Reverie Amid Inked Mountains

Making our way through Taipei’s lively streets and into a secluded alley, we discovered the studio of Taiwanese painter Hou Xiantang. It was approaching noon, and the tranquil studio stood in stark contrast to the city’s clamour outside. The aroma of tea wafting from a cup on the table roused the familiar feeling of visiting an old friend.

Hou’s mountain paintings radiate a profound mystique. Their allure stems from his portrayal of towering mountains, in which vivid three-dimensional landscapes, accentuated by exaggerated scales, draw viewers into an idyllic sanctuary. Within this seclusion, a sense of liberation emerges, offering respite from the world’s frantic and often overwhelming noise.

Traditional Chinese culture has long revered the spirit of reclusion. Since ancient times, scholars have moved with deliberate grace and unhurried poise, embodying an idealized existence where true contentment is derived from inner reflection and harmonious communion with the universe. For such academics, solitude is not synonymous with loneliness. Rather, it’s a cherished retreat in search of deep introspection, free from the pressures and influences of society.

As viewers immerse themselves in Hou’s mountainous realms, it’s as though they’re residing alongside ancient recluses. Amid these majestic landscapes, one can envision resting under a tree’s shade, savouring freshly brewed tea, engaging in a game of chess, and navigating the towering peaks with uninhibited joy.

Breathtaking brushstrokes

On an aesthetic level, there’s an enchanting allure to Hou’s mountainous landscapes. With his virtuoso use of textural brushstrokes, meticulous ink dots, and layered ink washes, the artist creates a unique panorama of peaks that vividly depict rugged terrains and lush foliage, inviting viewers to wander and lose themselves indefinitely.

Hou’s groundbreaking brush technique, yànzì cùn, or the M shape stroke, draws inspiration from a traditional Chinese brush method. This ancient art form is mesmerizing, guiding artists to outline contours or apply broad strokes. Varying ink shades, lengths, textures, and thicknesses enable Hou to vividly capture the grandeur and dynamism of the mountains, bringing them to life.

Throughout history, esteemed painters have showcased their signature brush techniques in ethereal landscapes. Yuan Dynasty master Huang Gongwang demonstrated his renowned Hemp Stroke, distinguished for its round and soft lines, to paint the lush terraces of the Yangtze River in his masterpiece, Dwelling in the Fuchun Mountains. In contrast, Chinese calligraphy master Zhao Mengfu excelled in the Lotus Stroke, where a line is drawn vertically from the peak and outwards from the branches to portray the undulating nature of mountain ranges and evoke a free-spirited ambiance. Meanwhile, Northern Song Dynasty luminary Fan Kuan used the Rain Stroke to capture the vastness and vitality of mountains.

Hou created his M stroke to depict the secluded and abundant paradise he envisioned; this technique boasts flexibility and versatility. When executed with a zigzagging and robust flair, the M stroke portrays jagged, imposing mountains. When rendered with a softer and gentler touch, it illustrates verdant mountains dotted with flourishing trees. Layer upon layer, it imparts a surreal feeling to Hou’s disproportioned mountains.

In Hou’s mountain paintings, viewers are consistently enveloped by cascading waterfalls, serene streams, and drifting clouds. These white expanses are not filled with white paint. Instead, they remain untouched, revealing the paper’s original white shade. This technique is a distinct and captivating feature of traditional Chinese ink painting, showcasing the artist’s mastery of the brush.

Unlike oil paintings where colour can be layered, ink doesn’t offer such opacity. Since there is no “white ink,” all lighter hues and white spaces must be meticulously planned before the painting process begins. Once the ink touches the paper, it becomes permanent. As the saying goes, “Sometimes, a few mispainted leaves can mar the entirety of a piece, leaving the artist no option but to begin anew.”

The trees in Hou’s paintings stand out for their detail and vibrancy, particularly when compared to many post-Song Dynasty artworks. For him, trees are not just aesthetic elements; rather, they’re integral to the mountain landscapes as silent companions, so to speak, in his reclusive life. He painstakingly outlines and colours each leaf, transitioning from tender green buds to the fiery reds of autumn, crafting each branch with meticulous brushwork. It’s as if he is tracing their growth or reminiscing about the moments he shared with them.

Hou infuses his own spirit into the mountains, waters, and trees that he draws, becoming intertwined with every natural element depicted in his art. This symbiosis mirrors the unity with nature discussed by the Chinese philosopher Zhuang Zi in his classic text On the Equalization of Things.

Ethereal journeys

Stepping into Hou’s mountain paintings feels like joining him on a journey to paradise. In this realm of surreal mountains and waters, one’s spirit feels unshackled, allowing the heart and mind to expand and reflect without restraint. The vexations and struggles from the outside world fade, replaced by feelings of serenity.

In these paintings, we recognize scenes and narratives that resonate with us. We navigate the majestic, breathtaking mountains, ascending along paths flanked by pines, cypresses, willows, and blossoms. Whether we reach the summit or pause mid-way to peruse homes and pavilions nestled amid the trees, our gaze lifts to the drifting clouds or reverts to the waterfalls and streams below. On the cerulean waves at the mountain’s base, a small boat bobs, its destination unknown.

In Hou’s ink wash landscape paintings, each piece is a universe of its own. Through it, viewers can feel the calm joy of a mountain stroll, the languid pleasure of watching clouds ebb and flow, and the tranquility of witnessing the life cycle of flowers. Deer quench their thirst by streams, cranes dance gracefully with the wind, and apes and monkeys frolic amid the trees. Even crafty foxes and formidable tigers exude gentleness within these serene vistas. These landscapes resonate deeply with those who see a fragment of their soul mirrored in the art, inviting them to envision a reclusive life amid the mountains.

Today, Hou paints not in pursuit of fame, but to carve out sanctuaries for his soul through the relentless refinement of his craft. He yearns for a world of tranquility and stillness, where his spirit can roam and evolve free of the trappings of life. Hou extends an invitation to kindred souls, urging them to revel in the moonlit breeze, savour tea infused with spring water, delve into philosophical musings, and joyfully lose themselves in a moment beyond the constraints of time.