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Lot Essay
In Chinese art history painters of the early Qing period are usually divided into two artistic schools: the Traditionalists and the Revolutionaries. The Four Wangs, deeply influenced by the techniques, styles and theories of Huang Gongwang (1269-1354) and Dong Qichang (1555-1636), gained recognition from the imperial court and thereby became orthodox leaders of the painting world. They all emphasised imitating ancient styles and brushwork, but Wang Hui (1632-1717) relatively paid more attention to studying nature. Standing on the other side were the Four Monks, renowned for pursuing innovation and advocating learning from nature. This simple dichotomy easily gives the impression that the latter were completely opposed to learning from ancient masters.
Although Shitao's theory teems with phrases like "I paint in my own ways" and "the supreme rule of painting is following no rules", in reality he was no different from any other respected artist in terms of forming his own style by studying ancient masters. What distinguished him was despite living in the same age as the Four Wangs and other "orthodox" painters, inheriting the same techniques from the Four Masters of the Yuan dynasty, understanding and mastering the same requirements constituting good brushwork, he developed what he had learnt and created landscapes featuring novel and daring compositions. Shitao was getting old when he painted Pine and Rock, but the vigorous and confident brushwork shows no signs of ageing or frailty. He paints the rocks and mountains using the sides of brushes filled with ink in distinct shades.The right and the middle sections display rolls of rocks, cliffs and mountains, all intricately inked and mostly tilted leftwards. Although no space is left for the sky or the ground, the composition is neither crowded nor constrained. Among the mountains are seas of rustling pines and swirling mist, which imbue the painting with a sense of motion. A river whose source is hidden deep in the background flows through the towering cliffs to the foreground, accentuating the sense of distance. The mountains appear gentler as they reach the shore in the left section. On the horizon water is connected to the sky, lofty and boundless. Coherent and full of changes, Pine and Rock is an outstanding piece by Shitao from his late years.
Although Shitao's theory teems with phrases like "I paint in my own ways" and "the supreme rule of painting is following no rules", in reality he was no different from any other respected artist in terms of forming his own style by studying ancient masters. What distinguished him was despite living in the same age as the Four Wangs and other "orthodox" painters, inheriting the same techniques from the Four Masters of the Yuan dynasty, understanding and mastering the same requirements constituting good brushwork, he developed what he had learnt and created landscapes featuring novel and daring compositions. Shitao was getting old when he painted Pine and Rock, but the vigorous and confident brushwork shows no signs of ageing or frailty. He paints the rocks and mountains using the sides of brushes filled with ink in distinct shades.The right and the middle sections display rolls of rocks, cliffs and mountains, all intricately inked and mostly tilted leftwards. Although no space is left for the sky or the ground, the composition is neither crowded nor constrained. Among the mountains are seas of rustling pines and swirling mist, which imbue the painting with a sense of motion. A river whose source is hidden deep in the background flows through the towering cliffs to the foreground, accentuating the sense of distance. The mountains appear gentler as they reach the shore in the left section. On the horizon water is connected to the sky, lofty and boundless. Coherent and full of changes, Pine and Rock is an outstanding piece by Shitao from his late years.