LUSHAN / 庐山 PAINTED BY SHEN ZOU

SHEN ZOU (1427-1509)  

Lushan / 庐山  or Mount Lu (1,474m- 4,834ft) 

China

In Lofty Mount Lu  painted in 1467, National Palace Museum, Taipei

The mountain 

Mount Lu or Lushan  (庐山) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.

The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.

Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
Mount Lu was once dubbed the xiadu ("summer capital") of the Republic of China. Chiang Kai-Shek, China's leader at the time, would frequently spend his summers here. In June 1937, Zhou Enlai, then a major leader in the Communist Party, met with Chiang on the mountain to discuss a united front against the Japanese invasion. In July 1937, Chiang Kai-shek announced his intention for a full mobilization for war against Japan from Mount Lu. In 1946, following the war, the U.S. special diplomatic mission led by General George C. Marshall met with Chiang Kai-Shek to discuss the role of post-WWII China.
Mao Zedong convened three large conferences of senior party officials at Mount Lu, in 1959, 1961, and 1970. The 1959 conference became known as the Lushan Conference. The meeting saw the purge of decorated Chinese Civil War and Korean War general Peng Dehuai, who was critical of Mao's Great Leap Forward policies. The 1970 Lushan Conference took place during the Cultural Revolution, and marked the increasing antagonism between those loyal to Mao and those loyal to his chosen successor Lin Biao.
Mount Lushan has rich cultural and natural heritage, which authentically preserve the unique elements and characteristics of Mount Lushan’s creation, development and inheritance, including cultural, historical and natural elements such as ancient monuments and sites, villas, ancient stone inscriptions, paintings and poems dating to different historic periods, and streams and waterfalls, peaks and valleys. Temporary or partial damage of the ecological environment can be quickly and effectively restored. Restoration and intervention have followed principle of retaining the historic condition of the heritage in terms of design, materials, methods, and techniques. Thus, the property retains its historical authenticity, which permanently preserves the value of this “famous cultural mountain”.
In 1982, Mount Lushan became one of the first National Scenic Areas and one of the First Class National Nature Reserves, with the property area and buffer zone delimited. All attributes of Mount Lushan are effectively protected by the laws and regulations pertaining to the management of national scenic areas, and to the protection of cultural heritage and its setting. Any measures and projects that may significantly impact the heritage value must be authorized by the relevant national authorities.
The Lushan Scenic and Historic Interest Administrative Bureau focused on sustainable development of the property, and made increased investments in conservation and management. Both mid-term and long-term master plans for protecting the property have been made. Special attention has been placed on protecting the cultural heritages and their settings as a whole, and how to protect them more scientifically. Additional efforts have been made towards researching rational use of the property. Broad cooperation and exchanges have been undertaken. Conservation measures are strictly carried out. Environmental management and development projects are being tightly controlled. The right balance between heritage conservation and tourism development has been maintained, making it possible for the sustainable development of the property.

The artist 

Shen Zhou (Chinese: 沈周), courtesy name Qi'nan (启南) and Shitian (石田), was a Chinese painter in the Ming dynasty,  not be confused with another Chinese artist named Shen Zhou who lived between 1848 and 1903.  Shen Zhou’s scholarly upbringing and artistic training had instilled in him a reverence for China’s historical tradition that influenced both his life and his art from an early age. He was accomplished in history and the classics, and his paintings reveal a disciplined obedience to the styles of the Yuan dynasty, to China’s history, and to the orthodox Confucianism that he embodied in his filial life. He is most famous for his landscapes and for his “boneless” renderings of flowers, which are meticulously created in the style of the Yuan masters. However, he did not always paint within strict boundaries. His inherited prosperity afforded him the luxury of painting independently of patrons, and he did so in a way that, while revealing his historical influence, was uniquely his own. Shen possessed a large collection of paintings from the late Yuan and early Ming, which he and his scholar-painter colleagues used as models in forging the revivalist approach of the Wu style. He frequently combined experimental elements with the more rigid styles of the Yuan masters. Much of his work was done in collaboration with others, combining painting, poetry, and calligraphy at gatherings with his literati friends. It was upon these ideals that his Wu School was founded. For Wu painters, painting was a meditation, rather than an occupation. Shen Zhou never coveted his paintings, although they were frequently coveted and imitated by others. Through Shen Zhou’s eyes, a painting was not a commodity, but the very extension of the painter himself.

LUSHAN / 庐山 PAINTED BY WANG YUANQUI / 王原祁

WANG YUANQUI / 王原祁  (1642-1715)

Lushan / 庐山 or Mount Lu (1,474m- 4,834ft) 

