Guo Xi. Guo Xi was a Chinese landscape painter from Henan Province who lived during the Northern Song dynasty.
One text entitled The Lofty Message of Forest and Streams is attributed to him. The work covers a variety of themes centered on the appropriate way of painting a landscape.
He was a court professional, a literatus, well-educated painter who developed an incredibly detailed system of idiomatic brushstrokes which became important for later painters. One of his most famous works is Early Spring, dated 1072.
The work demonstrates his innovative techniques for producing multiple perspectives which he called the angle of totality. This type of visual representation is also called Floating Perspective, a technique which displaces the static eye of the viewer and highlights the differences between Chinese and Western modes of spatial representation.
The following is an excerpt from his treatise, mountains and waters: The clouds and the vapours of real landscapes are not the same at the four seasons. In spring they are light and diffused, in summer rich and dense, in autumn scattered and thin, in winter dark and solitary. When such effects can be seen in pictures, the clouds and vapours have an air of life. The mist around the mountains is not the same at the four seasons. The mountains in spring are light and seductive as if smiling: the mountains in summer have a blue-green colour wh
One text entitled The Lofty Message of Forest and Streams is attributed to him. The work covers a variety of themes centered on the appropriate way of painting a landscape.
He was a court professional, a literatus, well-educated painter who developed an incredibly detailed system of idiomatic brushstrokes which became important for later painters. One of his most famous works is Early Spring, dated 1072.
The work demonstrates his innovative techniques for producing multiple perspectives which he called the angle of totality. This type of visual representation is also called Floating Perspective, a technique which displaces the static eye of the viewer and highlights the differences between Chinese and Western modes of spatial representation.
The following is an excerpt from his treatise, mountains and waters: The clouds and the vapours of real landscapes are not the same at the four seasons. In spring they are light and diffused, in summer rich and dense, in autumn scattered and thin, in winter dark and solitary. When such effects can be seen in pictures, the clouds and vapours have an air of life. The mist around the mountains is not the same at the four seasons. The mountains in spring are light and seductive as if smiling: the mountains in summer have a blue-green colour wh
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