The Real Boundary Landscape——Jing Hao’s "It Said"and Panoramic Landscape

Jing Hao is the famous landscape painter and theorist in the end of Tang dynasty and Wu dynasty. As a connecting link between the preceding history of Wei, Jin, Southern and Northern Dynasty, the Sui and Tang Dynasty and the following new stage of Song Dynasty, he initiated the landscape painting of northern clique, and made a contribution to the development of Chinese painting by carrying forward the tradition and forging ahead into the future."Bi Fa Ji" is Jing Hao’s main theory bookmaking bequeathed to today, and "Kuang Lu Painting","Xi Shan Travel Painting" are his main paintings to today.The study about "Bi Fa Ji" of all ages mainly involved "Tu zhen","Liu Yao","Si shi","Si ping","Er Bing" etc. Based on the original text, this paper makes a deep study and analysis on the "zhen" under different language context, and brings forward that the main ideas of the original text,"Tu Zhen Theory", are discussed by focusing on the authenticity of both the works and works’ indietment."Tu Zhen" not only means the works’authenticity in shape and spirit, but requires the utmost pursuit of "authenticity" in thought and landscape.From that, Jing Hao paid strong attention to the pursuit of the "authenticity" of works and practice.Living the reclusive life in Tai Hang Mountain, with the daily observing and apperception, Jing Hao pioneered the techniques of all-round composition of picture and pen-ink portray, achieved the combination of the theory authenticity and practical composition, and finally realized the "Tu zhen". Jing Hao’s bequeathed "Kuang Lu Painting","Xi Shan Travel Painting"fully embodied the artistic ambit of real hills and waters, and his painting theory and style blazed directly a way to the occurring and developing of the landscape painting of northern clique.By referring to materials and analyzing the works, this paper makes a deep study in Jing Hao’s "Tu zhen Theory", and deems that his painting theory and arts achieved the oneness in pursuing "authenticity". After the dissertation of this paper, it is hoped that the inditement and study of Chinese painting should be focused on its noumenon, have a correct understanding of the traditional theory soul, combine the knowledge and actions, thereby the classical works can be produced.