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  • Muhammed Siyah Kalem

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    Glsrn Kyn
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    Steinhardt, Nancy Shatzman. 1987. Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period. In Muqarnas IV: An Annual on Islamic Art and Architecture. Oleg Grabar, ed. Leiden: E.J. Brill.

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    Steinhardt, Nancy Shatzman. 1987. Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period. In Muqarnas IV: An Annual on Islamic Art and Architecture. Oleg Grabar, ed. Leiden: E.J. Brill.

    Copyright:

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    347 Ansichten13 Seiten

    Muhammed Siyah Kalem

    Hochgeladen von

    Glsrn Kyn
    Steinhardt, Nancy Shatzman. 1987. Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period. In Muqarnas IV: An Annual on Islamic Art and Architecture. Oleg Grabar, ed. Leiden: E.J. Brill.

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    NANCY SHATZMAN STEINHARDT SIYAH QALEM AND GONG KAT: AN ISTANBUL ALBUM PAINTER AND A CHINESE PAINTER OF THE MONGOLIAN PERIOD Siyah Qalem,tterally “Black Pen, isthe signature ‘that appears'on_a_ number of leaves in the albums Hearne 2133 and Hazine 2160 in the Topkapi Saray. Library in Istanbul.” Afer half-century of probing and theorring (which included a conference fm 1980 ‘devoed entirely tothe question of who or what Siyah ‘Gules might have been), there is still no consensus ven on the baie facts—whether dhe signature is con temporary of a later auribution, for example, or Whether itis of an individual ora workshop—or where find when he—or it—flouished, ‘Theories regarding locale cover Inner Asia and thove regarding date range {rom che thirteenth othe seventecnth entry, but chy most often coincide in the region Irom northwestern Iran eastward—Tabris, Herat, Samarkand-—in the ff teenth century, oe certainly before the middle of the Sisteenth, by which time the albums had entered the (Ottomat imperial cllecton of Suleyman I (d. 1366) "The features that characterize the paintings signed ‘Siyah Qulem’” are also subject to debate, but seholars at least agre that both the signed and the anonymous paintings in H. 2182, H. 2135, H. 2184, and H. 2160 an be grouped by speifc common siyitic elements, ources for which may be found inal parts of Eurasia NNo one disputes that Chinese paintings, oF copies of them, or men who sdied them were among those The identity of Gong Kai, by contrast, is nota all ambiguous, Bor in Jtngss province in south China in 1222, hie early ie followed that of any Chinese lteratus in traning inthe acond quarter ofthe thir= teenth century. He eetived a classical education and, according to later sccouats, excelled at_painting, postr, and calligraphy His carly positon as secretary tora general (eate for a scholar-offcal in peacetime) feflected China’sconcemm with the Mongolian threat in those years, When the Song dynasty (960-1276) lt the Mongols in the Inter 1200's, Gong rezeatad 10 Hangzhou, not far south hit birthplace, and became 2 ymin, of “left-over mnject," a former literate in Seltimposed exile” From the dime of his retirement luna his death in 1307, Gong Kai devoted himself Seriously to writing and punting. Painting in particular ‘wos a rcatvey safe purait by which he could exprest both his frustration at che prernature termination of his civibserice career and the shame of the imperial ‘apital's occupation by descendants of Chinghis Khan (Comparing obviously Chinese inapired paintings from the Haine albums with actual Chinese images has ao fa yielded the identification of certain standard Chinese types female figures, horse, fil, land seape elements, and binds and owers—and fw Chinese subjects, notably Lady Wen," bt no connec tions beoveen the Topkapi Sarayi_paistings and authentic paintings by specifi Chinese painters. Here ideniscaions of three Canes subjects in Siyah Qalem paintings in H. 2138 and 11. 2160 are. proposed ‘Together with the Lady Wen sory, they have their sources in pictures painted by Gong Kat or his more ‘eminent contemporary Zhao Menglu (1259-1522) The felationthips between the Chinese and Siyah Qglem Paintings also provide adctonal data fr discussing he problem of the transmission of forms in this ease from fone pat of Aria to another, and by extension the post ble transer of symbols, meaning, and artiste impact. ‘THE EMACIATED HORSE, One of evo works uriverslly accepted a having ben painted by Gong Kat is the Emacitd Here (sua) in the Abe Collection, Osaka (fig. 1). ‘The sume bony beast with lowered head and cye peering out at the siewer it found several times in the Sivah Clalem feu (Fig. 2). In fat, the rib cages of emaciated Shimale and humans secred particulary to preoceupy {he album painters. The tame delineation rppeare aso 0 asey sermons Fg. 1. Gong Ka acted Hore Hania nk paper, 3037 en. Yuan dnt, Oh Msp Mo to ave been a convention for painting other snatom- ical dtaileknces, ankle joints and fatal musces=-as well ae garment folds (igs. 3 and 4), Emacited ‘creates are not a common subject i painting any rere the work! before the Istanbul album paintings ‘xcept in China, both in Gong Kai's day and later” "A paining almost at weil known at Gong Kai's i Lez Horse and Fat Hes by Ren Renta (1285-1828) in the Paace Museum, Being (ig 5 and 6). The pice torial source of the corpolent horse in Ren Real's ‘intirg, and inal ikeliood of the emaciated horse at ‘rel, cn be traced to Tang China, where