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This image appears to be a page from a newspaper or magazine. It features an article titled "Hazy Landscapes of Late Ming Dynasty at the Fogg" by Susan Drysdale. The article discusses a show of late Ming Chinese landscape paintings at the Fogg Art Museum, which is described as a "superlative show."

The page contains several black-and-white illustrations. One illustration shows a landscape painting with a focus on a twisted pine tree, accompanied by the caption "Dream world of Shao Mi," referencing a leaf from an album of landscapes by Shao Mi. The other illustration features a "Portrait of a Scholar," described as a collaborative effort between Tseng Ch'ing, a famous portraitist of the late Ming period, and Ts'ao Hsi-chih, who contributed the landscape setting.

The article delves into the context of the late Ming Dynasty, noting it as an age of weak emperors, political factions, and corruption. It highlights the themes and artistic elements in the landscapes, such as the restlessness of trees, swirling mountain forms, and the ruffled surface of water, reflecting the general restlessness of the period.

The layout of the page is typical for a news article, with text blocks and illustrations interspersed to enhance the visual and textual content. The paper appears to be aged, as indicated by the yellowed edges, suggesting it is from a past edition of the publication.

This image is of a printed newspaper article from The South Middlesex News dated Friday, February 18, 1972. The article is titled "Hazy Landscapes of Late Ming Dynasty at the Fogg" and is written by Susan Drysdale.

Key Features:

1. Content Focus: The article discusses an art exhibition at the Fogg Art Museum featuring late Ming Dynasty Chinese landscapes. It delves into the artistic and historical context of the works, emphasizing the "dream world" created by scholar-gentlemen artists during this turbulent period.

2. Images: Two black-and-white illustrations are included:

   • On the left: A portrait of a scholar seated in a contemplative pose, titled "Portrait of a Scholar." The caption identifies it as a collaborative effort between Tseng Ch'ing and Ts'ao Hsi-chih.
   • On the right: A leaf from an album of landscapes by Shao Mi, labeled "Dream world of Shao Mi." The illustration depicts a serene, idyllic scene featuring a twisted screen of pine trees and a scholar-gentleman's summer residence.

3. Article Layout:

   • The article is structured into multiple paragraphs, describing the exhibition's aesthetic pleasures, the materials used in the paintings (e.g., silk, brocade, ivory, and wood), and the cultural significance of the artists' work during the late Ming period (1570-1644).
   • It discusses the influence of Confucian ideals on scholar-gentlemen who withdrew into nature, as well as the efforts of Tung Chi-ch'ang in preserving the literary landscape school of painting.
   • The article mentions Dr. James Cahill's seminar at the University of California, Berkeley, which contributed to the exhibition's organization, and notes the support from the Kress Foundation and the National Endowment for the Arts.

4. Historical Context: The article highlights the political and social unrest of the late Ming period, where weak emperors, corruption, and bloody purges were prevalent, creating a backdrop for the artists' retreat into nature and art.

The overall tone of the article is informative and appreciative of the art and its cultural significance during a turbulent period in Chinese history.

This image displays page 36 of The South Middlexex News, dated Friday, February 18, 1972. It features a full-page art review article titled:

“Hazy Landscapes of Late Ming Dynasty at the Fogg”

The article is written by Susan Drysdale and reports on a special exhibition at the Fogg Art Museum (Harvard University) showcasing late Ming Dynasty Chinese landscape paintings.

Key Features of the Article:

• Main Focus: The exhibition presents a “superlative show” of late Ming Chinese landscape paintings, described as “hazy landscapes” and noted for their “pervy aesthetic pleasures.” The paintings are praised for their contemplative beauty and their reflection of a turbulent political era (1368–1644).

• Scholarly Context: The article references James Cahill’s remarks on the “late Ming” period as a time when Confucian scholars retreated from corrupt political life to cultivate private gardens and appreciate nature—a theme reflected in the art.

• Historical Background: It discusses the “literary landscape school of painting,” particularly through the influence of scholar-artist Tung Ch’i-ch’ang (1555–1636), who synthesized Southern and Northern schools into a personal, expressive style rooted in Chan Buddhism.

• Exhibition Details:

  • The show is the result of a seminar by Dr. Cahill at UC Berkeley, featuring scholarly essays by graduate students.
  • It was supported by a Kress Foundation grant and the National Endowment for the Arts.
  • The exhibition was a successor to Dr. Cahill’s previous show, “Scholar Painters of Japan: The Nanga School,” and was on view through April 2.

