Mist and Rain in Summer Mountains is characterized foremost by a wealth of variations in the arrangement of hills and valleys. Using pale ink to depict distant mountains, Wang Hui also presents the viewer with a rocky path through which to enter the painting. Nestled with the continuous succession of mountain forests from near to far, ink terraces, houses, roofed towers, bridges, and a waterfall appear as if embroidered into the composition. Tree branches bend and stretch. Leaves are plentiful and lively. Wang Hui uses a number of painting techniques. For the mountain rocks, he uses a center-tipped brush; and for the hemp fiber texture strokes, he combines a slanted brush and split brush axe-cut texture strokes as if to "carve" the painting. Texture strokes use both light and dark ink, displaying variations from dry to moist. Wang Hui uses light crimson as a primary color. On the painting's surface, abstract dian (moss dots) and lines relate to one another in an orderly manner. Additionally, the painter's regular variation of hemp fiber texture strokes-both continuous and discontinuous-create a sense of constant fluctuation in the mountains and valleys. Layers of connected mountains repeatedly rise and fall, disperse and unite, moving as if imbued with a kind of life energy.
description_e
Mist and Rain in Summer Mountains is characterized foremost by a wealth of variations in the arrangement of hills and valleys. Using pale ink to depict distant mountains, Wang Hui also presents the viewer with a rocky path through which to enter the painting. Nestled with the continuous succession of mountain forests from near to far, ink terraces, houses, roofed towers, bridges, and a waterfall appear as if embroidered into the composition. Tree branches bend and stretch. Leaves are plentiful and lively. Wang Hui uses a number of painting techniques. For the mountain rocks, he uses a center-tipped brush; and for the hemp fiber texture strokes, he combines a slanted brush and split brush axe-cut texture strokes as if to "carve" the painting. Texture strokes use both light and dark ink, displaying variations from dry to moist. Wang Hui uses light crimson as a primary color. On the painting's surface, abstract dian (moss dots) and lines relate to one another in an orderly manner. Additionally, the painter's regular variation of hemp fiber texture strokes-both continuous and discontinuous-create a sense of constant fluctuation in the mountains and valleys. Layers of connected mountains repeatedly rise and fall, disperse and unite, moving as if imbued with a kind of life energy.
Description
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