Jing Hao (荆浩), also spelled Haoran, was active in the last years of the Tang Dynasty and the Five Dynasties Later Liang Period, serving as a minor official in the Tang Dynasty in the early years, and in his later years, he lived in seclusion in the Taihang Mountain Hong valley because of the war, known as Hongguzi.
Jing Hao studied under Zhang Xuan, who inherited Wang Wei's ink painting style, was good at painting pine stones, and put forward the theory of "master creation" of "foreign teacher creation, middle heart source", which had a profound impact on Jing Hao's painting style.
The Taihang Mountains are majestic and majestic, stretching for 800 miles from north to south, known as the Ridge of China, and its southern peaks are even more beautiful and meteorological.
Snow Landscape Map (Chuan) Hou Liang JingHao
Jing Hao once said: "Wu Daozi paints landscapes with pen but no ink, and Xiang Rong has ink but no pen." I should take the strengths of my second son and become a family. He also said: "With the color of the class, since ancient times, there is ability; such as water halo ink chapter, xing my Tang Dynasty." From these two sentences, we can roughly understand its artistic characteristics.
Jing Hao's previous landscape paintings rarely show majestic mountains and rivers and panoramic layouts. Because of the majestic momentum of The Taihang Mountain, his aesthetic vision has undergone an important change, recognizing that "the image of the landscape and the water are born of momentum". Because of his majestic gaze at the vast space, he finally created a new pattern of "opening the map for thousands of miles".
Yu Le Tu (biography) Hou Liang Jing Hao
When commenting on Jing Hao's paintings, the Northern Song Dynasty said that "(Jing Hao) is good at being a mountaintop in the clouds, and it is thick on all sides"; he also said that "the top of the mountain is good for dense forest, and the water is a sharp stone"; Li Zuoxian of the Qing Dynasty said: "(Jing Hao) is split with a small axe, and the trees and stones are outlined, and the pen is like a seal"; Buyan Tu said: "(Jing Hao) will change the sesame seeds of the right (Wang Wei) to stretch (slightly) and change it to a small phi ma"; Sun Chengze said: "Its mountains and trees are written in detail with bald pens, shaped like ancient seals, and canggu is very much".
Jing Hao's landscape painting marks a major breakthrough in Chinese landscape painting. His panoramic landscape paintings laid the pattern of the panoramic landscape paintings that were later completed by Guan Tong, Li Cheng, Fan Kuan and others, and promoted the unprecedented heyday of landscape painting. It had a great influence on the development of landscape painting in the early Northern Song Dynasty. Critics of the past have greatly admired his artistic achievements, and Tang Gao of the Yuan Dynasty called him "the crown of the late Tang Dynasty" in the "Painting Book", and Dong Qichang called him the ancestor of the Northern School of Landscape.
Kuang Lu tu hou liang Jing Hao
The "Xuanhe Painting Notation" contains Jing Hao's paintings such as Shushan Tu I, ShanShui Tu I, Waterfall Tu I, Qiu Shan Lou Guan Tu II, Qiu Shan Rui Xia Tu II, Qiu Shan Fisher Father Tu III, Shanyin Yanlan Pavilion Tu III, Bai Pingzhou Wuting Tu I, writing Chu Xiang Wang Encounter Goddess Tu IV, but unfortunately most of these paintings are dead.
"Kuang Lu Tu" is one of the more credible real works in Jing Hao's existing works, with the six characters of "Jing Hao's True Artifact Divine Works" written by Emperor Gaozong of the Southern Song Dynasty, and the inscriptions of the Yuan people Han Yu and Ke Jiusi. The whole map from the bottom up, from near to far, can be roughly divided into close-up, medium-view, long-range three levels, the realm is also from the "man's realm" gradually into the "no man's land" The close-up view is at the lower end of the side, a flood of water, there are boatmen leisurely holding a flat boat to stop the boat to dock, down the stone slope, there are houses in the foothills of the courtyard built in between, surrounded by bamboo hedges. The stone path behind the house winds up the mountain, the long causeway board bridge, and the donkey pedestrians are all absorbed by the painter one by one. Inside the middle scene, there is a waterfall between the two cliffs, splashing stones and making a loud noise. A wooden bridge under the waterfall stretches across the top of the stream, with dangerous walls and jagged pines along the way, and a courtyard is also located in the middle, which shows the painter's emotional tendency to live in seclusion. Although the scenery at the highest point is far-reaching, it is particularly eye-catching: in the central axis of the picture, there is the main peak standing, straight into the clouds, the vast smoke, and the peaks near and far like the screen are clustered together, reflecting the high danger and majesty of the main peak. Between the mountains, a white waterfall falls straight down the mountain stream.
Kuang Lu Tu (Partial)