Dong Qichang

or Tung Ch'i-ch'ang

born 1555, Huating, Kiangsu province, China

died 1636

Chinese painter, calligrapher, and theoretician of the late Ming period.

He is noted especially for his writings on Chinese painting, which he divided into the Northern school, which taught the acquisition of truth, and the Southern school, which emphasized sudden, intuitive understanding. At the centre of the scholarly ideal of the Southern school was the art of calligraphy, which expressed the true nature of the artist without the interposition of pictorial description. Dong Qichang's own paintings stress stark forms, seemingly anomalous spatial renderings, and naive handling of ink and brush. His ideas continue to influence Chinese aesthetic theory.

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▪ Chinese artist

Wade-Giles romanization  Tung Ch'i-ch'ang 

born 1555, Huating [now in Shanghai], China

died 1636

      Chinese painter, calligrapher, and theoretician who was one of the finest artists of the late Ming (Ming dynasty) period. The most distinguished connoisseur of his day, Dong Qichang set forward ideas that have continued to influence Chinese aesthetic theory.

      Dong Qichang was born to a poor but scholarly family, and, though he at first failed the government examinations, he passed the jinshi (“advanced scholar”) examination at age 34 and was appointed to the first of a series of official positions within the Ming government.

      Dong Qichang is perhaps best known for his writings on Chinese painting. Dividing Chinese painting into “Northern” and “Southern” schools, as first suggested by his older contemporary and friend Mo Shilong, he traced the lineage and analyzed the traditions of both branches. He maintained that the Southern school emphasized a sudden, intuitive realization of truth, whereas the Northern school taught a more gradual acquisition of such insight. Painters associated with the Southern school were “literati (wenrenhua)”—sensitive poets and scholars who were also gentlemen painters—who painted intuitively (like an “amateur”) without conscious thought of function or beauty. They appealed to a similarly sensitive elite rather than to popular taste. At the very centre of this scholarly ideal was the art of calligraphy, which expressed abstractly the real nature of the individual who wielded the brush, without interposing any pictorial description. In contrast, the “professional” painters of the Northern school worked to create a handsome surface of immediate visual appeal with little suggestion of the artist's inner nature.

      Dong Qichang's own calligraphy followed the style of the eminent calligraphers Zhao Mengfu and Wen Zhengming and, ultimately, of masters of the Jin and Tang dynasties. Like the former two artists, his creative approach was conscientious, disciplined, scholarly, and systematic, seeking out the spirit rather than slavishly reproducing the outward appearance of his models.

      In his paintings, Dong Qichang especially favoured the Four Masters of the Yuan dynasty ( Huang Gongwang, Wu Zhen, Wang Meng, and Ni Zan), who had both the selfless personality and the personal style indicative of the artist-scholar's highest ideal. His paintings reveal his debt to them in both style and motif, yet he went considerably beyond them in banishing all immediate beauty from his art and stressing instead stark forms, seemingly anomalous spatial renderings, and clumsy handling of ink and brush. Dong Qichang's writings appear on his art itself as well as in various compilations of his writings—including the anthologies Huayen (“The Eye of Painting”), Huazhi (“The Meaning of Painting”), and Huachanshi suibi (“Notes from the Painting-Meditation Studio [of Dong Qichang]”).

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