not be restricted to nations.")
We'd been sitting for close to two hours, but people still had questions. He shooed us out saying we should see the Mactaggart collection and he would be there to answer more questions.
In the gallery, we were treated to not only the "Brilliant Strokes" show, but also a small tour of where the "
Dressed to Rule" exhibit was stored (specially designed for the collection). The guide showed us a small sample. I hovered to get a closer look. Gorgeous, gorgeous, and fantastic! There are pieces in the collection where peacock feathers were used to embroider designs!
When I returned to the main gallery, Hearn was pointing to various paintings and continuing his lecture. How the traditional style wasn't interested in horizons, one element flowed into another, about white space, how it was a yin-yang relationship, whereas in the Western style a blank spot would mean the painting wasn't finished yet.
O.k. I understand this was all very simplistic and I'm gushing, but I am/was definitely elated and delighted. Must visit again soon.