Liu Dan Chinese, born 1953 Reimagining the Lystra Scene, 2016 Ink on paper 118 1/8 × 78 3/4 in. (300 × 200 cm) Gift of funds from David Dewey and Addy Lam, the Duncan and Nivin MacMillan Foundation, Beverly Grossman, the William I. and Bianca M. Fine Charitable Trust, Sheila Morgan, George Muellner, the Blackman-Helseth Family Foundation, Richard and Jennie Carlson, Kaywin Feldman and Jim Lutz, Pat and Tom Grossman, Alfred and Ingrid Lenz Harrison, Hubert Joly, John and Nancy Lindahl, Barbara Longfellow, M. Julie McKinley, Thomas M. Morin, Hueyun Wang, Serene and Chris Warren, donors to the 2016 Mia Gala, and the Ruth Ann Dayton Chinese Room Endowment Fund 2016.80
An Art as Lyrical as Poetry: Recently Acquired Chinese Paintings
June 15, 2019 - November 24, 2019
The history of Chinese art is chiefly a history of painting. That’s because in China, painting has always been regarded as supreme—the only visual art form pure and lyrical enough to stand on an equal footing with poetry and contemplative thought.
In traditional Chinese culture, paintings provided pleasure for the eye and, more significantly, an opportunity for learning and spiritual cultivation. The viewing of paintings was considered a participatory activity, a “noble pursuit” to be shared in the company of others. Such an approach—possible here, in a public art museum—suggests that the value and meaning of these artworks do not derive from their material worth alone, but from contemplation and discussion among viewers.