Famous masters of the past - five generations - Jing Hao

Jing Hao was a native of Qinshui, Hanoi (present-day Qinshui County, Shanxi). Five generations later Chinese Liang painter, zi Haoran, a native of Qinshui, Hanoi (present-day Qinshui County, Shanxi Province). The year of birth and death is unknown, but it was mainly active from the 9th century to the first half of the 10th century. Jing Haogong poetry, general history. Due to the frequent wars and political turmoil in the Central Plains at the end of the Tang Dynasty and the Five Dynasties, he was determined to advance and lived in seclusion in the Honggu Valley of the Taihang Mountains, calling himself Hongguzi. According to his "Record of Penmanship", in the depths of the Taihang Mountain Torrent Valley, the scenery is beautiful, and there are countless ancient pines "hanging on the shore and pan streams, covered with moss and cracked stones", which surprised him, so he carried paper and pen and paper to sketch, "where tens of thousands of copies, as true as it is.". It can be seen that he is good at painting landscapes, trees and stones, which is inseparable from his life in seclusion in the mountains and the artistic practice of the teacher's creation. He was also able to paint murals, and according to the Northern Song Dynasty Liu Daool's "Five Generations of Famous Painting Supplements", he also painted the Baotuo Luojia Mountain View on the Wall of the Bodhisattva at the Shuanglin Monastery in Later Liang's capital (present-day Kaifeng, Henan Province), which was quite famous.

Jing Hao made important contributions to the development of Chinese landscape painting, and further matured the "Water Halo Ink Chapter" painting method that appeared in the Tang Dynasty. He summed up the gains and losses of brush and ink in Tang Dynasty landscape painting, believing that Li Sixun was greatly indebted to ink and color; Wu Daozi's pen was better than an image, and he hated no ink; Xiang Rong used ink to win The Xuanmen alone, and he had no bones with his pen; only Zhang Xuan's pen and ink were small, and his true thoughts were outstanding, and he was not expensive and colorful, and he was affirmed by him. Jing Hao not only took the Fa Zhang Xuan in the inheritance of landscape painting, but also gave up the short and the long between wu Daozi and Xiang Rong and others, and developed it, saying to himself: "Wu Daozi has a pen but no ink, Xiang Rong has ink but no pen, and I will take the strengths of the second son and become a family" ("PenManship Record"). His landscape paintings have begun to reach both pen and ink, and they are both dyeing and dyeing, marking a major breakthrough in Chinese landscape painting. His panoramic landscape paintings are more abundant and vivid, which is characterized by the arrangement of imposing main peaks in the main parts of the canvas, and the arrangement of qiao qiao mixed plants in other medium and close-up parts, the slopes of the streams and springs, and the dotted village buildings and bridges, occasionally interspersed with the activities of the characters, making a painting majestic, realistic and complete in composition. Jing Hao's panoramic landscape painting laid the pattern of panoramic landscape painting later completed by Guan Tong, Li Cheng, Fan Kuan and others, and promoted landscape painting to an unprecedented heyday. His majestic style of "mountain top in the clouds, steep on all sides" that expresses the characteristics of northern mountains 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 "Book of Paintings".

Jing Hao's landscape paintings have only survived works such as "Kuang Lu Tu". The original title of the Painting of the Song Dynasty was "Jing Hao's True Artifact Of Divine Works". Later, because of the Yuan Dynasty Ke Jiusi inscribed a poem on the painting, playing with imagination, there is a sentence of "the waterfall flies down three thousand feet, writing out the five old peaks of Lushan Mountain", after which the collector took the "Kuang Lu" fate, which is not necessarily the author's original intention.

According to the Records of the Song Dynasty, Jing Hao once wrote a volume of "Tips for Landscape and Water", which was hidden by the secret cabinet of the court. The "Record of Brushwork" (Chen Zhensun's "Explanation of Book Records" in the Song Dynasty) that is circulating today refers to this article as "Landscape and Water Brushwork", and wang Shizhen's "Painting Garden" edited by Wang Shizhen in the Ming Dynasty also notes that "a "Record of Painting Landscapes") has always been passed down to Jing Hao.

In the Qing Dynasty, Li Zuoxian's "Calligraphy and Painting Jian Ying" recorded Jing Hao's "Zhong Li VisitIng Daotu": "Mountain forest ink pen, character coloring, part-time work belt writing." He also recorded that in the painting, Zhong Lizuo raised his hand to inquire, the soldier stood up, the real person on the other side walked on the tiger, and the boy recalled the instructions, which were very vividly depicted.

"Kuang Lu Tu".