Dong Yuan's courtesy name is Shuda, and he is also known as Dong Beiyuan. During the Five Dynasties and the Southern Tang Dynasty, he served as the deputy envoy of Houyuan, and later entered the Northern Song Dynasty. His landscape paintings inherited the tradition of Jing Hao and Guan Tong, changed the method, and created the "Phima Chap" style, establishing a peaceful and elegant style. Wang Wei studied ink painting and Li Sixun studied coloring. The ink is dripping, indulgent and lively. Most of Gong Qiulan's distant views depict real scenes in the south of the Yangtze River. The mist is lush and green, the branches are strong, plain and innocent, showing the unique taste of the Jiangnan landscape.
Dong Yuan is not only good at painting landscapes, but also can paint cows, tigers, dragons and people. As a landscape painter, Dong Yuan is also not specialized. People in the Song Dynasty praised its large-scale color scheme and rich landscapes, which resembled Li Sixun's style. But its most original and most accomplished is the ink landscape painting. He used hemp peeling and moss-dotting techniques to express the natural appearance of the Jiangnan area, and miraculously conveyed the scenery of Jiangnan with dim peaks, mountains and rivers, and forest foothills covered with mist. His brushwork is very careless, and his near-sightedness hardly resembles the object, but from a distance, the scenery is dazzling, and he is very creative in his technique. His famous works "Waiting for Ferry at Xia Jing Mountain Pass" and "Xiaoxiang Picture" vividly express the specific scenery of the hills in the south of the Yangtze River in summer, the lush vegetation and dense clouds between rivers and lakes. His brush and ink techniques are fully adapted to the specific scenery he represents.
Shen Kuo of the Song Dynasty said that he "mostly wrote about the real mountains in the south of the Yangtze River, not the strange and steep ones". The mountain shapes painted are mostly hills in the middle and lower reaches of the Yangtze River. Most of them are undulating slopes, with mountains covered with rocks, and few are steep and sharp. This is in sharp contrast to the majestic northern mountain shape shown by Jing Hao earlier than him. Dong Yuan attaches great importance to the depiction of figures in landscape paintings, which often have the plot of genre paintings, and sometimes are actually related to the theme of the whole painting. Although the body is small, it is simple but solid. The characters are all painted in blue, red, white and other heavy colors, which are set off by the spots of ink and wash, giving it a unique and ancient charm. His handed down works include "Pictures of Longsu Suburban People" and so on.
The new style of ink landscape painting created by Dong Yuan was followed by monk Ju Ran at that time, and later generations were also called Dong Ju. In the Song Dynasty, except for Mi Fu and Shen Kuo who admired Dong Ju's painting school, most commentators did not think highly of Dong Ju. In the Yuan Dynasty, the trend of imitating Dong Ju gradually became popular. Tang Gao believed: "The landscape paintings of the Tang Dynasty were prepared until the beginning of the Song Dynasty, and (Dong) Yuan was superior to all the other masters." He gained a new understanding of Dong Yuan. The four schools in the late Yuan Dynasty and the Wu School in the Ming Dynasty even regarded Dong Yuan as a model. Although the "Southern and Northern Sect" commentators in the late Ming Dynasty theoretically respected Wang Wei as the "ancestor of Southern Sect painting", they actually cited Dong Yuan as their ancestor. Huang Gongwang of the Yuan Dynasty said: "Those who paint landscapes must learn from Dong, just like those who recite poetry learn from Du." Wang Jian of the Qing Dynasty said, "There is Dong Ju in painting, just like Zhong Wang in calligraphy. If you don't do this, you are a heretic." Dong Yuan's ability to have such a profound influence on later generations is rare in the history of Chinese landscape painting.
According to the history of painting, Dong was good at landscapes with figures, clouds, dragons, oxen and tigers, and could do anything. He was especially famous for his landscape paintings, and pioneered the southern style of landscape painting. Most of his landscape paintings are based on the real mountains in the south of the Yangtze River instead of using strange and steep brushstrokes. Records say that most of his landscape paintings on the south of the Yangtze River are "plain and innocent, and there is nothing like this in the Tang Dynasty". Mi Fu once praised his landscapes and said: "The mountains and mountains appear and disappear, the clouds and mists appear obscure, and there is no pretense of cleverness, but innocence." It is recorded in the "Painting Book" of the Five Dynasties: "There are two types of Dongyuan's landscapes: the same ink painting, with sparse forests and distant trees, flat distance and deep depth, and the rocks are covered with hemp and cracked; the same coloring, with very few cracked text, strong ancient colors, and mostly red for the figures Qingyi, there are also those with pink faces. Both are excellent works." Shen Kuo of the Northern Song Dynasty mentioned in "Mengxi Bi Tan": "Dong Yuan is good at painting, and Long Gong mostly writes about the real mountains in the south of the Yangtze River, not the strange mountains. "His brushwork is very careless, and his nearsightedness hardly resembles the object, but when viewed from a distance, the scenery is dazzling...". He is good at painting landscapes in ink and light colors. He likes to use a textured brush that looks like hemp skin to express mountains, with many alum heads (stones on the top of the mountain) and moss spots. He often paints dense trees, hills, dark clouds and mists, and streams, bridges and fish ponds. The scenery of the south of the Yangtze River hidden by Tingzhu and Tingzhu was described by later generations as plain and naive, which was unprecedented in the Tang Dynasty. There are also works with rich colors, few cracks on mountains and rocks, and rich scenery, which are close to Li Sixun's style, but more indulgent and lively. Also works with dragon, ox, tiger and characters.
