Yuan dynasty AD1279-1368

Huang Gongwang

Nine Pearly Peaks in Green

Introduction

Yuan dynasty AD1279-1368

Huang Gongwang

Nine Pearly Peaks in Green

Hanging scroll, ink on silk canvas

79.6 cm (vertical) × 58.5 cm (horizontal)

Huang Gongwang (1269–1354), a native of Changshu, was originally named Lu Jian. Orphaned at a young age, he was adopted by an elderly Huang family, leading to him changing his name and style name to Huang Gongwang and Ziju, respectively. Exceptionally intelligent as a child, he began his career at 24 as a clerk in a supervisory office in Hangzhou. At around 48, he was recommended for a position at the Beijing Censorate, but his promising career was abruptly derailed when he was implicated in a case and imprisoned. After his release, he abandoned his official ambitions, becoming a Taoist in the Quanzhen School, adopting the sobriquet “Da Chi,” and dedicating himself to preaching and spiritual practice in Jiangnan. In his spare time, he created numerous masterpieces, gaining fame as a painter and becoming a model for subsequent generations.

In his Xie Shanshui Jue (Secrets of Landscape Painting), Huang wrote about capturing the essence of mountains and water: “Mountain peaks must fold and turn; mountain veins must flow smoothly—this is the vitality of a landscape. Peaks should seem to bow to one another, and trees should align like a disciplined army, exuding an imposing presence that commands respect. This is the way to capture the authentic spirit of mountains.”

This vision is best exemplified in Huang Gongwang’s Nine Pearly Peaks in Green. In the foreground, gentle slopes stretch into the water, interwoven to form a winding river valley. The richly varied peaks in the background fold and connect, descending gracefully from both sides. The peaks appear to bow to each other, while lush vegetation flourishes with grandeur, creating a scene of harmonious vitality.

In the painting, the elements are arranged in an “X” shape, skillfully guiding viewers’ gazes towards the central building. Huang Gongwang deliberately highlights the building’s railings with bold ink strokes, making it clear that this is the focal point of the artwork. The building’s roof features protruding fishtail designs on either side, suggesting that it might be a Taoist temple. The temple is safeguarded by surrounding peaks, while the misty shadows of trees and towering cliffs in the background seem to exude a mystical aura. The rows of trees and moss dots along the mountainside add a vibrant touch, evoking the flourishing vitality of spring. The harmonious interplay of mountains and water creates a scene imbued with spiritual charm and natural beauty. In Nine Pearly Peaks in Green, Huang Gongwang not only emulates the literati painting styles of Dong Yuan and Juran but also adds the perspective of a Taoist, presenting this auspicious feng shui landscape anchored by the temple.

Selections

Yuan dynasty AD1279-1368

Huang Gongwang

Nine Pearly Peaks in Green

Yuan dynasty AD1279-1368

Huang Gongwang

Nine Pearly Peaks in Green