The subjugation of the Northern Song dynasty by the Yuan Dynasty failed to infiltrate the Chinese culture. The Mongol empire fell short in experience with regards to administration of the complex Chinese empire. Consequently, they slowly adopted political and cultural models of the Chinese. Nonetheless, the repercussion of the Mongol Empire was significant. The empire refused to recognise the Chinese literati. Most of them resigned to pursue personal interests and as such a culture of self-expression in painting was birthed and that of nature done away with. Through the learned scholar-artists, brushwork become the new calligraphy and assumed an independence that exceeded its function as a tool of developing representational forms. This period made variations in expressions to move beyond landscape to political expressions of the political frustration that was bombarding the Chinese during that era. Nonetheless, Kao K'o-kung’s work is associated with earlier work in (1051-1107) as observed by the characteristics similar to art by Mi Fu (1052-1109). Mi Fu’s most recognised work is his calligraphy as well as the landscape painting. His artwork was a termination of previous paintings common in the Song dynasty. During the Song era, landscape artwork in China relied on lines for its portrayal of the world. It was in his depiction of the mystic river along with the hills and Lake District in Henan province however that led Mi in the development of extreme moist washes as well as horizontal texture strokes.
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The researcher of this essay "Landscape in the style of Mi Fu" explores the painting of Kao K'o-kung. The early Northern Song Empire was characterised by one of the fundamental artistic expressions in Chinese civilisation. One such depiction of art was the landscape painting…
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