Discuss the ideas about art and beauty underlying Guo Xi’s Early Spring, and suggest some connections between Chinese landscape painting and Islamic calligraphic art

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1) The human presence in nature goes almost unnoticed in Guo Xi’s hanging scroll, Early Spring. Nature, embodied by the mountain, is all-embracing, a powerful and imposing symbol of eternity. The composition of Guo Xi’s painting is based on the Chinese written character for mountain. The fluid gestures of the calligrapher’s hand are mirrored in Guo Xi’s painting, both in the organization of the whole and in the individual brush-and-ink strokes that render this ideal landscape. Like the calligrapher, Guo Xi is interested in the balance, rhythm, and movement of his line. According to a book on Guo Xi by his son, Guo Si, the central peak here symbolizes the emperor himself and its tall pines the gentlemanly ideals of the court. Around the emperor the masses assume their natural place, as around this mountain the trees and hills fall into the order and rhythms of nature.
2) The connections students draw between this landscape painting and Islamic calligraphy will vary but should include some attention to the exclusion of human figures, intense focus on the beauty of the calligrapher’s stroke, the significance of the written word, and the location of higher spiritual meaning in art