Discourse on Poetry

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Gardens were often designed to embody the ideals of their owners. Paintings of gardens could take even greater license in conveying a man\u2019s character by constructing symbols and metaphors drawn from elements of the natural environment. That is surely the case with this painting by the Suzhou artist Gao Jian.The painting was made to accompany a treatise on Chinese poetry by the renowned scholar-official and collector Song Luo (1634\u20131713). In it, Gao presents an idealized evocation of Song composing his discourse in a garden pavilion. Rejecting bright color and representational verisimilitude, Gao renders his simplified, almost naive vision of the garden in a spare, \u201cdry brush\u201d monochrome style that emphasizes the painting\u2019s role as a \u201cportrait\u201d rather than a literal description of the scholar\u2019s surroundings. The majestic pines, dense grove of bamboo, and tranquil lotus pond may all be read as metaphors for Song\u2019s lofty character, moral virtue, and detached state of mind. The sparse foreground and meticulous brushwork exemplify the Suzhou School of painting, from which Gao derived his style. Framed by a bold seal-script frontispiece and Song\u2019s treatise, transcribed in formal standard-script calligraphy by Song\u2019s son, the scroll unites poetry, painting, and calligraphy in a quintessential work of early Qing literati culture.

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