Artist(s): Huang Binhong 黃賓虹 (1865 - 1955) Mounted and framed, ink and color on paperPainting (Sight): Length: 132 cm, Width: 65.5 cmDated: In the early winter of Gui You year (1933)Signed/Seal(s): Artist seal, signedComment: A Chinese hand painting depicted a humble village within shanshui panoramic waterside scene of misty mountainous landscape. Showing themed title inscription on upper left, followed by Artist's iron-red signature seal.PROVENANCE:From the Estate Heirloom Collections of General He Shaozhou 何绍周 (1903 - 1980), born in Xingyi County, Guizhou Province, was the nephew of Yingchen He. He served as a General in the National Revolutionary Army and Lieutenant General in the Republic of China.After graduating from the 15th class of the Japanese Army Cadet School, he entered the first class of the Whampoa Military Academy (Republic of China Military Academy) in 1924 and participated in the Kuomintang (Chinese Nationalist Party)'s Eastern Expedition and Northern Expedition. In 1939, he was promoted to Major General. In 1940, he became the Vice Commander of the newly organized 11th Army and the Vice Commander of the 8th Army, and in 1942, he became the Commander of the 88th Army. He was elected as a delegate to the First National Assembly and was promoted toLieutenant General in September 1948. The painting collections of General He Shaozhou 何绍周 presented and offered up to auctions: ON DAY-1: from Lot-129 through Lot-160ON DAY-2: from Lot-547 through Lot-578.For More information about General He ShaoZhou 何绍周, Please refer to this link: https://www.eden-galleries.com/General-he-shao-zhou-bioLOT NOTES:Huang Binhong 黃賓虹 (1865 - 1955) was a Chinese art historian and painter born in Jinhua in Zhejiang province. He was the grandson of artist Huang Fengliu. He is considered one of the last innovators in the style of painting and is noted for his freehand landscapes. His painting style showed the influence of the earlier painters Li Liufang, Cheng Sui, Cheng Zhengkui, and Kun Can. He also had significance for creating several societies devoted to painting and calligraphy. Huang Binhong's work and ideas reached maturity during the 1930s and '40s. In his writings from this period, Huang advocated studying the Tang and Song works to trace the past, in order to initiate the future. He wrote "Huafa yaozhi" (Principles of Paintings) in 1934, in which he explained his five ways of using the brush and his seven ways of using ink. He derived his style from the close study of Chinese tradition and of nature. Huang Binhong was among the first to point out the significance of the Xing'an School of painting in his scholarly writings of the early 1940s. Beside the Xi'an School, Huang was also influenced by Dong Qichang. Despite these ancient influences, some of his painting techniques, especially his experiments with the effects of light and his autonomous use of brush and ink, converged with those of Western Impressionism and Modernism. He developed calligraphic strokes in his works, forming a richly integrated style in which he manipulated solid and void. At the end of his career, when his eyesight was failing, Huang Binhong nearly departed from figuration in his paintings, while still infusing them with the essential spirit and resonance of the natural landscape. When he was 80 he had his first solo retrospective in Shanghai.