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Exquisite Moments: West Lake & Southern Song Art
精致的瞬间:西湖和南宋艺术

September 25 – December 9, 2001

This exhibition offered a new approach to Southern Song (1127–1279) art by examining the historical and cultural contexts of Hangzhou as a geographically defined cultural and political entity. Lin’an (today’s Hangzhou), the capital of the Southern Song dynasty located near beautiful West Lake, was the center of a dynasty that largely looked inward. More than sixty works by Southern Song court artists were exhibited, such as paintings on circle fans and album leaves, handscrolls, and ceramics. Many of these works were created in Hangzhou, renowned for the natural beauty of its landscape, from West Lake to the surrounding mountains.

Curated by Hui-shu Lee

Exhibition Catalogue

Authors: Hui-shu Lee

In this study of Southern Song fans and album leaves, the beautiful landscape of the West Lake environs and the cultural life of the imperial capital, Hangzhou, emerge as key factors in the art of the period. Natural wonders, temples, and palatial settings are identified in both the visual and poetic imagery of the paintings. The catalog explores the interaction between the leading masters and their patrons, as well as the direct participation of imperial patrons in artistic production.

Exhibition catalog, 2001. Paperback, 159 pages: ill.
ISBN: 0-965-4270-5-6

Media Coverage

  • Holland Cotter, “Art Review: Incandescent Views of a Dreamscape,” The New York Times, September 14, 2001.

    “New York’s big fall show of Chinese painting is installed in a very small space: two galleries at the China Institute…But in this case square footage doesn’t matter. Scale and quality do. Most of the 40 or so paintings in ‘Exquisite Moments: West Lake and Southern Song Art’ are themselves diminutive, and tailor made for an intimate setting. And they include first-class works, some of them textbook classics, on loan from the Metropolitan Museum, the Museum of Fine Arts in Boston and the Cleveland Museum of Art.”

    “An image like this, if viewed closely, has a conceptual rigor not often associated with pretty-pretty Southern Song art. And a study of the Song dynastic aesthetic in light of the politics of its time can yield complex and often unflattering results. But to conduct such examinations means interrupting the dream, so disarming in its apparent fragility, so invested in evanescence. ‘‘Exquisite Moments’ doesn’t try to do so. Instead, it maps the precise coordinates of a Lotusland long thought to have vanished but now tucked away at China Institute. You’d be crazy not to visit it.”

  • “Exquisite Moments: West Lake and Southern Song Art,” Asian Art, September 2001.
  • “China Institute Gallery To Show Art of Southern Song Era,” Antiques and The Arts Weekly, August 31, 2001.

Media Coverage

  • Sing Tao Daily 星岛日报
  • The New Yorker
  • World Journal 世界日报
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