Dong Qichang imitates Huang Gongwang’s landscape scroll

[Dong Qichang’s imitating Huang Gongwang’s landscape volume]

The imitating Huang Gongwang’s landscape volume, Ming Dynasty, Dong Qichang’s painting, paper edition, ink, 25.7 cm vertically and 207 cm horizontally
Self title: “In the first spring of Bingchen, Huang Zijiu wrote in his handwriting. At that time, there was a story in Mingzhou that the calligrapher kept a picture of Zi Jiu, and the guest wanted to see it, because it was slightly imitated. Xuanzai.” Seal “Dong Qichang”. Bingchen is the forty-fourth year of the Wanli period of the Ming Dynasty (1616)
The seal is “Gu Zishan’s Secret Luggage Seal”, “Yu Ting Approval”, “Yi Zi Zi Zi”, etc
Dong Qichang highly appreciates the art of Huang Gongwang, a famous landscape artist of the Yuan Dynasty, and believes that “Huang Gongwang is the crown of the four masters of the Yuan Dynasty”. He extensively collected Huang Gongwang’s paintings handed down from generation to generation. He said that “Huang Zijiu’s paintings are no less than 30 in my view”, such as Huang’s “The Painting of Fuchun Ridge”, “The Painting of Tianchi”, “The Painting of Warm Green Mountains” and “The Painting of Linxi Bookstore”. He experienced the works of Huang carefully and described them tirelessly. This picture is Dong Qichang’s excellent landscape painting created by imitating Huang Gongwang when he was 62 years old
The peaks in the picture are continuous, showing a sense of undulating rhythm in the staggered height. Dong’s vivid expression of Huang Gongwang’s painting art can be seen in the changing layout and the sketching strokes of trees, trees and stones. Close view trees with different shapes grow on the uneven slope. The trunk of the tree is double hooked with ink lines, and light ink or chapped or halo is used to enhance its light and dark effect and three-dimensional sense. The performance of leaves is more abundant. Some of them are horizontal with side front horizontal strokes, some of them are overlapped with thick and light ink, some of them are directly drawn into leaves, and some of them are double hooked into leaves with thin lines. The trees, mountains and rocks in the painter’s works are not important for their appearance but for their inherent charm. At the same time, the charm of the brush and ink has also become the painter’s conscious pursuit. These all show the aesthetic characteristics of landscape painting in the late Ming Dynasty.