landscape paintings IV

painting after or in the style of Huang Binhong 黄宾虹

A selection of works from the years at the Central Art Academy in Beijing. In an attempt to explore and understand the artistic world of Huang Binhong, this series shows copies and imitations of Huang Binhong’s paintings. The work of the two is compared in a blog post.

Copy of a landscape painting by Huang Binhong by friedrich zettl

Copy of a landscape painting by Huang Binhong

landscape painting ink on rice paper

landscape painting after Huang Binhong

Copy of a landscape painting with junk by Huang Binhong

Copy of a landscape painting with boats by Huang Binhong

black and white landscape painting, Copy of Huang Binhong

landscape painting after Huang Binhong 黄宾虹

mountains in spring, copy of a landscape painting by Huang Binhong

landscape painting ink on rice paper, copy of a landscape painting by Huang Binhong

Copy of a landscape painting, spring in the mountains by Huang Binhong

landscape ink painting by friedrich zettl

More related works in the portfolio

Some of the artwork now is listed at saatchi gallery others at artmajeur

Blog posts on these and similar topics are posted regularly on

about Huáng Bīnhóng

黃賓虹 1865–1955, was a Chinese literary painter and art historian. He was the grandson of artist Huang Fengliu. He was later associated with Shanghai and eventually Hangzhou. Huang is considered one of the last innovators of the literary style of painting and is known for his freehand landscapes.

His early painting style showed the influence of Li Liufang (李流芳), Cheng Sui, Cheng Zhengkui, Kun Can, Hong Ren, and the Yuan and Ming masters. It emphasized the importance of uniting positive and negative space; dark and light tones. Each brush line is powerful and precise. The compact touches, graceful outlines, and elegant style of the Xin’an School of Painting (新安画派) had a profound impact on Huang throughout his life. His style before the age of sixty is called the White period.

switching to ink and wash

After sixty years, Huang went to Guichi. The landscape of Guichi not only attracted the artist but also had a great influence on his style. Huang switched from concentrating on brush and line to concentrating on ink and wash. He began to practice Wu Zhen’s painting style. In 1928, Huang visited Guangxi and Guangdong and created many works by sketching the real landscapes. Huang began to transition from his “white style” to his “black style.”[2]

At the age of 69 to 70, Huang visited Sichuan. He was inspired by the atmosphere of Mount Qingcheng in the rain and Qutang Gorge in the moonlight. He used drops, smudges and layers of dense ink to illustrate the misty-damp feel of rain and the night-time view of the mountains. Since then, his “black, dense, thick, heavy” style has become his essential characteristic.

Huang lived in Beijing for eleven years from 1937 to 1948 and most of his Black Period paintings were created during this period. After that, he moved to Hangzhou and started another new horizon in his art. Inspired by Western Impressionism, he integrated the two major Chinese painting systems (ink painting and color painting) into one. Dots of red, green, and blue pigment fused with layers of dense ink, creating a lush and richly integrated style in which he skillfully manipulated full and void. His versatile style and creativity not only earned him an honorary degree but also shed light on modern Chinese art history.

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