Qiu Shan Asked.

作品賞析

In his Seeking the Way in the Autumn Mountains, the artist Chi Jung-Hao adopts a style typical of the Northern Song monumental landscape, in which the main mountain occupies almost the entire picture. If you look closely at this work, you can find that it is composed of tens of thousands of fine dots. Chi uses densely packed tiny dots to draw strong light-dark contrasts in this scene with misty moonlit mountains stacked on top of each other. An isolated fiery red maple in front of the base of the waterfall identifies the season, and if we trace the waterfall and stream back to its source, we find a temple half-hidden in a mountain gully—which echoes the main theme of “seeking the Way.” To highlight the deep darkness of the mountains at night, he used de-gummed “overnight ink,” for the sky or background and for the black ink with a special reddish glossiness appropriate to autumn, he used Japanese tea ink made with Kishū pine smoke (Kishū shoen).