China

In Lu shan, National Palace Museum, Taipei

The mountain
Mount Lu or Lushan (庐山) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.
Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
Mount Lu was once dubbed the xiadu ("summer capital") of the Republic of China. Chiang Kai-Shek, China's leader at the time, would frequently spend his summers here. In June 1937, Zhou Enlai, then a major leader in the Communist Party, met with Chiang on the mountain to discuss a united front against the Japanese invasion. In July 1937, Chiang Kai-shek announced his intention for a full mobilization for war against Japan from Mount Lu. In 1946, following the war, the U.S. special diplomatic mission led by General George C. Marshall met with Chiang Kai-Shek to discuss the role of post-WWII China.
Mao Zedong convened three large conferences of senior party officials at Mount Lu, in 1959, 1961, and 1970. The 1959 conference became known as the Lushan Conference. The meeting saw the purge of decorated Chinese Civil War and Korean War general Peng Dehuai, who was critical of Mao's Great Leap Forward policies. The 1970 Lushan Conference took place during the Cultural Revolution, and marked the increasing antagonism between those loyal to Mao and those loyal to his chosen successor Lin Biao.
Mount Lushan has rich cultural and natural heritage, which authentically preserve the unique elements and characteristics of Mount Lushan’s creation, development and inheritance, including cultural, historical and natural elements such as ancient monuments and sites, villas, ancient stone inscriptions, paintings and poems dating to different historic periods, and streams and waterfalls, peaks and valleys. Temporary or partial damage of the ecological environment can be quickly and effectively restored. Restoration and intervention have followed principle of retaining the historic condition of the heritage in terms of design, materials, methods, and techniques. Thus, the property retains its historical authenticity, which permanently preserves the value of this “famous cultural mountain”.
In 1982, Mount Lushan became one of the first National Scenic Areas and one of the First Class National Nature Reserves, with the property area and buffer zone delimited. All attributes of Mount Lushan are effectively protected by the laws and regulations pertaining to the management of national scenic areas, and to the protection of cultural heritage and its setting. Any measures and projects that may significantly impact the heritage value must be authorized by the relevant national authorities.
The Lushan Scenic and Historic Interest Administrative Bureau focused on sustainable development of the property, and made increased investments in conservation and management. Both mid-term and long-term master plans for protecting the property have been made. Special attention has been placed on protecting the cultural heritages and their settings as a whole, and how to protect them more scientifically. Additional efforts have been made towards researching rational use of the property. Broad cooperation and exchanges have been undertaken. Conservation measures are strictly carried out. Environmental management and development projects are being tightly controlled. The right balance between heritage conservation and tourism development has been maintained, making it possible for the sustainable development of the property.

The painter
Wang Yuanqi / 王原祁 was a Chinese painter of the Qing dynasty. Wang was born in Taicang in the Jiangsu province and tutored in painting by his grandfather Wang Shimin (1592–1680). His style name was ' Mao-ching ' and his sobriquet was ' Lu-t'ai '. Wang is a member of the Six Masters of the early Qing period, also known as the 'Four Wangs, a Wu and a Yun'. They are also often regarded as the principal figures of the 'Orthodox School' of Chinese landscape painting.
Wang Yuanqi was two years old when the New Qing Dynasty was founded (1644). He rose to prominence as a court official and eventually was appointed curator of the imperial collection during the reign of the Qing Emperor Kangxi. He remained a court official throughout his long career and died at age 73 in 1715.
His landscapes followed the model of the Yuan Dynasty artists who broke away from the Northern Song tradition of rendering landscapes "real enough to walk through" to more personal abstractions. His style and technique demonstrates influences from, for example, the artist Huang Gongwang, especially in the use of dry brush strokes and ink washes and his use of colour, often making "colour patterns a component of his dense compositional structure, complementing the force of abstract design with the rhythmic flow of colour." His 1711 ink and color-on-silk painting, Landscape in the Style of Huang Gongwang, is in Singapore's Asian Civilisations Museum collection and his version of Wang Wei's (now lost) eighth century hand scroll, The Wang River Villa, also painted in 1711, in the Metropolitan Museum of Art, New York City.

__________________________________________

2019 - Wandering Vertexes...

by Francis Rousseau 

LUSHAN / 庐山 PAINTED BY SOAMI / 相阿弥

SOAMI  相阿弥 (1472 ?-1525) 

Lushan / 庐山 (1,474m- 4,834ft) 

China

In Li Bai viewing the waterfall at Mt  Lu, hanging scroll, ink on paper,

Japan, Muromachi period, approx. 1500-1525, 

Asian Art Museum of San Francisco 

The mountain 
Lushan / 庐山 (1,474m- 4,834ft) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.
Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
Mount Lu was once dubbed the xiadu ("summer capital") of the Republic of China. Chiang Kai-Shek, China's leader at the time, would frequently spend his summers here. In June 1937, Zhou Enlai, then a major leader in the Communist Party, met with Chiang on the mountain to discuss a united front against the Japanese invasion. In July 1937, Chiang Kai-shek announced his intention for a full mobilization for war against Japan from Mount Lu. In 1946, following the war, the U.S. special diplomatic mission led by General George C. Marshall met with Chiang Kai-Shek to discuss the role of post-WWII China.
Mao Zedong convened three large conferences of senior party officials at Mount Lu, in 1959, 1961, and 1970. The 1959 conference became known as the Lushan Conference. The meeting saw the purge of decorated Chinese Civil War and Korean War general Peng Dehuai, who was critical of Mao's Great Leap Forward policies. The 1970 Lushan Conference took place during the Cultural Revolution, and marked the increasing antagonism between those loyal to Mao and those loyal to his chosen successor Lin Biao.
Mount Lushan has rich cultural and natural heritage, which authentically preserve the unique elements and characteristics of Mount Lushan’s creation, development and inheritance, including cultural, historical and natural elements such as ancient monuments and sites, villas, ancient stone inscriptions, paintings and poems dating to different historic periods, and streams and waterfalls, peaks and valleys. Temporary or partial damage of the ecological environment can be quickly and effectively restored. Restoration and intervention have followed principle of retaining the historic condition of the heritage in terms of design, materials, methods, and techniques. Thus, the property retains its historical authenticity, which permanently preserves the value of this “famous cultural mountain”.
In 1982, Mount Lushan became one of the first National Scenic Areas and one of the First Class National Nature Reserves, with the property area and buffer zone delimited. All attributes of Mount Lushan are effectively protected by the laws and regulations pertaining to the management of national scenic areas, and to the protection of cultural heritage and its setting. Any measures and projects that may significantly impact the heritage value must be authorized by the relevant national authorities.

