Chinese landscape paintings appeared as early as 4th century BCE, when people started to be more mindful about nature.[1] However, they were very much in the background and only became more prominent in Chinese culture around the end of the Tang dynasty. It was from then and to the Northern Song period (960–1127) that we now perceive as the one of the greatest times in the history of Chinese landscape painting[2]. Many famous painters surfaced during this period, including Guo Xi and Emperor Hui-tsung[3], whose paintings, Early Spring (see Figure 1) and Five-Coloured Parakeet (see Figure 2) respectively, will be discussed in this essay.
With regards to this particular time period, many painters and poets started to seek refuge in nature, to escape the disorder of society[4][5]. Hence, many of the paintings had motifs related to nature, such as mountains, trees, water, flowers, and more. Despite the generalization and similarities of Chinese landscape paintings, each painting can hugely vary from another in terms of its idea.
Both Early Spring by Guo Xi and Five-Coloured Parakeet by Emperor Hui-tsung are some of the most prominent work of the Northern Song dynasty[6]. On first glance, we can see that both works have nature-themed motifs, a general characteristic of Chinese landscape painting. Both paintings were done by ink on silk, which was the most common medium at that time.
Interestingly, different nature motifs have very different meanings. In Early Spring by Guo Xi, the subject matters are mountains, water and trees, while in the Five-Coloured Parakeet by Emperor Hui-tsung, there are flowers and a bird. Guo Xi’s idea of painting is to be able to imagine oneself relaxing and strolling through the paths within the paintings, momentarily removing oneself from the chaotic world and coming back refreshed even though they haven’t moved[7]. This relates to the subject matter of mountains as they tend to represent heavenly symbols, and thought to be the place where devout Buddhists felt closest to their Gods[8][9]. Mountains, coupled together with its streams, also symbolizes change, and the balance of yin-yang, the idea of opposite elements being interlinked[10]. On the other hand, in Five-Coloured Parakeet, the subject matters are a bird and a flowering apricot tree. Emperor Hui-tsung was engrossed with more than just skill, and he wanted to “achieve a transcendent realism”[11]. Many of his works are said to be studies of nature, but most of his works were often referred to with an auspicious nature. Likewise in Five-Coloured Parakeet, the parakeet was seen as tamed, charming and lively[12], while the apricot tree was thought of as a sign of good fortune[13]. Hence, we can see that Early Spring is more about balance while Five-Coloured Parakeet leans towards prosperous signs.
Besides the subject matter of the paintings, the meaning behind each work is also emphasized through how they were painted.
[1] Sherman E. Lee, “Chinese Landscape Painting,” The Bulletin of the Cleveland Museum of Art 41 (1954): 199.
[2] “Chinese Landscape Painting,” China Online Museum, accessed March 17, 2016, http://www.comuseum.com/painting/landscape-painting.
[3] Michael Sullivan, The Art of China (California: University of California Press, 1984), 155–164.
[4] “Chinese Landscape Painting,” China Online Museum, accessed March 17, 2016, http://www.comuseum.com/painting/landscape-painting.
[5] “Northern Song Dynasty (960–1127),” Metropolitan Museum of Art, accessed March 17, 2016, https://www.metmuseum.org/toah/hd/nsong/hd_nsong.htm.
[6] Michael Sullivan, The Art of China (California: University of California Press, 1984), 155–165.
[7] Wen C. Fong, “Monumental Landscape Painting,” in Possessing the Past: Treasures from the National Palace Museum, Taipei, ed. Wen C. Fong and James C. Y. Watt, (New York and Taipei: The Metropolitan Museum of Art and National Palace Museum, 1996), 131.
[8] “Chinese Painting and Poetry: Symbolism,” San Jose State University Digital Art Lobby, accessed March 18, 2016, http://gallery.sjsu.edu/oldworld/asiangate/chinesepainting/POETRY/symbolism/symbolism.html.
[9] “Chinese Symbols and Art Motifs,” Cultural China, accessed March 18, 2016, http://arts.cultural-china.com/en/62Arts11141.html.
[10] “Ruby Wang Gallery Guide,” Binghamton University, accessed March 18, 2016, http://www.binghamton.edu/art-museum/images/13-413%20Ruby%20Wang%20gallery%20guide%20bro3.pdf.
[11] Wen C. Fong, “Monumental Landscape Painting,” in Possessing the Past: Treasures from the National Palace Museum, Taipei, ed. Wen C. Fong and James C. Y. Watt, (New York and Taipei: The Metropolitan Museum of Art and National Palace Museum, 1996), 134.
