The Life and Career of Ma Hezhi

Ma Hezhi lived and worked during the 12th century, a time when the Song dynasty shaped the landscape of Chinese art. His life was marked by a steady rise through the imperial ranks. During the Shaoxing era, which lasted from 1131 to 1162, he earned the title of jinshi through the imperial examinations. This achievement placed him among the educated elite of his time. His professional life extended beyond the brush, as he held the position of vice-president of the Bureau of Public Works.

The records of his life show he was active in the courtly circles of the era. He was still living during the reign of Emperor Xiaozong, between 1163 and 1165. His presence in the administrative and artistic life of the Song dynasty suggests a man deeply embedded in the structures of the state. He moved through the halls of power and the quiet spaces of the scholar-official class, leaving behind a record of both his official duties and his hand in painting.

Technique and Artistic Style

Ma Hezhi’s hand moves with a specific kind of freedom. His work avoids the rigid, polished expectations of the academic style, opting instead for a sense of fantasy and personal expression. In his depictions of figures and landscapes, there is a lightness that suggests a departure from strict formal rules. He often employs a calligraphic "orchid-leaf" brush line, a technique that gives his compositions a rhythmic, flowing quality. This approach allows him to capture the essence of a subject through simplified, deliberate strokes rather than through heavy, detailed realism.

When he turns his attention to the natural world, his brushwork becomes even more spirited. For the depiction of trees, he uses what is known as "leech strokes"—nimble, energetic lines that give the wood and bark a sense of life and movement. This technique is particularly visible in his renderings of old trees, where the branches reach out with a sketchy, lyrical quality. His style is often described as archaistic, looking back to older traditions to find a way of seeing that feels both ancient and spontaneous. He does not seek to document every leaf, but rather to capture the spirit of the scene through a controlled, yet lively, economy of ink.

Notable Works and Masterpieces

In the handscroll Courtly Odes, Beginning with "Wild Geese", the ink and color on silk capture a specific rhythm. The work features a calligraphic "orchid-leaf" brush line, a style that draws from the scholar-painting tradition. This piece is accompanied by text written in the regular-script style of Emperor Gaozong.

The Odes of the State of Bin is another significant handscroll, rendered in ink, color, gold, and silver on silk. This work is part of a series of poems believed to be songs from the ancient homeland of the Zhou dynasty. Similarly, the Illustrations to the Odes of Chen uses a combination of calligraphy and painting on a handscroll to bring the text to life.

One of his most recognized pieces is Old Tree and Flowing Stream. This work depicts an old tree beside a stream, featuring two falcons—one perched in the branches and another in flight. The brushwork used for the tree is nimble and spirited, a technique later referred to as "leech strokes." In 2011, this painting was classified as a National Treasure.

Where to See His Works Today

Tracing the physical presence of Ma Hezhi's hand requires traveling through several major collections. In New York, The Metropolitan Museum of Art holds two of his works, including the scrolls titled Courtly Odes, Beginning with "Wild Geese" and Odes of the State of Bin. These pieces allow for a close look at the ink and color applied to silk, showing the specific brushwork used during the Song dynasty.

Other significant pieces are held in London and Taipei. The British Museum contains the Illustrations to the Odes of Chen. In Taipei, the National Palace Museum houses several works, including a painting of a falcon. These works offer a way to see how his style moved across different formats, from long handscrolls to smaller album leaves.

The Museum of Fine Arts in Boston also preserves his work, specifically the illustrations of the Odes of the Xiaoya section. Seeing these works in their respective institutions provides a sense of how his presence in the history of Chinese painting is preserved across different parts of the world.