Accompanying Images:

There are two black-and-white reproductions of paintings included:

1. Left Image: “Portrait of a Scholar”

   • Captioned as a collaborative work between Tung Ch’ing (a famed portraitist) and T’ao Hai-chih (who contributed the landscape setting).
   • Depicts a scholar in traditional robes seated in a natural setting, embodying the idealized literati life.

2. Right Image: “Dream world of Shao Mi”

   • A leaf from an album of landscapes by Shao Mi.
   • Shows an “idyllic summer residence of a scholar-gentleman” seen through a “twisted screen of pine trees.”
   • This and other works were on view at the Fogg Art Museum, Harvard University.

Overall Tone:

The article is academic yet accessible, blending historical insight, art criticism, and cultural context. It positions the exhibition as not just aesthetic, but as a window into the philosophies and political retreats of Ming-era scholars.

It also notes the physical format of the paintings—each scroll mounted on rollers made of ivory, brass, or wood, with an ornamental brocade or silk background.

In essence, the page documents a scholarly and artistic tribute to late Ming landscape painting, offering readers both visual examples and thoughtful analysis of its cultural and historical significance.

A newspaper clipping is displayed on a white background. The clipping is a page from "The South Middlesex News," dated Friday, February 18, 1972. The page features an article titled "Hazy Landscapes of Late Ming Dynasty at the Fogg," written by Susan Drysdale. The article discusses the aesthetic qualities of Chinese landscape paintings from the late Ming Dynasty, exhibited at the Fogg Art Museum. It highlights the use of silk, subtle colors, and the individual roller scrolls that depict various landscapes. The article also mentions the influence of Tung Ch'i-ch'ang, a renowned artist and statesman, on the development of landscape painting during that period. Additionally, there are two images accompanying the article: one is a portrait of a scholar, and the other is a landscape painting titled "Dream World of Shao Mi."

The image is a page from a newspaper, dated February 18, 1972, featuring an article titled "Hazy Landscapes of Late Ming Dynasty at the Fogg." The article discusses an exhibition of Chinese landscape paintings from the late Ming dynasty held at the Fogg Art Museum. The page includes a black-and-white photograph of a landscape painting, accompanied by text describing the exhibition and the significance of the paintings. The article highlights the aesthetic pleasures and the historical context of the artworks, emphasizing their beauty and the cultural heritage they represent.

The image shows a page from a publication titled "Hazy Landscapes of Late Ming Dynasty at the Fogg" by Susan Drysdale, published in The South Middlesex News on Friday, February 18, 1972. The page is part of an article discussing the aesthetic and historical significance of landscape paintings from the Late Ming Dynasty, housed in the Fogg Art Museum.

Key Elements of the Image:

1. Headline and Subheading:

   • The main headline reads: "Hazy Landscapes of Late Ming Dynasty at the Fogg".
   • The subheading indicates the author, Susan Drysdale, and the publication details.

2. Text Content:

   • The article discusses the artistic and cultural context of Late Ming landscape paintings, emphasizing their aesthetic qualities, such as "subtle variegated colors" and "timacy and delight."
   • It mentions the works of artists like Shao Mi and Tung Ch’i-ch’ang, highlighting their contributions to the evolution of landscape painting during the Ming Dynasty.
   • The text also touches on the philosophical and literary influences on these paintings, referencing Confucian ideals and the concept of "mountain and water" (山水, shanshui) as a meditative and contemplative form of art.

3. Illustrations:

   • Left Side:
     • An illustration labeled "Portrait of a Scholar" depicts a figure in traditional Chinese attire, seated in a contemplative pose. This image is attributed to Ch’eng Hsiao, a collaborator of the famous artist Teng Ch’i-ch’ang, who contributed to the landscape setting.
   • Right Side:
     • An illustration labeled "Dream world of Shao Mi" shows a detailed, stylized landscape with trees and a serene, dreamlike atmosphere. The caption describes it as a "leaf from an album of landscapes by Shao Mi," noting that it depicts an idyllic summer residence of a scholar, with a view through a twisted screen of pine trees. The work is part of the collection at the Fogg Art Museum, Harvard University.

4. Layout and Design:

   • The page has a classic newspaper layout, with a mix of text and illustrations.
   • The illustrations are placed adjacent to the text, providing visual context and enhancing the article’s narrative.