The artist
Sōami  / 相阿弥 (1472 ?- 1525)  also called Shinsō, was a Japanese painter, art critic, poet, landscape gardener, and master of the tea ceremony, incense ceremony, and flower arrangement who is an outstanding figure in the history of Japanese aesthetics.
Sōami was the grandson and son of the painters and art connoisseurs Nōami and Geiami, respectively, and like them was in charge of the art collection of the Ashikaga shoguns (military dictators of the Ashikaga clan that ruled Japan from 1338 to 1573.
Sōami’s work was strongly influenced by the philosophy of Zen, the meditative sect of Buddhism that taught that secular art forms can serve as a means of attaining spiritual enlightenment. As a painter, he preferred the soft ink-wash style of Mu-ch’i Fa-ch’ang, a 13th-century Chinese Zen painter greatly admired in Japan, and he painted a fine set of landscape fusuma-e (paintings done on sliding doors) in the Daisen-in, a monastery within the Zen Buddhist Daitoku Temple in Kyōto. As a critic, in 1511 he revised Nōami’s famous catalog of Chinese paintings, the Kundaikan sayū chōki (compiled in 1476). As a landscape gardener, he designed two of the most celebrated Zen temple gardens in Japan: the Ryōan Temple garden, in Kyōto, an outstanding example of kare sansui, a dry landscape technique in which combinations of stones and sand are used to suggest mountains and water; and the Daisei-in garden, a miniature reproduction of a natural landscape, also in the kare sansui style. It is believed that he also planned the garden of the famed Silver Pavilion (Ginkaku Temple) in Kyōto, the villa built by his major patron, Ashikaga Yoshimasa.

LUSHAN / 庐山 or MOUNT LU SKETCHED BY JEAN-BAPTISTE NÉE

 

JEAN-BAPTISTE NÉE (b.1986)
Lushan / 庐山 or Mount Lu (1,474m- 4,834ft)
China

In Lushan ,Chine, Lavis 2018, 19x 28cm , Collection privée ©Jean-Baptiste Née
@jeanbaptiste.nee

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, (see above) and became interested in the Taoist notion of "Sky" (t’ien 天).
Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France.

The mountain
Mount Lu or Lushan (庐山) ( (1,474m- 4,834ft) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.
Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
More about Mount Lu

____________________________________

2022- Wandering Vertexes.
A blog by Francis Rousseau

LUSHAN / 庐山 AQUARELLÉ PAR JEAN-BAPTISTE NÉE

JEAN-BAPTISTE NÉE (b.1986)

Lushan / 庐山 ou Mont Lu (1,474m- 4,834ft)

Chine

In " Lushan, Chine," lavis 2018, 36 x5 1,5cm, Collection privée ©Jean-Baptiste Née
@jeanbaptiste.nee

The artist
Jean-Baptiste Née, né en 1986. est un artiste peintre, scénographe et plasticien français, diplômé des Arts-Décoratifs de Paris en 2012. Jean-Baptiste Née travaille la montagne et la haute montagne, toujours in situ, en confrontation directe avec les mouvements de la terre, de l'eau et du vent. Il donne une place toujours plus importante à l'interaction des éléments sur les œuvres qu'il réalise  (pluie, neige, gel, etc.). Il installe son "grand atelier" dans les Alpes suisses ou dans le massif du Vercors - surtout en hiver -, ainsi que lors de longues randonnées dans les Alpes italiennes. A l'hiver 2018, il travaille dans les massifs du Wudangshan et du Lushan, en Chine, et s'intéresse à la notion taoïste de "Ciel". Depuis 2016, Jean-Baptiste Née expose régulièrement dans des galeries en France et en Suisse. Son atelier est à Montreuil, France.

DANS L'INCONNU

Exposition collective, du 21 octobre au 25 novembre 2023
vernissage le samedi 21 octobre, à 16h
ouverture les samedi et dimanche, de 14h à 19h
avec : Olivier Giroud (sculpture), Alexandre Hollan (peinture), Sophie Melon (sculpture)

Galerie La Navire (Brest)
33 Kreiz Ker
29880 Plouguerneau

 

