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The piece most frequently held as a template of his style is Mount Lu, an ink painting on silk scroll which gives a rather fantastical rendering of one of Jiangxi's natural landmarks. [2] The work is a tight, vertical composition, employing Jing's newly developed cun fa technique to compress the landscape into layers of jutting rock-pillars ...
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
Reading Stele Nest Stone by Li Cheng (919–967). The northern landscape style (Chinese: 北宗画; pinyin: běi zōng huà) was a manner of Chinese landscape painting centered on a loose group of artists who worked and lived in Northern China during the Five Dynasties period that occupied the time between the collapse of the Tang dynasty and the rise of the Song.
Unlike earlier examples of Chinese landscape art, the grandeur of nature is the main theme, rather than merely providing a backdrop. [3] A packhorse train can barely be seen emerging from a wood at the base of a towering precipice. The painting's style encompasses archaic conventions dating back to the Tang dynasty. [6]
Old Trees, Level Distance (Traditional Chinese: 樹色平遠圖; Pinyin: Shù sè píng yuǎn tú) is a Song dynasty handscroll on silk painting by Guo Xi.Completed in 1080, it is also a considered a prominent example of the "Northern Song" style of Chinese landscapes to which this piece has often been studied alongside that of Early Spring, current housed in the National Palace Museum.
Li Huayi (Chinese: 李華弌; born 1948) is a contemporary ink artist whose admiration for the monumental landscapes of the Northern Song dynasty with his training in both traditional Chinese ink and Western art, inspired him to create his own style of ink painting.
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