Chinese paintings span centuries By Neshe Sarkozy For the Daily "The Orchid Pavilion Gathering," an exhibit featuring ancient Chinese paintings, is now open to the public at the Museum of Art. Covering the deep red walls of the upstairs gallery at the museum are enormous silk and rice paper paintings, many of which have never been on display in the U.S. before. These amazingly fragile pieces of art from the Southern Sung Dynasty (1126-1280) to the 20th Century portray a wide array of artistic techniques which are not only aesthetically pleasing but provide an educational component as well. Marshall P.S. Wu, head curator at the Museum of Art, said "the goal of collecting (these particular) works is for education and for visual enjoyment." Wu went on to note that students can learn and understand the present problems as well as the priceless educational value of these ancient pieces. Within almost all of these exquisite paintings are beautifully written historical or mythical calligraphy placed on some part of the painting. Wu noted that the museum staff has gone to great lengths to translate all of the ancient writings, since they hold so much of the meaning behind the art. Oddly enough, most Chinese art was not intended for the public but instead kept for the elite. The writings were in a form of cursive from the Chinese Bronze Age (1500 B.C.), which the masses could not read. The Museum of Art has translated the meanings of the names, stories recorded and historical background. "Education, being the main goal," Wu said, "is important in bringing this exhibition to the museum." Interestingly enough, most of the paintings are on two types of medium, rice paper or silk. Rice paper does not have anything to do with rice but is instead made from either bamboo or tree bark. Certain dynasties preferred one or the other. This helps in dating the specific art pieces and in deciphering in which era they belonged. The works of art are arranged chronologically along the walls from the 12th Century to the most modern painter who died in the '80's. There is so much beauty as well as wisdom and a certain calmness in these delicate paintings. Wu mentioned in regard to these pieces the Chinese painters always tried to tease the viewer, whether simplistic ally or with a more complex piece. The desired effect from viewing Chinese art is to unite oneself with nature and get the sense of tranquillity of people. Even in ancient China it was considered a noble and respectable thing to leave all worldly possessions when fed up with bureaucracy and live as a hermit. Wanderers are what one can see in many of the paintings. Some of the paintings are done in a rather abstract form, even though they are from the 15th and 16th Century. These paintings are suggestive and let the viewer enjoy the representation. Little if no color is utilized, and the characters are realistic. Wu expressed the idea that these Chinese artists' paintings were a vehicle for self expression. Unlike artists in the Western hemisphere, Chinese painters never studied the human anatomy; however, balance, complexity and an inner expression was the main focus. Due to the particular uniqueness of the art, special attention has been paid to how it is exhibited. Large silk scrolls hang on the wall and are stretched over long display cases. Red hues, which symbolize prosperity and happiness and play a crucial part in the Chinese tradition, cover some of the walls. A few of the paintings were even mounted on material from Japan. A nice touch to the showcase is a rather small porcelain pot with several goldfish swimming about in its decorations. "The Orchid Pavilion Gathering" creates an ideal way of combining art and elements of history as well as glimpses into the complexity of Chinese culture. Going through the exhibit is as if you step into another realm, wherein knowledge and art intersect and that somehow it seems that it belongs together. Courtesy of University Museum of Art 'Presenting Lichee Fruit on a Carved Ice Platter,' by Yu Chi (1738-1823) Originally on page 5A in the 1-26-2000 issue of the Daily.