Wind in Pines Among a Myriad Valleys

Although the composition of Wind in Pines Among Myriad Valleys is focused on the central axis, which is typical of Northern Song landscape paintings, it is different because Li Tang made the size of the main mountain appear smaller, and enlarged the size of the pine trees and rocks, which is the close scenery, delicately showing the depth of space.

His arrangement of the clouds rising from behind the valley creates a fine and artistic distinction between the mountains both in the foreground and background. The clusters of pine trees painted in malachite and ink wash are packed densely, and they appear to be rustling in the valley. Ink lines are used to depict the rivers, making them appear like they are flowing downstream and causing countless water splashes against the rocks.

The use of dynamic visual elements such as wind, clouds and flowing water in the composition of Wind in Pines in Thousand Valleys make it more vivid.

The main peak is placed at the center of the painting, and the left and right spaces are unevenly filled with the peaks of clouds. The mountain is composed of slanting rocks. A painting technique known as “axe-cut texture stroke” is used to provide texture to the rocks, where different shades of green are applied on top of the lines to create a sense of ruggedness.

As for the clouds on the mountainside, Li Tang used the technique of leaving blank space around the dense pine forest to depict the rolling clouds and mist, which gives a sense of space between the foreground and the middle ground, as well as easing the oppressive feeling of the precipitous main peak.

Li Tang’s signature is embedded on the mountain in the distance and reads “Painted by Li Tang of Heyang in the spring of the ‘Jiachen’ year (1124) of the Xuanhe Reign of the Great Song.”

This inscription shows that Li Tang was, and the painting was completed in 1124 during the reign of Emperor Xuanhe, also known as the Huizhong Emperor, of the Song dynasty. Li Tang would have already been 76 years old, but his brushwork was still strong and powerful.

3 years later, the Northern Song dynasty fell, and the Southern Song dynasty retreated to the south, where Li Tang also migrated,his painting style transformed into one characterized by vigorous brushwork and a bold, concise approach. This had a profound influence on the style of landscape painting during the Southern Song dynasty.

The precipitousness of the mountains and cliffs is drawn with the powerful “axe-cut texture stroke” technique.

Li Tang used the side edge of the brush dipped in thick ink and drew quickly. The places where the brush touched the painting have the effect that looks like an axe chopping. Later generations called this painting technique “axe-cut texture stroke.”

Li Tang used vivid brushstrokes to shape the water so the sound of rushing water can be heard, and the pine trees being blown in the wind make a rustling sound.

In the mountains and valleys, the beams of sunlight intertwine with the green shades of the forest among the rocks. The scene shows the liveliness of the return of spring.

Li Tang first used ink lines to draw the outline of the tree trunks, and then used brown ocher to bring out the semi-circular knots and texture of the bark, accurately presenting the three-dimensional effect of the pine trees. The pine needles are drawn faithfully in terms of the length and shape.