Lu Shan
In his writings, Jing described "cun fa" as a way of allowing the heart to follow after the brush. He wrote, “The image is to be seized without hesitation, so that the representation does not suffer. If the ink is too rich, it loses its expressive quality; if too weak in tone, it fails to achieve a proper vigour.” In other words, he sought to allow denser forms to take shape spontaneously out of the ink wash, like rocky crags jutting forth from misty basins. This embrace of spontaneity is readily apparent in his surviving works, such as "Mount Lu".