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In 1644
The most
interesting aspect about Gong Xian’s art is that it is probably
one of the first examples of western artistic influences on a
great master of Chinese painting. Gong Xian’s paintings are
generally divided into two styles, namely, “Light-Gong” (see top
image), and
“Dark-Gong” (bottom), the former referring to his early style which
involved sparse, light-toned linear technique with very little
or no texture (Cun Fa), a style typical to the Anhui area
of the time, while the latter refers to his mature style which
is characterized by densely textured mountains done by applying
overlapping layers of ink in different tones. The rare
White-Gong style represents the period
Gong Xian, like Shi Tao, was a strong advocate of going out to nature and being directly inspired by the world outside, he criticized the obsession of copying the ancient masters and promoted individuality as the main key for real quality art. He stressed that the masterpieces of the past serve as additional material but certainly not as central sources of new creation. Gong Xian spent most of his life in relative seclusion on Qingliang Hill in Nanjing, he made a living by teaching, selling his paintings or exchanging them for goods. Leading a modest life he died in poverty among the natural scenes so beautifully depicted in his art.
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the
Ming Dynasty collapsed and China was invaded by foreign people
from the north. Art was inevitably influenced by the dramatic
political changes brought on by this periods of dynastic change.
As Beijing, the capital of the Ming rulers, was captured by the
new Manchu invaders who established the new Qing Dynasty
(1644-1911), many Ming loyalists fled to the old capital of Nanjing (then known as Jinling). At the time Nanjing was a
highly cosmopolitan city with a long history of intensive
western missionary activities and therefore became a stronghold
for Ming loyalists, officials and commoners who preferred to
avoid the political turmoil and the humiliation of being
subjects to a foreign rule. Artistically speaking, Nanjing
became a melting pot for diverse artistic styles that co-existed
and influenced each other. The peaceful atmosphere of the city
with its beautiful scenic surroundings made it an ideal location
for landscapists to indulge in painting. As mentioned, many of
these artists chose to express their longing for the old Dynasty
and the agony involved in living under foreign rule through
their unique styles and techniques. The Eight Masters of Jinling,
also known as the eight eccentrics, were such a group. more than
sharing stylistic affinities they were lumped together for the
fact that they worked in the same location under similar
political and cultural circumstances and in the same artistic
environment. The most celebrated artist of the Eight Masters of
Jinling was Gong Xian, a well educated, self-taught commoner who
for reasons that are not very clear never took up an official
post. Some say this is due to his association with underground
societies opposing the new Qing rulers, while others suggest
that it was a result of self inclination towards reclusion.
before Gong Xian
incorporated new influences into his art while the more
interesting and characteristic Dark-Gong paintings demonstrate
apparent western influences especially in shading and the
interest in the effects of light, some even go as far as
suggesting that Gong was also influenced by western concepts of
space and paint application techniques, referring to his
characteristic overlapping “accumulative” shading technique.
Dark-Gong paintings are indeed dark in color, ink is applied
again and again in different tones on the same spot. The
application of ink is done gradually from from light to dark
tones, giving the different features in the landscape a feeling
of mass and volume. Strong contrasts between small patched of
bear white paper and dense dark texture give Gong Xian’s art its
unique flavor and visual rhythm. In spite of these western
influences it would be very hard for a non Chinese to detect the
foreign elements in Gong’s paintings for they maintain their
Chinese characteristics of a shifting perspectives and the
depiction of imaginary, otherworldly scenes that are free from
the restraints of reality and western science. At the same time
obvious characteristics of great Chinese Landscapists that Gong
studied such as Fan Kuan, Dong Yuan, the Mi
family tradition, Ni Zan and Dong Qichang is
apparent and link his art to the traditional formats of
landscape. For a Chinese familiar with the long tradition of
Landscape Painting, Gong Xian’s art will strike as unique,
innovative and somewhat foreign. The overall result is a subtle
interaction of different artistic influences and a personal
rebellious sentiment against the political situation which Gong
manifested in his compact and dense compositions that were
almost claustrophobic and devoid of human figures which
contrasted the airy and gentle styles that were common.