The mountain
Mont Lu or Lushan (庐山) ( (1,474m- 4,834ft) est situé dans la partie nord de la province du Jiangxi, dans le sud-est de la Chine, et constitue l'une des montagnes les plus célèbres du pays. Le mont Lushan est l'un des centres spirituels de la civilisation chinoise. Les temples bouddhistes et taoïstes, ainsi que les monuments du confucianisme, où ont enseigné les maîtres les plus éminents, se fondent sans effort dans un paysage d'une beauté saisissante qui a inspiré d'innombrables artistes développant une approche esthétique de la nature que l'on retrouve dans la culture chinoise.
Les montagnes de forme ovale mesurent environ 25 km de long et 10 km de large et sont voisines de la ville de Jiujiang et du fleuve Yangtze au nord, de la ville de Nanchang au sud et du lac Poyang à l'est. Son point culminant est le pic Dahanyang (1 474 m) qui fait partie des centaines de sommets abrupts dominant une mer de nuages  englobant les montagnes pendant près de 200 jours par an. Le mont Lu est connu pour sa grandeur, son escarpement et sa beauté et fait partie du parc national de Lushan, site du patrimoine mondial de l'UNESCO depuis 1996, et une attraction touristique de premier plan, en particulier pendant les mois d'été, lorsque le temps est plus frais.
Lushan était une station d'été pour les missionnaires occidentaux en Chine. Absalom Sydenstricker, le père de Pearl Buck, fut l'un des cinq premiers missionnaires à acquérir une propriété dans le domaine Kuling sur la montagne.
_________________________________________

2023 - Gravir les montagnes en peinture
Wandering Vertexes ....
Un blog de Francis Rousseau

 

LUSHAN / 庐山 BY JEAN-BAPTISTE NÉE

 

JEAN-BAPTISTE NÉE (b.1986)

Lushan / 庐山 or Mount Lu (1,474m- 4,834ft)

China

 In  Lushan (IX), lavis, 2018, 14x19cm,  Collection privée ©Jean-Baptiste Née 

@jeanbaptiste.nee 

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, (see above) and became interested in the Taoist notion of "Sky" (t’ien 天).
Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France.

The mountain
Mount Lu or Lushan (庐山)  ( (1,474m- 4,834ft) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.
Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
More about Mount Lu  

____________________________________

2020- Wandering Vertexes... / Mountain paintings
A blog by Francis Rousseau 

LUSHAN / 庐山 BY WU GUANZHONG / 吴冠中

WU GUANZHONG / 吴冠中 (1919- 2010)

Lushan / 庐山 or Mount Lu (1,474m- 4,834ft)

China

In Lushan Songshi, ink on paper, 1987

The mountain
Mount Lu or Lushan (庐山)  ( (1,474m- 4,834ft) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
The oval-shaped mountains are about 25 km long and 10 km wide, and neighbors Jiujiang city and the Yangtze River to the north, Nanchang city to the south, and Poyang Lake to the east. Its highest point is Dahanyang Peak (1,474m- 4,834ft) and is one of the hundreds of steep peaks that towers above a sea of clouds that encompass the mountains for almost 200 days out of the year. Mount Lu is known for its grandeur, steepness, and beauty, and is part of Lushan National Park, a UNESCO World Heritage Site since 1996, and a prominent tourist attraction, especially during the summer months when the weather is cooler.
Lushan was a summer resort for Western missionaries in China. Absalom Sydenstricker, the father of Pearl Buck was one of the first five missionaries to acquire property in the Kuling Estate on the mountain.
More about Mount Lu  

The painter 
Wu Guanzhong / 吴冠中  was a contemporary Chinese painter widely recognized as a founder of modern Chinese painting.  He is considered to be one of the greatest contemporary Chinese painters. Wu's artworks had both Western and Eastern influences, such as the Western style of Fauvism and the Eastern style of Chinese calligraphy. Wu had painted various aspects of China, including much of its architecture, plants, animals, people, as well as many of its landscapes and waterscapes in a style reminiscent of the impressionist painters of the early 1900s. He was also a writer on contemporary Chinese art. Most of Wu’s early works were destroyed during the Cultural Revolution. It is difficult to track down works from his early days. Wu had an exhibit in 1942 when he was in school and it was hosted by the Sha Ping Youth Palace.
Wu Guanzhong has had solo exhibitions in major art galleries and museums around the world, including China, Hong Kong, Singapore, Tokyo, Taipei, Korea, France, England and the USA. His paintings were exhibited at the British Museum in 199;, being the first living Chinese artist to have an exhibition there. One of his paintings, Seascape at Beidaihe (1977), was shown at the Metropolitan Museum of Art as part of an exhibition of paintings from the collection of art dealer Robert H. Ellsworth. His work may also be seen in the collection of the Hong Kong Museum of Art.
In 2008, Wu donated 113 works to the Singapore Art Museum (SAM). This donation is the largest Wu Guanzhong donation to a public museum.
In 2010, Wu donated works to the Hong Kong Art Museum.

___________________________________________

2020 - Wandering Vertexes...
by Francis Rousseau

MOUNT LU / 庐山 BY JING HAO / 荆浩

 

JING HAO  / 荆浩 (c. 880–940) 

Lushan / 庐山 or Mount Lu (1,474m- 4,834ft) 

China

 In Mount Lu (c. 920-40),  hanging scroll, ink on silk, 185.8 x 106.8 cm. 

National Palace Museum, Taipei.

About this work
The piece most frequently held as a template of his style is Mount Lu (above), an ink painting on silk scroll which gives a rather fantastical rendering of one of Jiangxi's natural landmarks. The work is a tight, vertical composition, employing Jing's newly developed cun fa technique to compress the landscape into layers of jutting rock-pillars between chasms of mist. The enclosed space of the composition enhances the monumental characteristics of the mountain, which fills some 90% of the scroll. Humans and buildings, though drawn with remarkable realism in a manner that contrasts sharply against the atmospheric landscape surrounding, are reduced to an almost unnoticeable scale, clustered at the foot of the mountain at the very bottom of the scroll, further conveying the intimidating grandeur of the natural world over the transient activities of man. Scholars have noted, however, that the mist in Mount Lu plays only a minimal role compared with that seen in some of Jing's other works, being employed much more conservatively than is common for the artist—a fact which has led to some speculation among art historians that this particular work may represent a “reminiscence” during a later period in the artist's life. Aside from Mount Lu, only one other major surviving work bearing the signature of Jing Hao has survived into the present.

