Hills beyond a river by Ni Zan - Term Paper Example

?Landscape from Ni Zan Landscape from Ni Zan submitted) Landscape from Ni Zan “Hills beyond ariver” is a landscape painting by Ni Zan after 1345. It is a composition depicting a classical example of the Yiian. This hanging scroll is inscribed and signed by Wang Meng on the top right and on the top left are Ni Zan and Yu He. The artist exhibited skillful strokes that express the same form of calligraphic brushwork in all the elements employed in this art work. Ni Zan represented his painting into icons or semiotics using the elements water, mass of land and trees with their own role and each suggest sound, with the use of his skillful brushstroke to express emotion and personal intention during the Yuan dynasty. Ni Zan earned the designation as one of the four masters of the Yuan dynasty along with Huang Gongwang, Wang Meng, and Wu Zhen (Wikipedia, 2011) because of his dedication on his art work and being active as a painter despite witnessing the transformation of his country into another form of government. Although he was born in an elite family in Jiangsu province, Southeast of China, he did not take advantage of their wealth to be schooled instead he spent more time in poetry recitals and paintings (Leigh, 2005). Ni Zan who is also known as Yuan Zhen refused to join in any political and military activities in the government and to serve under the leadership of Zhang Shicheng who commanded Suzhou during those times. It was also this time that scholars were discouraged to participate in any affairs in the court but instead embark in “self cultivation” practice (Goldberg, n.d). Although, Yuan dynasty under the ruling of a Mongol leader, Kublai Khan caused division of the Mongols and the imperial dynasty of China that resulted in disorganization within the government and social instability, the government did not strip the artists of their freedom to express their mind through their work. With this situation, Ni Zan went on travelling in the Southern part of China which is more peaceful at that time with his family during the fading years of the Yuan dynasty. When in the South, however famine struck in the region where Ni Zan lives which eventually lead the peasants to revolt. The reaction of Ni Zan with the situation is to leave the region and decided to give up his possessions including his paintings to his friends. He opted to live onto a houseboat he believes could give him the solitude he craves. His art works earned enough for their living as it was highly valued. It is believed that the elements and how he organized his paintings are all influenced by his contemporaries and on the situation he was in. When one looks at the landscape painting “Hills beyond a river”, the first element he can appreciate are the trees because they were sketched to appear closer to the viewer. The viewer can see ordinary trees of different heights at the center firmly standing in a small mass of land that is slightly elevated from the pool of water below. The trees are observed to be a little scattered at the middle of the small island within the center of the painting. Further, it is obvious that the trees do not have much foliage but only enough to let the trees thrive for quite some time. The trees also look like they are drying especially the small one at the right side because it has no leaves at all. One cannot see other trees on either at the background or on the hills on the side. The visual acuity moves down to the basement of the painting where you can find a pool of water that looks like a river or a bigger lake steadily in place. Although, the elements used are nature, it is impossible to glimpse figure of animals or other form of life in the area. In between the small hills is a silent stream flowing by. Small stones can be seen to where the stream flows to meet with the bigger pool of water below. Small shrubs or plants are discernible on the small mass of hills on both the right side and left side from where the trees stand. On the farther view at the middle is another small lake where the stream originates. Staring at the small hills on the left side longer reveals an imagination of two crocodiles like hills facing the small island where the trees are. The last where the eyes are carried is the big mountain at the far background with little shrubs or plants appreciated. One can also admire the denuded lower portion of the mountain and hills which might be caused by rushing rain water that comes from the top down to join the stream or lake below. Lastly, although it is not a direct part of the painting is the presence of a lengthy poem on the top left portion. In it, the artist stated that the painting is intended as a present to a friend as a reminder of him of a peaceful retirement as he is leaving. To an ordinary viewer, this inscription is a disturbance to the whole view of the painting in general. It diverts attention from the main visual elements of the painting. “Hills beyond a river” looks simple to an amateur painting enthusiast but a closer analysis of the elements communicates the role each element play to express understanding of life and feelings. The trees were employed to express the characteristic of being brave that is standing upright even in cold wind (heritage key, 2011). Although there are many expression of using trees as one of the subjects, this representation of trees might be the closest one to Ni Zan as he lives in trying times. Further, Ni Zan loves to use trees in every of his landscape painting since it has something to do with his personality. Besides trees are important subjects in the Chinese painting even if they carry a more difficult geometrical shapes compared to other subjects like stones and hills because it is nature itself. He used slightly darker strokes in trees that communicated strength. The artist sketched the mountain in the far horizon to serve as a background as he employed lighter strokes to shape it but added some thicker brush strokes in some places to highlight the presence of small plants to make it look like a real mountain. He allowed a dramatic spaciousness to create distance from the rest of the small hill nearby. The mountain which is expressed in this manner represents the reciprocal relations between a ruler and his subordinates in a proper manner (Bossy, 2001). The water also is created to give a quiet and kind mood as there are no interruptions or breaks showing aggressiveness