Exhibition on Chinese figure paintings from different dynasties is being held at the Palace Museum, Wang Kaihao reports.

Cai Wei Tu, a painting from the Southern Song period, is among the paintings on display at the show, The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection, at the Palace Museum in Beijing. The exhibition featuring 76 works with both artistic and historical importance runs through October. (PHOTO PROVIDED TO CHINA DAILY)

After the Shang Dynasty (c.16th-11th century BC) fell to the army of the Western Zhou Dynasty (c. 11th century-771 BC), two Shang nobles, Boyi and Shuqi, chose to live in a mountain hermitage. They did not want to accept Zhou salaries and fed themselves with wild fern. They starved to death but were worshiped by generations of Chinese scholars throughout ancient times as a symbol of loyalty and a spirit of "elegant retreat".

Their stories are vividly captured in Cai Wei Tu (Plucking Osmunda), a painting from the Southern Song period (1127-1279). Many scholars, from the Yuan Dynasty (1271-1368) to the Qing Dynasty (1644-1911), left their scripts by the scroll painting, probably as endorsement of the two nobles' loyalty.

The painting is now the highlight of an exhibition in the Hall of Literary Brilliance, the gallery at the Palace Museum in Beijing. The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection has 76 works, with both artistic and historical importance on display, and runs through October.

Confucian philosopher Mencius had a line describing Chinese literati: "If poor, they attended to their own virtues in solitude; if advanced to dignity, they made the whole country virtuous as well."

Part of People's Stories, by Qing Dynasty painter Shi Tao, is among the paintings on display at the show, The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection, at the Palace Museum in Beijing. The exhibition featuring 76 works with both artistic and historical importance runs through October. (PHOTO PROVIDED TO CHINA DAILY)

For Ren Wanping, deputy director of the Palace Museum and a curator of the exhibition, the line inspired researchers to choose hermits as the theme for the display.

"These literati had a strong emotional attachment to the destiny of the country," Ren says.

They retreated to show that they cared for the people. That still resonates with modern people's emotions, Ren says.

Consequently, a hermitage became a choice for them to hone their own virtues and skills, and become moral models.

"At this exhibition, we can admire the elegant artistic style of the paintings," Ren says. "But it's also a chance for visitors to know the stories of the literati spirit.

She adds: "When being put in the context of stories, Chinese figure painting becomes a key way for admonition or education.

"That's a major difference between Chinese figure painting and Western portrait art, which mainly focused on the realistic reflection of people."

In an exhibited painting by Shi Tao from the early Qing Dynasty, a farmer turns down an offer made by Shun, a ruler who was thought to have lived more than 4,000 years ago, to succeed his throne, because the farmer thought Shun's "virtue was not perfect".

Nevertheless, hermits would stand out when they were needed by the country.

Profiles of Liulitang, by 10th-century painter Zhou Wenju, is among the paintings on display at the show, The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection, at the Palace Museum in Beijing. The exhibition featuring 76 works with both artistic and historical importance runs through October. (PHOTO PROVIDED TO CHINA DAILY)

In a Ming Dynasty (1368-1644) painting, Shangshan Sihao Tu, by Dai Jin, four nobles live in hermitage to distance themselves from the tyranny of Qinshihuang, the first emperor of the Qin Dynasty (221-206 BC), and refuse to return to politics for Liu Bang, founder of the Han Dynasty (206 BC-AD 220). But they finally accept the invitation made by Liu's crowned prince.

In ancient China, many scholars referred to paintings to express their political ideals. During the Song Dynasty (960-1279), literati paintings rose to become the mainstream of Chinese paintings. A large number of paintings then reflect scenarios of scholars' everyday life in hermitage. According to Ren, these paintings, on the one hand, reflect the scholars' refined taste in life and their wish to deliberately distance themselves from fame and wealth, and on the other hand, express admiration for a free lifestyle.

"Through these paintings, people paid tribute to the ancient sages," Ren says.

Shangshan Sihao Tu, by Dai Jin of the Ming Dynasty, is among the paintings on display at the show, The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection, at the Palace Museum in Beijing. The exhibition featuring 76 works with both artistic and historical importance runs through October. (PHOTO PROVIDED TO CHINA DAILY)

Zhao Ji, a Song Dynasty emperor, also contributed to the boom of painting. In the exhibited Ting Qin Tu ("listening to guqin"), the emperor seems to put all political affairs aside and focus on playing guqin, a plucked musical instrument popular among Chinese literati, while his courtiers are all ears for his performance. The painting was once thought to be drawn by the emperor himself, but recent studies show it was probably done by a painter in the imperial painting academy, which was initiated by Zhao.

"Zhao made the move to establish and participate in operations of the academy," Ren says. "He emphasized painting theory and helped ancient Chinese painting reach a high level."

However, as an emperor who spent too much energy on artistic ambitions, Zhao proved his failure in ruling his country. The capital city fell in war, and he became a prisoner.

Ting Qin Tu, a Song Dynasty painting featuring the emperor Zhao Ji (sitting under the tree), is among the paintings on display at the show, The Elegant Retreat: Figure Paintings from Across the Ages in the Palace Museum Collection, at the Palace Museum in Beijing. The exhibition featuring 76 works with both artistic and historical importance runs through October. (PHOTO PROVIDED TO CHINA DAILY)

According to Ren, Chinese figure painting mixed with landscape painting after the Yuan Dynasty, seeking to show a harmony between humans and nature. The garden was used to set an atmosphere for figure painting at the beginning. However, landscapes gradually began to play the main part, and figures made a retreat, appearing as ornaments in landscape paintings later.

"More studies will help us to explore humanities hidden in the cultural relics," Ren says. "That will better usher the public to fine traditional culture and nurture patriotism."

The ongoing event is the second phase of a series of exhibitions on Chinese figure paintings at the Palace Museum, which will run through 2022.

Up to 3,000 visitors daily are allowed in the gallery at present. Online reservations are needed through gugong.ktmtech.cn (at least 10 days in advance).

Contact the writer at wangkaihao@chinadaily.com.cn