The artist
Jing Hao / 荆浩 (c. 880–940) began his artistic career during the later years of the Tang Dynasty. Initially he was influenced by the emphasis on monumental landscapes of Tang painters. Their goal to express the grandeur and harmony of nature was exemplified by the established masters such as Wang Wei. Following the collapse of the Tang, Northern China descended into a period of political chaos—the Five Dynasties—in which five separate ruling lines established themselves and were destroyed by factional infighting in rapid succession. An aversion to the turmoil of his era led Jing Hao to retire to seclusion in the northern Taihang Mountains. Here he spent the greater portion of his life in the pursuit of artistic development. Taihang is an isolated region of dense cloud forests punctuated by jagged peaks. These unique geographical characteristics made the region particularly suited to Jing's developing interest in ink wash techniques. Jing was one of the earliest Chinese artists to employ ink washes (yongmo) to simulate depth and atmospheric perspective. Building on the approach initially pioneered by Tang painters such as Xiang Rong, Jing wrote that the principal aim of the yongmo technique was to “distinguish higher and lower [parts of objects] with a gradation in ink tones, and represent clearly shallowness and depth, making them appear natural as if they had not been done with a brush.” Of Xiang himself, Jing wrote that the earlier artist had “attained the secret of mysterious truth only through the use of ink wash”, but criticized Xiang for his lack of definition, lamenting that Xiang had “no bone in his brushwork”. Jing departed from such an approach by employing in his landscapes a mixture of atmospheric ink washes and bold brush strokes to accurately transcribe the Shanxi landscapes in which he worked. This technique, called cun fa, would characterize all of his major works as well as those of other artists who would study his work in later years.

The mountain
Mount Lu or Lushan (庐山) is situated in the northern part of Jiangxi province in southeastern China, and is one of the most renowned mountains in the country. Mount Lushan is one of the spiritual centres of Chinese civilization. Buddhist and Taoist temples, along with landmarks of Confucianism, where the most eminent masters taught, blend effortlessly into a strikingly beautiful landscape which has inspired countless artists who developed the aesthetic approach to nature found in Chinese culture.
More about Lushan / Mount Lu

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2020 - Wandering Vertexes...
by Francis Rousseau

LES ROCHERS DU PARQUET (VERCORS) PAINTED BY JEAN-BAPTISTE NÉE

 

JEAN-BAPTISTE NÉE (b.1986)
Les Rochers du Parquet  2, 004 m - 6, 574 ft)
France

In "Vercors, hiver, plateau, vent",gouache sur papier  2019, 32, 5  x 50cm,

©Jean-Baptiste Née @jeanbaptiste.nee

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky" (t’ien.
Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Next exhibition th 8th April  in Galeria Obsucra in Paris. A book was recently published about his work  "Le monde nu" Éditions Hartpon. Contact @jeanbaptiste.nee

The mountain  

The Rochers du Parquet (2,004 m-) make the eastern edge of the Vercors to the west of Mont Aiguille. They take the form of a long cliff  facing Mont Aiguille. They support the highlands of Vercors and its nature reserve. A few climbing routes have been traced there. They are separated from the more northerly steep slopes of the Grand Veymont by the deep notch of the Pas des Bachassons. The deep indentation of the cliff separates the towers of Rochers du Parquet from the rest of the long cliff which runs towards the Pas de l'Aiguille. 
The crossing of the Rochers du Parquet is a superb hike typical of the Hauts Plateaux du Vercors. 

The course takes place in a landscape where Mont Aiguille is constantly visible.

The Vercors presents the characteristic of presenting numerous possible passages, talwegs, ridges, valleys and basins, without any obvious particularity to facilitate the description of a route - no cairns either at the beginning of the crossing.

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2021- Wandering Vertexes...
by Francis Rousseau

LOTUS PEAK PEINT PAR FAN KUAN / 范寬

FAN KUAN / 范寬 (950- 1032)
Lotus Peak / Lian Hua Peak
Chine

In The Yellow Mountains, National Palace Musuem, Taipe

La montagne
Lian Hua Peak ou Lotus Peak) (1873 mètre ainsi surnommé car il  ressemble à une fleur de lotus,. La "fleur" mesure plus de dix pieds de largeur, et contient en son centre, un mac nommée Moon Pool (la Piscine de la Lune)  Du sommet, les visiteurs peuvent voir les milliers de sommets et les nombreux ravins de la gigantesque  chaine des Monts Huangshan, à travers les nuages ​​brumeux. Par temps clair, le mont Tianmu peut être aperçu à l'est, le mont Lushan à l'ouest, le mont Jiuhua et le fleuve Yangtze au nord. La mer de nuages vue depuis Lotus Peak es encore plus spectaculaire après une pluie. En escaladant le  Lotus Peak, les visiteurs peuvent voir les nombreux pins anciens qui parsèment le paysage.  Certains sont presque millénaires. Des sites pittoresques tels que le pin Flying Dragon, le pin Head Downwards et les azalées de la montagne Huangshan peuvent être vus le long du chemin.

