Chinese Iron Painting

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​A Chinese iron painting depicting a landscape of pine trees growing from the edges of cliffs among clouds. The upper right-hand corner is inscribed with a poem written by Chairman Mao Zedong, following an inscription stating that this iron painting was created in December 1964. The rectangular mark in red at the end of the inscription reads Tie Hua (meaning ‘iron painting’). Another red mark in a square at the lower left corner of the painting reads Wu Hu Gong Yi (‘crafts from Wuhu’). The landscape, inscriptions and marks are all made of wrought iron elements, which are crafted individually.
 
“Amid the growing shades of dusk stand sturdy pines
Riotous clouds sweep past, swift and tranquil
Nature has excelled herself in the Fairy Cave
On perilous peaks dwells beauty in her infinite variety.”
 
The art of iron painting was developed in Wuhu city of Anhui province in the late 17th century.  According to Jenyns and Watson: “…T’ang T’ien-ch’ih, an iron worker, set the example by vying with the painter Hsiao Yun-ts’ung in depicting landscape.” The subject matter depicted here echoes the poem inscribed on the upper right-hand corner. The poem, consisting of four phrases with seven Chinese characters each, (known as Qijue), can be translated as follows “Amid the growing shades of dusk stand sturdy pines / Riotous clouds sweep past, swift and tranquil / Nature has excelled herself in the Fairy Cave / On perilous peaks dwells beauty in her infinite variety.” This poem was written by Chairman Mao Zedong (1893 – 1976) on 9th September 1961, with the title ‘The Fairy Cave- Inscription on a Picture Taken by Comrade Li Jin – a Qijue’; it was first published in The Poems of Mao Zedong in 1963.  The title refers to a poem written for a photograph taken by Li Jin, also known as Jiang Qing (1914 – 1991), the third wife of Mao. The pine tree enhances the scholarly theme, as it is a symbol of longevity. A set of four 18th century iron paintings representing the seasons are in the collection of the British Museum, one of which is illustrated by Jenyns.  A set of four further comparable iron paintings dated to the 17th century was included in the exhibition, The Chinese Scholar’s Studio: Artistic Life in the Late Ming Period from the Shanghai Museum in 1987.