An artwork on Galleree from The Art Institute of Chicago.
About the artwork
Pillars of the CountryYao Shou
Chinese, 1423-1495
Ming dynasty (1368–1644), 1494
China
Handscroll; ink and color on paper
Buckingham Fund
['Chinese (culture or style)', 'ming']
['plants', 'trees']
['hanging scroll', 'painting', 'asian art']
['paper (fiber product)', 'ink']
['brushwork']
['Arts of Asia 100']
Together with those of a riverscape, rocks, flowers, and branches of cedar and bamboo, the magpie is one of six images painted by Yao Shou along the length of this handscroll. Its portrayal represents a venerable genre of painting known as “bird-and-flower,” whose finest artists had achieved extraordinary refinement and realism by the eleventh century. Yao Shou’s vision, however, was far more personal if seemingly simpler. He described the magpie almost solely in varied tonalities of black ink; the branches are accented with darker twigs and dotted leaves but possess little sense of spatiality; and the bamboo leaves are rendered in freely executed strokes of pale blue.
Yao Shou accompanied the magpie—as he did its companion images—with an original poem written in his characteristically elegant cursive script and signed with his courtesy name, Gongshou:
In the bright moonlight, why does themagpie circle three times beforealighting?During sunny days, it sings on the greenbranches.I also practice divination to find the placewhere the magpie often roosts.It stays on the rooftop of the old master’shouse, and the stars arrive late.
The title and artist’s biography combine to add poignancy to this work. “Pillars of the Country” refers to the vital role of intellectuals in supporting China’s integrity. Almost thirty years earlier, gratuitous slander had driven Yao Shou from a prestigious career in government service to retirement as a painter, calligrapher, collector, and scholar — all pursuits of a traditional literatus. Now advanced in years, he expressed his cultivated ideals in both the willful spontaneity of his brushwork and the informed allusions in his inscription, adapting each line from that of a celebrated poem from centuries past.
As documented by several seals impressed on its surface, this painting once held an honored place in the collection of the Qianlong emperor (r. 1736–95), China’s most passionate imperial collector.
| attributed to Art Institute of Chicago under CC-By license
In the serene embrace of nature, a delicate handscroll unfurls, whispering tales of a tranquil riverscape—a seamless blend of rocks, vibrant flowers, and the graceful branches of cedar and bamboo. Among these images, the magpie stands as a silent protagonist. This bird, captured by the brush of Yao Shou, is part of a revered genre known as “bird-and-flower,” which reached remarkable heights of artistry by the eleventh century. Yet, Yao's approach was distinct, marked by a deep personal touch.
His brush danced across the paper, etching the magpie in varied shades of deep ink, a stark contrast to the subdued earthiness surrounding it. The branches he painted, while adorned with darker twigs and speckled leaves, seemed to float without gravity. The bamboo leaves, on the other hand, were painted in playful strokes of pale blue, almost as if caressed by a gentle breeze, evoking a fleeting moment in time.
With the magpie as his muse, Yao Shou inscribed an original poem in his elegant, sweeping cursive, signing it with his courtesy name, Gongshou. Each line sparkled with thought, inviting the reader to ponder:
"In the bright moonlight, why does the magpie circle three times before alighting? During sunny days, it sings on the green branches. I also practice divination to find the place where the magpie often roosts. It stays on the rooftop of the old master’s house, and the stars arrive late."
These words flowed seamlessly from his heart, a reflection of an artist who had weathered the storms of life. The title of this piece, “Pillars of the Country,” resonates deeply, a tribute to the essential role intellectuals played in the tapestry of China’s integrity. Yao Shou, once a shining figure in government, had felt the weight of slander force him into a quieter existence—one of retirement where painting, calligraphy, and scholarship became his companions. Years advanced, he infused each brushstroke and word with the elegance of his cultivated ideals, drawing inspiration from celebrated works of poetry from ages long past.
The painting carries with it a storied history, imbued with a sense of honor as it once found a cherished home in the collection of the Qianlong emperor, a renowned patron whose eyes sparkled with passion for the arts. Several seals stamped onto the canvas confirm its esteemed place within his trove, adding another layer to the tapestry of this remarkable work.
In such artistry lies a testament—a deep and poignant reminder of connection, reflection, and the unbreakable bonds forged through time. The magpie, the brushstrokes, and the faint echoes of verses linger long after the scroll is rolled away, inviting each observer to pause and contemplate their own place in this intricate dance of existence.
About the artist
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