L'artiste
Fan Kuan (范寬, vers 950-1032) était un peintre paysagiste chinois de la dynastie Song (960-1279). Originaire de Huayuan (華原, Yaoxian moderne 耀縣) dans la province du Shaanxi (陜西), Fan Kuan parcourait souvent la région entre la capitale et Luoyang (洛陽). Bien qu'il soit connu pour son caractère magnanime, sa personnalité directe et son penchant pour la boisson et le taoïsme, Fan Kuan est aujourd'hui célèbre pour ses peintures de paysage. Dans ses premières années d'études de peinture, il suit le style de l'artiste du Shandong (山東) Li Cheng (李成, 919-967). Plus tard,  Fan Kuan s'est rendu compte que s'il voulait vraiment représenter la terre, il devait prendre la nature comme professeur plutôt que d'autres artistes ou leurs œuvres. Après tout, un paysage personnel existe dans la nature autant que dans l'esprit. Fan Kuan se rend alors à la montagne Cuihua (翠華山) et s'isole parmi les forêts et les montagnes, se consacrant à l'observation des effets des changements atmosphériques, météorologiques et saisonniers sur le paysage. Les contemporains l'ont alors loué pour sa capacité à communier avec les montagnes. On sait peu de choses sur sa vie, à l'exception de l'admiration et de l'amour qu'il avait pour la vue sur les montagnes du nord de la Chine. Fan Kuan a été répertoriée comme la 59e des 100 personnes les plus importantes du dernier millénaire par le magazine LIFE. 

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2023 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

MONT WUDANG PEINT PAR JEAN-BAPTISTE NÉE

JEAN-BAPTISTE NÉE (b.1986)
Mont Wudang / 武当山 ( 1,610m - 5, 282 ft)
China (Hubei)

In "Wudangshan (X)," lavis, 2018, 28 x 38cm, Collection privée ©Jean-Baptiste Née
@jeanbaptiste.nee

L'artiste
Jean-Baptiste Née, né en 1986. est un artiste peintre, scénographe et plasticien français, diplômé des Arts-Décoratifs de Paris en 2012. Jean-Baptiste Née travaille la montagne et la haute montagne, toujours in situ, en confrontation directe avec les mouvements de la terre, de l'eau et du vent. Il donne une place toujours plus importante  à l'interaction des éléments sur les œuvres qu'il réalise  (pluie, neige, gel, etc.). Il installe son "grand atelier" dans les Alpes suisses ou dans le massif du Vercors - surtout en hiver -, ainsi que lors de longues randonnées dans les Alpes italiennes. A l'hiver 2018, il travaille dans les massifs du Wudangshan et du Lushan, en Chine, et s'intéresse à la notion taoïste de "Ciel". Depuis 2016, Jean-Baptiste Née expose régulièrement dans des galeries en France et en Suisse. Son atelier est à Montreuil, France.

Les montagnes
Les monts Wudang /武当山 (1 610 m - se composent d'une chaîne de montagnes située dans la partie nord-ouest du Hubei, en Chine, juste au sud de Shiyan. Ils abritent un célèbre complexe de temples et de monastères taoïstes associés au Seigneur du Nord, Xuantian Shangdi. Les monts Wudang sont réputés pour la pratique du Tai-chi et du taoïsme et font figure d'équivalent taoïste du monastère de Shaolin, qui est affilié au bouddhisme Chán. Les monts Wudang sont l'une des "quatre montagnes sacrées du taoïsme", une destination importante pour les pèlerinages taoïstes. Les monastères tels que Le Jardin de Wudang ont été classés au patrimoine mondial de l'UNESCO en 1994 en raison de leur importance religieuse et de leurs réalisations architecturales. Sur les cartes chinoises, le nom "Wudangshan" s'applique à la fois à l'ensemble de la chaîne de montagnes (qui s'étend d'est en ouest le long du bord sud de la rivière Han, traversant plusieurs divisions au niveau du comté de Shiyan), et jusqu'au groupe de pics situés dans le sous-district de Wudangshan de Danjiangkou, Shiyan. C'est cette dernière zone spécifique qui est connue comme un centre taoïste. Certains considèrent les monts Wudang comme une "branche" de la chaîne des monts Daba, qui est un système montagneux majeur dans l'ouest du Hubei, du Shaanxi, de Chongqing et du Sichuan.

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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

MONTAGNE SAINTE-VICTOIRE ( 2) SKETCHED BY JEAN-BAPTISTE NÉE

 

JEAN-BAPTISTE NÉE (b.1986)
The Montagne Sainte Victoire (1, 011m - 2, 216 ft)
France (Provence Alpes Côte d'azur)

 In  La Sainte-Victoire (2), Fusain, 29, 7 x 42 cm,  2008

About this drawing
Jean Baptiste Née made several charcoal drawings of the Sainte Victoire of which a first one has already been published in this blog. 