in waves. Ni Zan represented serenity and mystery with the quite pool of water he created at the bottom of the hills. Both water and mountains are used in Chinese painting because it connotes life in itself. To be alive is to have all the human experiences as Confucius once said “the wise find pleasure in water and the virtuous find pleasure in mountains” (Asian art, 2011). This idea of the great Confucius is applicable to the life of Ni Zan who seems to enjoy his life on the water being in the houseboat. Apart from the representation of roles each element depicts in hills beyond a river, Ni Zan employed a skillful brush technique and strokes to symbolize the images he wanted to display. “Hills beyond a river” is an epitome of his excellent brush strokes style which originated from Chinese calligraphy. Huang Gong-Wang (2004) revealed that the secret of Ni Zan’s landscape paintings is the brushstrokes, colors, added alum, ink and other painting materials thus his art works are of excellent quality. It is noted however that Ni Zan employed minimal sketches in each of his element making the painting simple but full of emotional message. The breaks in the light vertical strokes symbolize the body of the hills and mountains. The curvature horizontal line of the distant small hills seems to make it melt away in the horizon. Each brush strokes he makes demonstrate the traditional literati painting full of emotion. The repeated darkness of his strokes created a firm basement of the mountain and small hills on the river bank although simple, exemplified his skill in this technique. Over all, the strokes applied to all elements reflect his emotional vigor. The quality of strokes that represents the trees, edges of river bank and sides of hills reflects his originality. Ni Zan also represented the images on the hills beyond a river to reveal a more important meaning. His intention in this painting is not merely to capture the beautiful scene before his eyes but more on the emotions he felt at that time of viewing which he wanted rulers of the Yuan dynasty and other viewers to understand. His role as a painter during the Yuan dynasty could be readily understood through his paintings. His Hills beyond a river tells it all. He wanted to have a simpler life with peaceful environment as was evident in him fleeing the place where peace is substituted with uproar or chaotic demonstrations. In his painting, he represented a harmonious relationship among the elements he used. The application of trees, mountain and hills, and water fits the tranquility and solitude of the environment he wanted to depict. Trees are at peace with the mountain on the foreground, hills on the sides, and the water around it. The stream is likewise in conciliation with other elements. The mountain is also calm with some trees and water around. This type of painting characterizes the literati style during the Yuan dynasty. It represents not only a good landscape but more on the expression of an inner feeling and thoughts which is a common goal among artists during the Yuan dynasty. The absence of fallen branches of trees or the unplucked leaves or twigs represents still life as they are intact with their natural setting. The stillness of the surrounding in general provides a sense of fresh insight of the nature. In addition, it emanates the desire of the viewers to be a part of the painting to escape unpleasant happenings in an everyday life. Ni Zan has no particular interpretation of each of his art. He might have been influenced by other artists who have the same goal of conveying what is in their heart and mind through landscape. However, his personal expression is represented in this landscape painting. This is obvious in his statement when he said “I use bamboo painting to write out the exhilaration in my breast, that is all. Why should I worry whether it shows likeness or not”? (Cultural china, 2010). Hills beyond a river also provided a quiet and cool feel of nature yet reflected auditory sound to the viewers. The soft splashing sound of flowing stream in between small mass of land serves as an inspiration to viewers to go on with their life no matter how hard it is just like the water seeking its way to the small boulders along the stream. The breezing sound of trees when flown by the wind not only serves to refresh viewers but may encourage young artist to paint the same. This scene evokes that the hills beyond a river is alive which is complete of human feelings and sound. Just like his other paintings, Ni Zan excluded the inclusion of people. To him, the presence of people will just disturb the placidity of nature. The sound could be disclosed to people who may see the painting even if they are not directly included in it (Nelson, 1980). The elements employed by Ni Zan are mostly nature where there is no chance for people or building to be included as seen in most of his paintings especially the hills beyond a river. The elements trees, mountain, and water all transcend Ni Zan’s intention to be at peace with his surroundings. Although Ni Zan is not as influential as the other artists during the Yuan dynasty, his work had created the most interesting subject for writers of the seventeenth century (Nelson, 1980). Hill beyond a river is one of Ni Zan’s famous art works which placed him in the pedestals of the masters in which until now is being studied, appreciated and remembered. References Bossy, M., et al. (2001). Guo Xi. An encyclopedia of people who changed the world. Westpoint. Chinese Calligraphy. (2004). Art-virtue.com, L.L.C. Retrieved from http://www.art- virtue.com/index.html Cultural china. ( 2010). Retrieved from http://arts.cultural-china.com/en/77Arts6465.html Four Masters of the Yuan Dynasty. (2011). Wikipedia. Retrieved from http://en.wikipedia.org/wiki/Four_Masters_of_the_Yuan_Dynasty Goldberg, S. (n. d). Aesthetic Chinese. Retrieved from http://www.texttribe.com/routledge/A/Aesthetics,%20Chinese.html Leigh, B. ( 2005). Ni Zan- Chinese painter- The art history archive. Retrieved from www.arthistoryarchive.com/arthistory/asian/Ni-Zan.html Mountain and streams: classical Chinese painting. (2011). Asian arts. Retrieved from http://www.asianartnewspaper.com/article/mountains Nelson, S. (1980). Rocks beside a river: Ni Zan and the Ching-Kuan style in the eyes of the seventeenth century critics. JSTOR. 33 p 65-88. Six trees. (2011). Heritage trees. Retrieved from http://heritage-key.com/china/six-trees Read More