the strong {ind pou horse was used as 2 metaphor forthe power ful and tified country. Furthermore, literary refer ‘ence une ae ound in Tang poetry.” Six centuries Inter Ren Renfs writes that an emaciated beast next 10 2 floushing one represents the sl sacrificing official “raining his energies in the service of the tate beside the prosperous, iesponsible oficial indulging himselt ft the rnte's expense What Gong Kai expressed by his emaciated horse was, However, according tothe painter's own insrip- tion, quite diferent. Gong seriter that the animal ‘epics the pitiful "shrunken form ia ehe Last light of the seting tan.” The dowa-todden hore represents trhat wat left ofthe Song in a South China dominated by the Mongolian Yuan dyoasy (1267-1368). Since the to Chinese emarited horses are similar, itis pss ra ie Ar, he aan, ble chat the lean horse couple withthe fat one might also have conveyed a message too impaiic for the ourt official Ren Renfa to express more openly might the disgraced, emaciated horse be China under the Mongols andl the strong fst beast the old China of the past? Whatever Ren’s intent, it remains cleat that in medieval China hones were used to represent hhemans, their deeds, and even national pride. It is equally dial to dispate that Siyah Qalem's bore is ‘eave of atrnghtforward imation, if ot of Gong Kai's Picture, then of copy of." ‘ZHONG KUEI TRAVELING The second work widely accepted ab a Gong Kai painting is Zhong Kui Tinta, inthe Pree Gallery of ‘Art, Washington, D.C Te depicts two scenes, one ils trating royalty parading in simple wooden palanguins bors by grotesque creatures (Fig 7) theater showing band of demonie figures carrying luggage and other ‘aquipment (ig. 8). Some ofthe groenques are clothed fonly below the wast ohers are more fully dressed, In the Topkapi Sarayi version (fig. 9 3-d) the two oversized paintings are mounted on either side of a Single album leaf. The length, 126 centimeter, and dhe Tormat are mor types! of thos of Chinese hander than they are of the smaller, aquarer, mote standarcl ‘vest Asian album leaves. Moat of the figutes face let vive Quant Ax GONG ot 2 Sah Qe ta Emcor] ith T Demo, 159, 7% 14265 em, Ca 8 Tapa to indicate that they are moving from right to lel thc iv also standard for a Chinese handscrall. “The les! group on the far left in the Istanbul album pintngs includes two grotesque Hgures, one with cat's fate and decr’s antler and the other resembling & bead, short-nked, tusked elephant. Their lower bodies are vaguely human, but end in shaggy tis. The -alanguin borne by thes two creatures is supporced by {dragon or sexpent-eaded frame. In it ride four Iminiatre winged females, A larger winged female es to the right of the group, shielding the women vith = toc of umbrella that "presumably indicates their royalty. "The group that follows inches par of royal Lovers sand a Second man in a larger and rooted palanguin borne by grotexque figures who seem to be stumbling lbenath the weight of tir burden. Again one ofthe monster lke figures asa trunk, tusks, and til, but his hair is eater than that of the sma gure parading before him. In ehis grep all our demonic ereatures swear skirt gathered te wait by a belt In the Kirst {group afew are nude, The bearers i the second group flso wear more jewelry dha inthe frst. The trappings Of the second carviage have serpentine beads on the fends, bt the palanguinitelTooks wooden, in contrast {othe fint which appeam tobe made of presi nid ‘materials, The eanopy ef the second carriage shoes an interesting mixture of Chinese and Islamic form a dln nd winged create together ith swirling dows ‘curate the ro, deeey beneath them ina band wih 6 ancy sarznny stunning ig. 3. Sah Cm at, Converie, H.2153, 1 19.9359, Ca Arabic writing in elonguted eartouches, which may tither have been mean o spell out Ala," or to have ‘been purely ornaments "Nest in the procession comes a par of demons caty ing cheats; the ane of the first ae painfully joined to the neck ofthe second, Beth demons are horned. The Final group is another royal pair cartied ins decorated ‘wooden palanguia, but bome from above by two grotesque winged creatures. Both ofthe semichumans are clethed from the waist down, and neither hee = (rane or tusk, “Another painting from 1, 2153 (ig. 10), published by Ipyzogte with this one, scm tobe elated. Fi three demonic creatures, linked to one anther by meta chains with bells, carry heavy, awkward cranks The center figure hata huge thorn king into hi le. What these scenes are meant to depict ha never been firmly established, * but the subjec af Gong Kai's work is in no such doubt. The inseripsons on the Chinese painting confer the atache tile, Zong Kit Tieng, nd tell ye that the heavily beaded figure with ging yes, potine stout, and Wearing a sehola's cap isthe demon queller Zhong Kui, He is being carted a the lront of the procession; his sister is behind him ‘The Zhong Kuei legend originated in the Six Dynasties period (ca 265-ca. 589) in China and was zepeated in many vaiations through the late Ming (1368-1688), One of he most popular version, from the Kaiyuan era (713-2) of the Tang dynasty, the tne depleted in the painting by Gong Kai. Ini, the temperor dreams dhat a demonic figure with tattered fap, blue robe, and hora belt around his is does away with the demos Xuhao, who har stolen the Posteations ofthe emperor a his favorite concubine, ‘The demon queer, who identifies himsel tothe ruler ss humiliated or dshonored official of the Tang

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