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Chen
Shi-Zheng |
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Chen Shi-Zheng is a director. He most recently directed Purcell's
Dido and Aeneas for the Spoleto Festival USA. Other recent
productions are Mozart's Cosi fan tutte at Aix-en-Provence
Festival and Théâtre des Champs Elysées in Paris. Chen's acclaimed
production of The Peony Pavilion, a 20-hour, 55-act Ming
dynasty opera, commissioned by Lincoln Center Festival, premiered
in New York in 1999, and toured to Caen, Paris, Milan, Perth, Aarhus,
Vienna, and Berlin. Among his other directing credits are Euripides'
Bacchae, performed by China National Beijing Opera Company in international
festivals in Beijing, Hong Kong, and Athens; Alley, a contemporary
opera, for New Zealand International Festival; and Forgiveness,
a ghost revenge story about Japan, China, and Korea, co-commissioned
and toured in the United States by the Asia Society and Walker Art
Center. He is currently working on The Night Banquet, a contemporary
opera to be premiered this fall at festival d'Autumne á Paris, and
The Dark Matter Problem, a feature film. Chen was honored
with the title of Chevalier in the Order of Arts and Letters by
the French Cultural Ministry in 2000.
Selected
Objects
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Wine
Vessel: You
North China
Western Zhou period, about late 11th-early 10th century B.C.E.
Bronze
H. 14 7/8 in. (37.8 cm) including handle, W. 8 3/4 in. (22.2 cm) across
flanges; 1979.100a,b |
I
love this bronze. It's like a mask in triplicate. It is full of the mystery
that in the early stage of human life is incorporated into everything. Everything
humans created, they had a need to put mythology into. It was important
to them to put myths even on the accessory objects, wine vessels, food vessels.
Gods, humans, animals are intertwined-it's how they saw this world. Yet
they were simultaneously fascinated with this vision. Their inner imagination
was what they saw around them-it is mythical; it is reality; there isn't
a distinction between them. It was never separated in daily life. Eating
a bowl of rice is as sacred as going to church. Everything is a ritual.
It's like a container in three parts. You can put anything in it-soup, rice,
yam. Only if you think eating a meal is a mysterious experience, then life
is fascinating.
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Attributed
to Lou Guan (active mid-to late 13th century)
Xie An at East Mountain
China
Southern Song to Yuan period, late 13th century
Hanging scroll; ink and slight color on silk
69 x 34 3/4 in. (175.3 x 88.3 cm); 1979.123
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It's
like an etching, extremely sharp, like metal scratched on a firm base, the
mountain, rock, are as if metallic. It's almost like it has this 3D mentality,
the objects-painted-trees, rocks emerge from the paper. Look at those trees.
Look at those dots. It's almost like embroidery, a textile, not brush strokes-because
its intricacy is so strong and precise that it seems almost impossible to
be a painting. You see the tension in this period, the late Song to Yuan
period-like no fat painter's work, it's boney, strong, vital, composed with
a definite edge. And in its layers of transparency, small in the vastness
and monumentality of nature are six ethereal people.
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Bowl
China, Jiangxi Province
Ming period, mid-to late 15th century (probably Chenghua era, 1465-1487)
Porcelain with glaze (Jingdezhan ware)
H. 1 3/8 in. (3.5 cm), D. 6 1/2 in. (16.5 cm); 1979.177
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Simplicity.
One simple white line. The drama. That red. A burgundy red. I don't know
what to say about it right now, just something very special about it.
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