Gulin shanshui ji. Collection de paysages de Guilin

Original ink and ink wash painting. The entire painting corresponds to a panoramic view of Guilin landscapes over approximately 2 meters. Painting executed on mulberry paper.
Chinese accordion-fold album, covered on the boards with green silk embroidered with flowers, plants, houses and red and gold animals. Handwritten silk title label with red seal. On the first leaf a large red seal. Various seals are found on the paintings. On the first folding panel, paper buckled in the center. 3 cards in the album: a business card in the name of the painter with his credentials "Member of the Guangxi branch of the Chinese Artists Association, Member of the Guangxi branch of the Chinese Calligraphers Association, Head of the art group of the Guilin exhibition hall". The 2 other cards in bookmark format with black and white photograph each representing a view of Guilin with these captions: Amaranthus Lijang Memorial, Yangshuo Shipping Company, Guilin and, Guanlian Bridge, Yangshuo Shipping Company.
Superb copy, perfectly preserved.
Ink painting is the traditional Chinese painting par excellence, the word painting itself means in Chinese, ink and water painting. In this technique landscape painting constitutes the most noble form of painting. This painting derives from the use of calligraphy, and for a Chinese person, one of these paintings is indeed read like a text. The message of these ink landscape paintings being both poetic and spiritual. The creative aspect is very removed from our Western notion, it is first a matter of imitating the ancient masters, and through this imitation transmitting one's vision and feelings. However the representation is very removed from mimesis, and it is rather an expressionist appropriation. It is a painting of the soul, and these paintings were formerly created by scholars whose works were meant to translate spiritual elevation. The work constitutes eloquent testimony of a renewal of traditional Chinese painting before its extinction upon Mao's rise to power in 1949. Artists would have to associate their works with socialist realism and the repression would be total.