Jing Hao, a Chinese painter of the Five Dynasties Later Liang, was born in the last years of the Tang Dynasty and died around the time of the Five Dynasties Later Tang Dynasty (923-936). In the past, the birthplace has been mistaken for Qinshui, Shanxi, but it is actually Jiyuan, Henan. Born as a scholar, during the Later Liang Dynasty, because of avoiding war and chaos, he once lived in seclusion in the Taihang Mountain Hong valley, so he called himself "Hongguzi". He is good at painting landscapes and often carries a pen to copy the ancient pines in the mountains. The summit of the cloud can paint the majesty of the peaks on all sides. He claimed to be able to combine Wu Daozi's pen and Xiang Rong's ink skills to create the expression technique of water halo ink chapter. Yigong Buddha statue, once painted murals in the Shuanglin Courtyard in Beijing (present-day Kaifeng, Henan). He is one of the painters with important influences in the development of Chinese landscape painting, and is the author of "Notes on Brushwork". The surviving Kuang Lu Tu.
Five generations later Liang Jinghao Snow landscape drawing Silk color length 138.3cm horizontal 75.5cm (Beauty) Kansas City Nelson Atkins Art Museum collection
The painting method is written in a bald pen and is shaped like an ancient li. Take the general structure of the landscape with the pen, get its masculine beauty, ink rendering to see its posture, get its feminine beauty. It is rumored that the painting was unearthed from an ancient tomb.
Five Generations Later Liang Jing Hao Kuang Lu Tu Ink on Silk 185.8×106.8 cm now in the National Palace Museum in Taipei
"Kuang Lu" is LuShan, also known as Kuang Mountain, and it is said that Kuang Yu Jielu lived here in seclusion during the Yin Zhou Dynasty. The king should not be summoned, and the king sent emissaries to visit it, but only an empty room remained. Lushan Mountain is located in Jiangxi, belongs to the southern landscape, and Jinghao mainly represents the northern landscape, is this "Kuang Lu Tu" another meaning?
This painting is different from Fan Kuan's "Journey to Xishan", the three scenes of near, middle and far are not all placed on the central axis of the frame, but the turquoise and huts in the near scene are moved to the lower right corner of the picture, separated by a vast water area in the middle, opposite the large-scale main mountain in the upper left. The painter's compositional design of "Pingyuan" and diagonal lines is very similar to the Song Dynasty's "Minshan Qingxue", which was influenced by the Xiaojing landscape painting popular at the end of the Northern Song Dynasty, which implies that the completion of "Kuang Lu Tu" should be later than the 11th century.
The method of depicting mountain stones is derived from Fan Kuan, and the painter uses dense raindrops to depict the rough and hard texture of the rock. However, in addition to the point and promotion of the center of the pen, you can also see the sideways slashing brushwork. The use of this kind of "small axe splitting" can be seen in Li Tang's "Ten Thousand Pine Wind Map", showing that the "Kuang Lu Tu" is closely related to the style of the court painting academy at the end of the Northern Song Dynasty.
Jing Hao (biography) Shanshui Zhongtang Colored paper 131×56cm
Jing Hao Liang Feng ChunCai Vertical Axis Colored Silk 26.5×39.5cm Plutonium Seal: Ting (White), True □ (White Text) Description: This lot is a Japanese return work.
Hou Liang Jing Hao (Later Liang) ShanShui Shen Pin 126x64cm Zhao Yongbao
Part of "Landscape and Water Divine Product"
Text and pictures come from the Internet