 
The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky". Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited in Galerie Camera
Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon.
Contact @jeanbaptiste.nee.
Jean Basptiste Née website

The mountain
Mont Sainte-Victoire (1,011 m-3,316ft) also called Mont Venturi is a limestone massif in the South of France, in the region Provence-Alpes-Côte d'Azur. Located east of Aix-en-Provence, it has experienced international fame, due to the more than 80 works Paul Cézanne did on it. It hosts many hikers, climbers and nature lovers, and is a major element of Aix landscape.
The range of the Sainte-Victoire is 18 kilometers long and 5 kilometers from large, following a strict east-west orientation. It is located on the Bouches-du-Rhône and Var, and in the towns of Puyloubier, Saint-Antonin-sur-Bayon, Rousset, Châteauneuf-le-Rouge, Beaurecueil, Le Tholonet Vauvenargues, Saint-Marc-Jaumegarde, Pourrières, Artigues and Rians.
D 10 and D 17 (Route Cézanne) are the main roads to skirt the mountains. On the northern side, the D10 crosses the Col de Claps (530 m) and the Col des Portes (631 m). On the southern side, the D 17 walks on the Plateau de Cengle and crossed the Collet blanc de Subéroque (505 m).
The southern side is characterized by the presence of significant high limestone cliffs 500 to 700 m with the white appearance added to the sun gives the appearance of a high muraille. At the foot of the cliffs, there is more massive brush, oak, kermes oak, Aleppo pine (population greatly reduced after the fire of 1989) but also cultures (olive trees).
On the northern side among the many species present, the Crocus is fairly well represented in the hills and the wild iris and daffodil. One can also see various varieties and boxwood shrubs.
The massif rises to the Pic des Mouches (Peak of the Flies) (1011 m) near the eastern end of the chain, and not at the Croix de Provence (946 m) near the west end and visible from Aix. The Pic des Mouches is one of the highest peaks of the department of Bouches-du-Rhône, behind the peak Bertagne which reached an altitude of 1042 mètres and which is located on the massif of Sainte-Baume.
Sainte-Victoire, as the range of the Sainte Baume, can be considered a special case among the Alpine ranges for the various stages of the formation of its relief associated geological history as well as that of the old Pyrenean-Provençal chain than that of the Western Alps (which have succeeded it).
Indeed, from the former Sainte-Victoire mountain, contemporary of the dinosaurs of the Cretaceous, it remains today only the fold Bimont, said Chaînon des Costes Chaudes, the last vestige resulting from tectonic movements and characteristics of the stacks of Pyreneo-Provençal phase during the Eocene. Later during the Oligocene, breaking of the anticlinal fold of Sainte-Victoire, which resulted from the uplift of the first great Alpine reliefs, is causing a surge that help explain the current form of the mountain, which appeared 15 million years BCE.
Sainte-Victoire, whose calcareous sediments date back to the Jurassic, thus consists of both a Pyrenean-Provencal vestige and of an alpine geology. This singularity and this ambivalence help explain why, although a massive western Alps, the problem of this connection remains complexe.
According to a recent study, the Sainte-Victoire is still growing ! The company ME2i has indeed conducted a satellite survey between 1993 and 2003 providing evidence that during this period the western end of the Sainte-Victoire was uplift of 7 mm per year.
The massif is a ensemble of 6525 ha classified since 1983.
The massive hosts several world-famous dinosaur eggs deposits including the Roques-Hautes / Les Grands-Creux on the town Beaurecueil.
_______________________________

2021 - Wandering Vertexes...
by Francis Rousseau

MONTAGNE SAINTE VICTOIRE BY JEAN-BAPTISTE NÉE

 

JEAN-BAPTISTE NÉE (b.1986)
The Montagne Sainte Victoire (1, 011m - 2, 216 ft)
France (Provence Alpes Côte d'azur)

 In  La  Sainte Victoire  Fusain, 29,  x 42cm,  2008.

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012.  Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind.  He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.).  He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky".  Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited  in Galerie Camera Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon. Contact @jeanbaptiste.nee. His new website

The mountain
Mont Sainte-Victoire (1,011 m-3,316ft) also called Mont Venturi is a limestone massif in the South of France, in the region Provence-Alpes-Côte d'Azur. Located east of Aix-en-Provence, it has experienced international fame, due to the more than 80 works Paul Cézanne did on it. It hosts many hikers, climbers and nature lovers, and is a major element of Aix landscape.
The range of the Sainte-Victoire is 18 kilometers long and 5 kilometers from large, following a strict east-west orientation. It is located on the Bouches-du-Rhône and Var, and in the towns of Puyloubier, Saint-Antonin-sur-Bayon, Rousset, Châteauneuf-le-Rouge, Beaurecueil, Le Tholonet Vauvenargues, Saint-Marc-Jaumegarde, Pourrières, Artigues and Rians.
D 10 and D 17 (Route Cézanne) are the main roads to skirt the mountains. On the northern side, the D10 crosses the Col de Claps (530 m) and the Col des Portes (631 m). On the southern side, the D 17 walks on the Plateau de Cengle and crossed the Collet blanc de Subéroque (505 m).
The southern side is characterized by the presence of significant high limestone cliffs 500 to 700 m with the white appearance added to the sun gives the appearance of a high muraille. At the foot of the cliffs, there is more massive brush, oak, kermes oak, Aleppo pine (population greatly reduced after the fire of 1989) but also cultures (olive trees).
On the northern side among the many species present, the Crocus is fairly well represented in the hills and the wild iris and daffodil. One can also see various varieties and boxwood shrubs.
The massif rises to the Pic des Mouches (Peak of the Flies) (1011 m) near the eastern end of the chain, and not at the Croix de Provence (946 m) near the west end and visible from Aix. The Pic des Mouches is one of the highest peaks of the department of Bouches-du-Rhône, behind the peak Bertagne which reached an altitude of 1042 mètres and which is located on the massif of Sainte-Baume.
Sainte-Victoire, as the range of the Sainte Baume, can be considered a special case among the Alpine ranges for the various stages of the formation of its relief associated geological history as well as that of the old Pyrenean-Provençal chain than that of the Western Alps (which have succeeded it).
Indeed, from the former Sainte-Victoire mountain, contemporary of the dinosaurs of the Cretaceous, it remains today only the fold Bimont, said Chaînon des Costes Chaudes, the last vestige resulting from tectonic movements and characteristics of the stacks of Pyreneo-Provençal phase during the Eocene. Later during the Oligocene, breaking of the anticlinal fold of Sainte-Victoire, which resulted from the uplift of the first great Alpine reliefs, is causing a surge that help explain the current form of the mountain, which appeared 15 million years BCE.
Sainte-Victoire, whose calcareous sediments date back to the Jurassic, thus consists of both a Pyrenean-Provencal vestige and of an alpine geology. This singularity and this ambivalence help explain why, although a massive western Alps, the problem of this connection remains complexe.
According to a recent study, the Sainte-Victoire is still growing ! The company ME2i has indeed conducted a satellite survey between 1993 and 2003 providing evidence that during this period the western end of the Sainte-Victoire was uplift of 7 mm per year.
The massif is a ensemble of 6525 ha classified since 1983.
The massive hosts several world-famous dinosaur eggs deposits including the Roques-Hautes / Les Grands-Creux on the town Beaurecueil.

