Xie+An+At+East+Mountain+by+Lou+Guan




 * Attributed to Lou Guan (active mid to late 13th century)
 * China: Southern Song (1127- 1279 CE) to Yuan period (1279- 1368 CE)
 * Hanging scroll; Ink on silk
 * Height 69 in. Width 34 3/4 in.


 * Introduction**

This is an ink on silk hanging scroll by the artist Lou Guan; it depicts a landscape scene with several figures.

This landscape scene is oriented on a vertical axis with the more detailed line work at the bottom and misty obtuse elements at the top. Viewing the work from the bottom up, the visual elements present begins with a dark toned heavily detailed rocky outcropping. This jagged outcropping encompasses the the bottom left corner of the artwork and is drawn in a downward angle (bird's eye) perspective. Directly above the rocks, and still in a downward perspective, there is a lightly toned trail with several figures walking on it. At the bottom right there are six figures (one male and five females) walking up the trail toward a seated male figure occupying the left side of the piece. In the mid- left, lower right, and bottom center positions we see three highly detailed trees. Finally, as we move up the left side of the the work, a blurry waterfall is drawn in the distance from a frontal perspective and its source is misty mountain peak drawn in a upward (worm's eye) perspective. The right the artist's signature is located on the right.
 * Descriptive Analysis**

The overall painting uses crisp, detailed line work to outline layers of light and dark ink washes. Controlled brushstrokes develop textures, tones, and rich modeling to the elements of nature while delicate lines are used to describe the figures. The details and darker toned elements lead the eye in a circular motion from bottom right to top- middle; then the light, negative space causes the eye to fall back down to the bottom right... where it started. A dark toned, densely populated bottom slowly dissolves into a airy/misty light top. The mark- making is energetic yet controlled giving the piece a dramatic energy.

Lou Guan (attributed to) created this work in an artistic style developed in the Northern Song Dynasty (960- 1126 CE). This was the time the first uses of large misty expanses occurred as well as asymmetrical compositions. Bachofer, while talking about early twelfth century landscapes, says that a feature which emerged in landscapes of that time was the "middle and background are veiled by mist. This device, suggestive of an indefinite extension of space, was for some time used by every great painter. Another characteristic trait is that the solid objects are placed in one half of the picture, the halving being done by an imaginary diagonal." (Bachofer p.113) These two characteristics promote values important in understanding Chinese landscape painting. First, the Asymmetrical composition lends a more naturalistic feel to the artwork, since symmetry is never found in actual nature. Second, the misty negative space allows the viewer to fill the artwork with their imagination; this causes a connection with artwork because the viewer becomes actively involved, not just passively viewing.
 * Formal and Contextual Analysis**

Having a naturalistic feel does not mean landscape paintings needed to be overly realistic. A common belief was that an artist should strive for the underlying "truth" of an area, not just visual accuracy. Again, in the late Northern Song Dynasty, a previous artist named Guo Xi begins a perspective shift within landscape art that is further developed by Guan, the "angle of totality". Western art tends to utilize a single point perspective, that creates a vanishing point and a unifying perspective for visual elements... the angle of totality is different. Chinese landscape artists held the belief that, in order to really know a space, one needed to see all perspectives present there, as if you were actually standing in the area looking around. (Sulivan p.176) In his painting "Early Spring" Guo Xi first demonstrates these multiple perspectives. Just like Guan's work we see a downward perspective, a forward perspective, and an upward perspective all in the same piece. All three perspectives give the viewer the feeling that he is actually standing in the mountains midway and able to look down, across, and up at the surroundings. The effect is similar to a modern day virtual tour of an area done via computer. Again, it's important to note that this quality invites the audience into the artwork; the artists are making a considered effort to relate the viewer to the actual place.

As mentioned in the descriptive analysis, this painting directs the viewer's eye in a circular motion around the scene. It is important to remember that China held Taoist and Confucianism beliefs during this time and an important factor in both of these religions is the idea of harmony. Within Confucianism, harmony plays more of a societal role, it defines human relationships "...between lord and vassal and between father and son... husband and wife and between elder and younger brothers.." (Roy pp. 217- 219) Taoism, on the other hand, tends to strive for internal harmony, to find the natural way within one's self. (Roy p.218) These ideas of interconnectedness and harmony are represented in the well known Taoist symbol "Yin- Yang". As we look closer at Guan's work and its circular composition we can see direct visual connection to the Yin- Yang symbol. Sweeping sections of light tone creep up the right side of the work and cap a darker left side. Or, conversely, rich dark tones descend from the lighter top left side and pool along the bottom; similarly indefinable within the Yin- Yang symbol. There is even a smaller dark element (tree branch) projecting into the lighter area and a smaller light element (sitting figure) within the darker area, similar to the small circles of opposing tones within the Yin- Yang. This is clearly a direct reference to the harmonious philosophies of early China.