[12] Maggie Bickford, “Emperor Huizong and the Aesthetic of Agency,” Archives of Asian Art 53 (2002/2003):79.
[13] “Symbolism of Flowers, Fruits and Trees in Chinese Decoration and Decorative Arts,” Nations Online, accessed March 18, 2016, http://www.nationsonline.org/oneworld/Chinese_Customs/flowers_symbolism.htm.
[Updated with combined paragraphs, slightly changed and a clearer thesis statement, a better link at the end of the second paragraph]
Chinese landscape paintings appeared as early as 4th century BCE, when people started to be more mindful about nature. However, they were very much in the background and only became more prominent in Chinese culture around the end of the Tang dynasty. It was from then and to the Northern Song period (960–1127) that we now perceive as the one of the greatest times in the history of Chinese landscape painting. Many famous painters surfaced during this period, including Guo Xi and Emperor Hui-tsung[1]. Their paintings, Early Spring (see Figure 1) and Five-Coloured Parakeet (see Figure 2) respectively, are some of the most prominent work of the Northern Song dynasty[2], and will be discussed in this essay. With regards to this particular time period, many painters and poets started to seek refuge in nature, to escape the disorder of society[3]. Hence, many of the paintings had motifs related to nature, such as mountains, trees, water, flowers, and more. Although both Early Spring and Five-Coloured Parakeet are classified as Chinese landscape paintings, each painting is different from each other in terms of its meanings.
On first glance, we can see that both works are nature-themed, but their different motifs give different ideas to the painting. In Early Spring by Guo Xi, the subject matters are mountains, water and trees, while in the Five-Coloured Parakeet by Emperor Hui-tsung, there are flowers and a bird. Guo Xi’s idea of painting is to be able to imagine oneself relaxing and strolling through the paths within the paintings, momentarily removing oneself from the chaotic world and coming back refreshed even though they haven’t moved[4]. This relates to the subject matter of mountains as they tend to represent heavenly symbols, and thought to be the place where devout Buddhists felt closest to their Gods[5][6]. Mountains, coupled together with its streams, also symbolizes change, and the balance of yin-yang, the idea of opposite elements being interlinked[7]. On the other hand, in Five-Coloured Parakeet, the subject matters are a bird and a flowering apricot tree. Emperor Hui-tsung was engrossed with more than just skill, and he wanted to “achieve a transcendent realism”[8]. Many of his works are said to be studies of nature, but most of his works were often referred to with an auspicious nature. Likewise in Five-Coloured Parakeet, the parakeet was seen as tamed, charming and lively[9], while the apricot tree was thought of as a sign of good fortune. Hence, we can see that both paintings have different meanings.
Besides the subject matter of the paintings, the differences in meaning behind each work are further emphasized through the conception of the painting.
[1] Michael Sullivan, The Art of China (California: University of California Press, 1984), 155–164.
[2] Michael Sullivan, The Art of China (California: University of California Press, 1984), 155–165.
[3] “Northern Song Dynasty (960–1127),” Metropolitan Museum of Art, accessed March 17, 2016, https://www.metmuseum.org/toah/hd/nsong/hd_nsong.htm.
[4] Wen C. Fong, “Monumental Landscape Painting,” in Possessing the Past: Treasures from the National Palace Museum, Taipei, ed. Wen C. Fong and James C. Y. Watt, (New York and Taipei: The Metropolitan Museum of Art and National Palace Museum, 1996), 131.
[5] “Chinese Painting and Poetry: Symbolism,” San Jose State University Digital Art Lobby, accessed March 18, 2016, http://gallery.sjsu.edu/oldworld/asiangate/chinesepainting/POETRY/symbolism/symbolism.html.
[6] “Chinese Symbols and Art Motifs,” Cultural China, accessed March 18, 2016, http://arts.cultural-china.com/en/62Arts11141.html.
[7] “Ruby Wang Gallery Guide,” Binghamton University, accessed March 18, 2016, http://www.binghamton.edu/art-museum/images/13-413%20Ruby%20Wang%20gallery%20guide%20bro3.pdf.
[8] Wen C. Fong, “Monumental Landscape Painting,” in Possessing the Past: Treasures from the National Palace Museum, Taipei, ed. Wen C. Fong and James C. Y. Watt, (New York and Taipei: The Metropolitan Museum of Art and National Palace Museum, 1996), 134.
[9] Maggie Bickford, “Emperor Huizong and the Aesthetic of Agency,” Archives of Asian Art 53 (2002/2003):79.
