Word: scrolled
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Dates: during 1990-1999
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Around the corner from this intriguing introduction is the first gallery, a darkly lit hall filled with sculptures, scrolls, and paintings from the China's earliest dynastic periods, most notably the Han (206 B.C. - A.D. 220) and Tang (618-907 A.D.) dynasties. Aside from a vitrine comparing a Neolithic pre-Buddhist wood painting to a brightly-colored yet carefully-shaded Buddhist silk scroll, the exhibition quickly abandons its emphatic insistence on religion as an organizing principle and begins to strain under the weight of its own ambitious chronological framework. An intricate gold dragon stands prominently along the main path with...
Rather than a sustained and incisive presentation of religious influences on Chinese painting, what unfolds is a series of scrolls incredibly rich in calligraphic detail and historical import. All are completely unrolled and elegantly presented in cases that run along the entire length of the gallery. They range from Yan Liben's Thirteen Emperors' Scroll, the only surviving visual record of a series of Chinese emperors, to the scrolls of the famous emperor and artistic patron Huizong, whose devotion to the arts cost him his throne, to the earliest portrait of Confucius. These paintings overwhelm the viewer not only with...
...this pattern--outstanding works desperately seeking a coherent intellectual framework--that continues to plague the exhibition's second gallery, a tripartite cross-section of Song Dynasty (960-1279) painting. Chen Rong's Nine Dragons scroll is accorded a central place as the source of the exhibition's title. There is also an impressive series of 10 Buddhist Lohan paintings from the temple of Kaitoku-ji in Kyoto, Japan (originally shown in the MFA's first Chinese painting exhibition...
Bizarre obsessions don't make interesting art in themselves, but Darger had genuine talent beyond them, particularly in his power of formal arrangement and his sense of color. At their best, his friezes of androgynous Shirley Temploids hold the long scroll format beautifully, with a fine sense of interval and grouping. With the big, delicate flowers and butterflies alternating with weird, cavernous landscapes, searchlight rays and puffs of rifle smoke, they are like a skewed version of Kate Greenaway's Victorian illustrations. The pale, blooming color is rarely less than inventive, and it can break out into a startling decorative...
...serious." Dunne's account sometimes reads like a nonfiction sequel to his satiric 1994 Hollywood novel, Playland. But without fiction's remove and craft this chronicle often seems like a hasty downloading of shoptalk and tele-shmoozing. It may be too much to expect 27 rewrites, but one more scroll through the laptop might have tightened things up. Beyond this quibble, however, Monster contains more than enough cautionary experience to be a required text for anyone thinking about leaving his day job to write the great American screenplay...