So who was Xie An the standing male figure in the lower right of the composition and who is the recluse that he is visiting? In order to better understand the theme of this piece, it doesn't really matter. For the curious, a simple internet search will tell you that he was a statesman of some renown during the Jin Dynasty (dates), but we can determine almost as much by using the visual keys in the work. A finely robed man attended by five females (also finely dressed) is more than likely an important figure in China's history. The man and his escorts travel toward a humble lone figure, most likely a sage since he is comfortably seated in the environment. Another sage- like quality is the man's walking stick which could be an indicator of his age (wise elder) and the fact that the party is approaching him from below, as if they are climbing up to meet this important person. From what we've already determined about this work it is a fair assumption to say we are witnessing a high ranking official on a spiritual pilgrimage to either learn or (more likely) demonstrate he already knows about spiritual harmony and man's place within nature. Men journeying through harmonious landscapes is not an uncommon theme in Chinese landscape paintings, in fact it is the predominate one. Any of the art reference books listed below will have dozens of examples of similar paintings. It was important to high- ranking officials to be seen (and possibly, see themselves) as enlightened spiritually, so it was common to portray them as such.

From a formal perspective I enjoy this artwork a lot... from a thematic one, not as much. Formally the artwork displays a masterful use of line and shading techniques. The rich blacks develop naturally from the gradual layering of ink washes and that balances the black line work well. This ink wash shading technique also creates unified and harmonious clusters of organic shapes that are tempered successfully by more direct, geometric- like, lines. Although heavily marked, the artwork is allowed to breath; that is to say, the negative space (open paper) breaks through the worked marks nicely, allowing the "misty" quality to seem natural... not forced. Finally, the composition of the piece creatively draws the eye throughout its entirety. There is a real sense of movement in the painting due largely to an asymmetrical weighting and an edited use of tone; tricky to do when you consider the predominate subject is rocks and trees.
 * Personal Interpretation**

Unfortunately, I don't care for the thematic elements. Conceptually this piece is merely early in a long line of grandiose propaganda put forth by Chinese artists. Before I continue, I want it on the record that I fully agree western art is guilty of these same concepts in early work. I'm also speaking specifically of the general trends I, with my limited experience, see in Chinese artwork. That being said, in its essence, this is a portrait of an important figure demonstrating how "ideal" he is, specifically in regards to the popular spiritual beliefs of the time. //Xie An at East Mountain// living harmoniously with nature, thanks to his superior knowledge of Confucianism, might as well be //[|Mao Zedong at Mount Jinggang]// (Luo Gongliu, 1961) dominating nature due to his insight into Communism... meet the new boss, same as the old boss. Furthermore, Luo Guan tackles a subject I find too overblown to be taken seriously. To depict and simplify the underlying truth of nature, man's place in it and, by proxy, the "harmony" necessary for the universe to function properly, seems a bit pretentious. It is my experience that, conceptually, big ideas do not make big art... or, perhaps better said, ostentatious ideas make ostentatious art.


 * References**

Bachofer, L. 1964. Short History of Chinese Art. London. Pantheon Books Inc. (An admittedly dated book, but a good source for general overviews of time periods)

Roy, D & Tsien, T. 1978. //Ancient China: Studies in Early Civilization.// Hong Kong. The Chinese University of Hong Kong. (A reference guide for philosophies throughout China's history... not quite as helpful for this artwork as I would have liked.)

Sullivan, Michael. 2008. //The Arts of China//. London. University of California Press, Ltd. (The "go- to" textbook on historical Chinese artwork.)

Treager, M. 1997. //Chinese Art.// Thames & Hudson Ltd. (A nice quick reference for different Chinese artwork)

Cartography Associates. "Lou Guan." 10 April, 2013, <http://www.davidrumsey.com/amica/amica659413-10574.html (2007)

Society, Asia. "Asia Society: The Collection in Context." 21 March, 2013 http://asiasocietymuseum.org/region_object.asp?RegionID=4&CountryID=12&ChapterID=33&ObjectID=344 (2007)

Page written by Andrew McGauran, April, 2013