The Story of the Illustration

Author: Huang Chang
Publisher:
Publish Date: 2006-06-01
Features: Chinese woodblock prints have a long and glorious history, leaving behind a rich legacy. The ancient woodblock prints in this book are primarily from the Ming Dynasty, supplemented by Qing Dynasty prints. Beyond their high artistic value, they also capture glimpses of contemporary social customs, from people's daily lives to specific objects and societal landscapes, making one appreciate the beauty of the era. This book serves as an excellent reference for historical study, second only to ancient artifacts. Portraiture was one of the earliest important applications of Chinese woodblock prints. This is an undeniable fact. Therefore, ancient woodblock prints naturally include a vast number of human figures. There are books like Portraits of the Venerable and illustrations attached to family genealogies—all of which focus on portraits. As for images attached to specialized publications, there are even more. In this regard, the perspectives of publishers worldwide are the same: they always place an author's portrait at the beginning of a book. Readers also welcome this practice. After finishing a book, they often want to learn more about the author—his appearance and style are things earnest readers long to know. Sometimes, after reading a work, one imagines the author to be slim and tall, only to be surprised when seeing a photograph that reveals him to be short and stout. This often sparks further interest in the author. In short, readers' desire to understand an author's appearance, from facial features to history, is not only common but sometimes necessary. Selecting representative examples to illustrate the full scope of portraits in Chinese woodblock prints is not a simple task, as the material is quite extensive. Starting from the Song Dynasty, I will choose one person from each of the four dynasties—Song, Yuan, Ming, and Qing—considering both the chronological order of printing and the differences in carving styles. This may provide a glimpse into the broader picture.
Su Dongpo Among the figures from the Song Dynasty, Su Dongpo has left behind many woodblock illustrations. However, most of these are found in Ming Dynasty publications. To date, no Song Dynasty literary collections with illustrations have been discovered. This phenomenon also demonstrates that it was only after the significant development of woodblock printing technology that publications acquired a new appearance. The illustrations in Song Dynasty books seem to mostly feature deities and bodhisattvas from Buddhist scriptures or ladies of virtue from Biographies of Women of High Moral Character. Naturally, it was only in the Ming Dynasty that portraits of Song Dynasty figures were carved, and since only illustrated manuscripts were available, imagination was often required to fill in the gaps. Based on historical records and referencing the author's works, one can try to grasp his spirit and demeanor, then use imagination to create a portrait. This method should be considered valid, though the true likeness may still be beyond even an archaeologist's identification. Take the Ming Taizu (Zhu Yuanzhang) as an example. In the Ming Dynasty court, there were two completely different portraits of him circulating. One depicted him as having large eyes, a long face, and 72 moles, appearing extremely fierce. The other portrayed him as a bearded, elderly shopkeeper with a kind face and no signs of ferocity. Even Ming Dynasty notes varied in their descriptions, and to this day, no one knows which portrait truly represents him.
Su Dongpo is a well-known writer. One of his notable features is his long beard. In folklore, his close friend, the monk Foyin, and his friend Chen Jichang's wife often teased him about his beard. However, the portrait in this book is not of a "bearded Su Dongpo," though it does show a beard—it resembles the "black three" in Peking opera rather than the "black full" beard. This is a small portrait from The Outer Records of Su Changgong, carved by Wan Gong for the edition titled Su Changgong's Outer Records (the image is missing—editor's note). Collectors have long pointed out this discrepancy, noting that only this portrait of Su Dongpo is described as "slightly bearded." I believe the artist of this portrait has a unique touch. At least in capturing the spirit of the figure, it feels quite lifelike. The painter studied Su Dongpo's works and captured his optimistic, humorous, and effortless characteristics well. This is a typical image of an intellectual. The artist depicts him in scholar's attire, not in ceremonial robes like "Su Yuju" or "Su Shixue." He is not a stern scholar but a stylish and carefree poet. The woodblock print was published in Yu Zhang (modern-day Jiangxi). It represents the carving style of Jiangxi in the mid-Ming Dynasty.
Wang Huangyu Wang Kekuan, styled Defu, was from Qimen, Anhui. He lived during the Yuan Dynasty and was a Confucian scholar. It is said that after Zhu Xi, the Confucian tradition was passed down through three generations, reaching Wang Kekuan. He was a scholar who inherited the traditional Confucian lineage. During the early Ming Dynasty, Zhu Yuanzhang invited him to Nanjing to edit the History of the Yuan Dynasty. He authored numerous works, mostly related to Confucian classics. This portrait is from the front of his book Supplementary Records of the Rites, published in 1493 () by Cheng Minzheng of Xin'an. Cheng Minzheng was Wang Kekuan's hometown, and he was known for his exquisite woodblock printing. Huizhou became one of the important publishing centers in the Ming Dynasty, and Cheng Minzheng made significant contributions. This portrait is also exceptionally well-carved, with the figure's spirit vividly captured. Compared to Su Dongpo, this is clearly an old scholar—no wonder Cheng Minzheng described him as "a dignified portrait that commands respect across generations." The portrait is a half-length depiction, representing the general style of Ming Dynasty portraiture. The Cheng family of Anhui printed many family genealogies, and the portraits in those books share a similar style. Its characteristic is the meticulous line work that captures the figure's facial features, embodying the realistic style that remains visible in "liuzhen" (portraiture) artistry today. A gaunt, reserved, and stern old scholar seems to sit before the reader. This is an early work of the Xin'an school. The skill of the carver is already quite refined. While it is also a line drawing, the lines are thicker than those of later Huizhou styles. The carving technique is bold, showing a significant difference from the smooth, refined style of late Huizhou. The carver's name, Qiu Yizhong, is preserved at the bottom of the second page's edge.
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