_______________________________

2021 - Wandering Vertexes...
by Francis Rousseau

WUDANGSHAN / 武当山 PAINTED BY JEAN-BAPTISTE NÉE

 JEAN-BAPTISTE NÉE (b.1986)
Wudangshan / 武当山 ( 1,610m - 5, 282 ft)
China (Hubei)

In "Wudangshan (X)," lavis, 2018, 28 x 38cm, 

Collection privée ©Jean-Baptiste Née
@jeanbaptiste.nee

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, (see above) and became interested in the Taoist notion of "Sky" (t’ien 天).Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France.

The mountains
The Wudang Mountains /武当山 (1,610m - consist of a mountain range in the northwestern part of Hubei, China, just south of Shiyan. They are home to a famous complex of Taoist temples and monasteries associated with the Lord of the North, Xuantian Shangdi. The Wudang Mountains are renowned for the practice of Tai chi and Taoism as the Taoist counterpart to the Shaolin Monastery, which is affiliated with Chinese Chán Buddhism. The Wudang Mountains are one of the "Four Sacred Mountains of Taoism" in China, an important destination for Taoist pilgrimages. The monasteries such as the Wudang Garden were made a UNESCO World Heritage Site in 1994 because of their religious significance and architectural achievement.  On Chinese maps, the name "Wudangshan" is applied both to the entire mountain range (which runs east-west along the southern edge of the Han River, crossing several county-level divisions of Shiyan), and to the group of peaks located within Wudangshan subdistrict of Danjiangkou, Shiyan. It is the latter specific area which is known as a Taoist center.  ome consider the Wudang Mountains to be a "branch" of the Daba Mountains range, which is a major mountain system in western Hubei, Shaanxi, Chongqing and Sichuan.
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2022- Wandering Vertexes.
A blog by Francis Rousseau

LE GRAND VEYMONT SKETCHED BY JEAN-BAPTISTE NÉE

 

JEAN -BAPTISTE NÉE (b.1986)
Le Grand Veymont (2,341m - 7,680 ft)
France (Vercors)

In Vercors, hiver, paroi, gel (II), lavis, 2019, 16 x 25cm

The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky". Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited in Galerie Camera
Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon.
Contact @jeanbaptiste.nee.
Jean Basptiste Née website

The mountain,
Le Grand Veymont (2,341m - 7,680 ft)( is  a mountain in the district of Gresse-en-Vercors, part of the department of Isère, France, is the highest point of the Massif du Vercors, but not the highest of the Vercors Regional Natural Park (which is the Rocher Rond at 2,453m).  It has a prominence of 1165 metres and an isolation of 26.88 kilometres. It is situated between le Pas de la Ville to the north and le Pas des Chattons to the south, and is part of the eastern edge of the high plateau of the Massif du Vercors.  It is preceded to the north by (north to south) "le Rocher de Séguret" (the Rock of Séguret, 2051 metres), "Roche Rousse" (Red Rock, 2105 metres), and "le Sommet de Pierre-Blanche" (the Summit of White Rock, 2106 metres)  and followed to the south (north to south) by Petit Veymont or Aiguillette (little Veymont or small needle, 2120 metres) and Mont Aiguille (Mount Needle, 2085 metres). Due to its location in the Parc du Vercors, it is far from any paved road. A moderately easy route to the summit involves walking about 10 km, hiking through the backcountry.
On 10 February 2007, a twin-engine light aircraft flying from London to Cannes disappeared in a snowstorm over le Grand Veymont, crashing into the mountainside and killing all three people aboard. The bodies and wreckage were recovered less than 24 hours later, at around 1960 metres above sea level, close to the Pas de la Ville, after a rescue operation involving more than one hundred policemen, firemen, mountain rescue specialists, and three helicopters equipped with infra-red cameras.