Cao Zhibai (1271–1355), whose courtesy name was Youxuan and sobriquet was Yunxi, was the creator of this artwork titled "Twin Pines," also known as "A Pair of Pines." Cao Zhibai came from Huating (present-day Shanghai), and was a renowned scholar, painter, and bibliophile of the late Yuan Dynasty. Coming from an affluent family allowed Cao Zhibai to devote himself to his intellectual pursuits and establish his estate as an important cultural centre. He hosted artists such as Huang Gongwang and Ni Zan and fostered an environment that contributed to the development of litearti (wenren) culture of the period. Cao Zhibai also briefly served as a technical official in the Xuanwen Academy, but spent most of his life in retired seclusion.
Cao Zhibai followed in the stylistic footsteps of Zhao Mengfu, who revived the Li-Guo landscape tradition of painting. Unlike many of his contemporaries, Cao Zhibai looked towards the Northern Song for inspiration. As a quintessential literati painter, his style included level-distance (pingyuan) landscapes that created expansive horizontal spaces that evoked a sense of tranquillity and infinity. He excelled at painting leafless trees with "crab-claw" branches, often set against chilly, mist-covered mountains. In his later years, his style shifted from being detailed and robust to becoming sparse and ethereal, as he favoured pale ink and dry brushwork (fubai) and emphasised the spiritual essence of the landscape over physical likeness. Art historians divide Cao Zhibai's work into two phases: an earlier phase characterised by strong and structural brushwork, and a later phase, as he aged and interacted more with the "Four Masters of the Yuan," in which his paintings became more subjective and minimalistic. This transition also reflects the broader Yuan Dynasty shift towards self-expression and away from professional ornamentation.
As mentioned above, Cao Zhibai was a renowned book collector and also studied water conservancy, submitting proposals to the court concerning the dredging of rivers in the Jiangnan region. This practical knowledge of the earth's topography may have contributed to the structural quality and realistic spatial layouts found in his landscape paintings.
The painting showcased here is a hanging scroll made of silk and rendered in ink, measuring 132.1 × 57.4 cm. It depicts two sturdy pine trees in the foreground whose branches intertwine towards the top, alongside what appear to be the "crab-claw" branches for which Cao Zhibai is known. The background consists of bare trees and a sparsely vegetated landscape, creating a wintry setting. At the top of the scroll is an inscription that reads: "On the 'Human Day' (7th day of the 1st Lunar Month) in the second year of the Tianli reign (February 6, 1329), Yunxi did this screen of pine trees to be sent to Shimo Boshan as an expression of remembrance."
Shimo Boshan (1281–1347) was an aristocrat of Khitan heritage and the great-grandson of Shimo Yexian, who had greatly contributed to the Mongol defeat of the Jin Dynasty. Not long before this painting was created, Shimo Boshan had relinquished his post at court to become the Commander of Fujian. Cao Zhibai probably used the imagery of the two pine trees standing tall to praise the upright character and virtue of Shimo Boshan. According to the National Palace Museum, Taipei, the pine trees enduring snow and frost could also symbolise the enduring bonds of friendship between the two men.
To me, the twin pine trees standing tall in their evergreen glory in the dead of winter also show that, despite the harshness and cold seasons of life, having a trustworthy and sturdy friend might make it easier to go through life. Perhaps this is what Cao Zhibai was trying to convey to Shimo Boshan.
The artwork Twin Pines by cao zhibai is a masterpiece with a beautiful secret. On the surface, it shows two towering pine trees on a misty riverbank, painted using sharp, calligraphic brushstrokes that look like "crab claws."
However, the true magic lies in the story behind it. The artist, a Han scholar, painted this as a gift for his close friend, a powerful Khitan general. During a time of strict ethnic divisions under Mongol rule, this painting was a secret code of deep brotherhood. Painted on "Human Day" (the mythical birthday of mankind), it remains a touching symbol of loyalty that outlasted an empire.