Summary:

The image is a page from a news article that explores the Late Ming Dynasty’s landscape paintings, focusing on their artistic and philosophical significance. It includes textual analysis and two illustrative examples: one depicting a scholar (attributed to Ch’eng Hsiao) and another showcasing a dreamlike landscape by Shao Mi, both from the Fogg Art Museum’s collection. The article aims to highlight the cultural and aesthetic value of these works.

The image appears to be a photograph of an open newspaper or magazine page. The page is titled "The South Middlesex News, Friday, Feb. 18, 1972". The main headline is "Hazy Landscapes of Late Ming Dynasty at the Fogg", written by Susan Drysdale. The article discusses an art exhibition featuring landscape paintings from the late Ming Dynasty that took place at the Fogg Museum (associated with Harvard University, as mentioned at the bottom of the article).

On the left, there's an illustration with a caption that reads "Portrait of a Scholar?" and describes a painting that features Wang Wei, the poet and artist from the T'ang Dynasty holding a bamboo brush, surrounded by the landscape setting.

On the right, there's an artwork reproduction with a caption "Dream world of Shao Mi," stating that the image is from an album of landscapes by Shao Mi, a 17th-century painter. The image reflects a traditional Chinese landscape painting with a detailed depiction of nature, trees, and rocks.

The text of the article explores the themes and historical context of the paintings, mentioning different artists and their works, the cultural significance of such landscapes, and the exhibition details. There is also a reference to the Nezu Institute for Fine Arts in Tokyo and the existence of similar exhibitions elsewhere.

The image shows a newspaper article titled "Hazy Landscapes of Late Ming Dynasty at the Fogg." The article was written by Susan Drysdale and published in The South Middlesex News on Friday, February 18, 1972.

The article discusses the aesthetic pleasures derived from viewing a late Ming Dynasty landscape painting exhibit at the Fogg Art Museum, which has increased in size by 109 percent. It highlights the individual scrolls made of warm ivory, teak, or lesser woods accompanied by pottery and pierced metal. The article emphasizes the subtle and varied colors of silk used in the paintings, which enhance their delicate and rare visual qualities.

Two images accompany the article:

1. A small portrait on the left side titled "'Portrait of a Scholar,'" showing a seated figure dressed in traditional attire with calligraphy and a landscape behind.
2. A larger image on the right side showcasing a "Dream world of Shao Mi," depicting a landscape scene with figures and trees in varied shades.

Additional notes in the article mention the efforts of artist Tung Ch'ing, the distinction between Southern and Northern schools of painting, and the exhibition being supported by the Kress Foundation. It also notes the exhibition is viewable at the Fogg Art Museum until April 2 and references James Cahill's scholarly views on the art.

This image shows an old newspaper or magazine clipping mounted on a background. The article, titled "Hazy Landscapes of Late Ming Dynasty at the Fogg," was written by Susan Drysdale and includes information about an art exhibition featuring works from the Late Ming Dynasty at the Fogg Art Museum. The clipping has a date printed at the top: "Friday, Feb. 18, 1972," sourced from "The South Middlesex News."

The article describes the aesthetic pleasure derived from viewing Chinese art, focusing on the serene and hazy landscapes from the Late Ming Dynasty. Two small monochromatic images accompany the text.

1. The first image, titled "Portrait of a Scholar," appears to portray a figure in traditional garb in a natural landscape setting.
2. The second image, captioned "Dream world of Shao Mi," shows an intricate landscape scene with elements of nature, people, and animals. This artwork is credited as coming from an album of landscapes by the artist Shao Mi.

The article discusses the history, influences, and artistic characteristics of Chinese landscape paintings from this period. The overall aesthetic of the clipping is vintage, with faded sepia-toned prints and text.

A vintage newspaper clipping mounted on a scrapbook page. The main headline reads “Hazy Landscapes of Late Ming Dynasty at the Fogg,” with a byline that attributes the piece to Susan Drysdale. The layout shows two black-and-white illustrations accompanying the article: on the left, a vertical image titled “Portrait of a Scholar” depicting a seated figure in traditional robes and hat; on the right, a landscape scene captioned “Dream world of Shao Mi,” featuring ragged rocks and trees. The text is arranged in columns, and there are small captions and credits at the bottom of each image. The clipping appears faded and aged, taped onto a brownish page.