Handed works:
The volume of "Pictures of Xiaoxiang" is now in the collection of the Palace Museum;
The volume of "Pictures of Summer Mountains" is in the collection of Shanghai Museum;
< p>The volume of "Picture of Waiting for Ferry at Xiajing Mountain Pass" is in the collection of Liaoning Provincial Museum;The two scrolls of "Picture of Longsu Suburban People" and "Dongtianshan Hall" are both included in "Three Hundred Famous Paintings in the Forbidden City" 》.
The period from the Five Dynasties to the early Northern Song Dynasty was the mature stage of Chinese landscape painting, which formed different styles. Later generations summarized them as the "Northern School" and the "Southern School". Dong Yuan's "Xiaoxiang Picture" is regarded by the history of painting as the pioneering work of the "Southern School" landscape.
Dong Yuan's extant works include "Waiting for Ferry at Xiajing Mountain Pass", "Xiaoxiang", "Xiashan", "Longsu Suburbs" and other pictures. "Xiaoxiang Pictures" volume, Five Dynasties, 50 cm long, 141 cm wide, now in the Palace Museum, Beijing. Huang Tingjian (1045--1105), whose courtesy name was Lu Zhi, was known as "Huangshan Valley" and also known as Valley Taoist. A native of Xiushui, Jiangxi Province, he was born in a family of poets and calligraphers. He has an overview of the six arts and is erudite. He was a Jinshi during the Zhiping period. Together with Zhang Lei, Chao Buzhi, and Qin Guan, he traveled to study under Su Shi's sect, and was known as the "Four Scholars of the Su family" in the world. Politically, he advanced and retreated with Su Shi, and was repeatedly demoted. He was famous for his literature and pursued a unique style of poetry. He founded the Jiangxi Poetry School and had a great influence on the world. He was one of the four most important calligraphers in the Song Dynasty. He was an important figure in the Song Dynasty. It pushed the humanistic spirit of Song Dynasty calligraphy to its peak. The biggest characteristics of Huang Tingjian's calligraphy are his emphasis on "rhyme" and his calm and graceful writing, which is like Lang Yueqingfeng.
Huang Tingjian is best at running calligraphy. and cursive script. His "Zhu Youzuo Tie", "Li Bai Yi's Old Poems", and "The Biography of Lian Po Lin Xiangru" are all famous cursive scripts, which are said to be "like an expert and an elegant scholar, and they are admirable when viewed in large characters". ", "Songfeng Pavilion Poems" and "Postscript to Zhang Datong" embody "the pen starts from the middle of the painting, returns to the left and touches the wrist, and actually paints to the right residence, but jumps again, just like the clouds encountering the wind. , the realm of "going but returning."
Calligraphy is collected in:
Bhan Shitie (Taipei National Palace Museum)
Hua Yanshu (Shanghai Museum)
Jing Fubo Shrine (Yongqing Library)
Li Bai’s Recalls of Old Poems (Fujii Yulin Museum)
The Biography of Lian Po and Lin Xiangru (Metropolitan Museum of Art)
Poetry to Forty-nine Nephews (National Palace Museum, Beijing)
Shi Yizheng’s epitaph inscription (Tokyo National Museum)
Poems from Songfeng Pavilion (National Palace Museum, Taipei) Museum)
Manuscript of the epitaph of Elder Wang (Tokyo National Museum)
Presented to Zhang Datong with postscript (Princeton University Art Museum, USA) Su Shi (1037-1101) also known as Zizhan His courtesy name was Hezhong, and his name was "Dongpo Jushi". He died in the 6th year of Qiantong reign of Emperor Gaozong of the Southern Song Dynasty. He was from Meizhou (now Meishan, Sichuan) and of Han nationality. He was the eldest son of Su Xun, a famous writer, calligrapher and painter in the Northern Song Dynasty. Writer, essayist, poet, poet, representative of the bold and unrestrained poets. In the second year of Jiayou (1057), he and his younger brother Su Zhe became Jinshi.
Su Shi learned calligraphy from the "Two Kings" in his early years. He studied Yan Zhenqing and Yang Ningshi, and in his later years studied extensively with other calligraphers of the Jin and Tang Dynasties, forming a deep and simple style. The posture of Su Shi is also very related. Su Shi's writing style is "lying on the side", that is, the brush is lying on its side between the tiger's mouth, similar to the posture of holding a pen, so its characters are slanted to the right and flat and fat. Huang Ting insisted that he and Su Shi were "good in this dynasty". The calligrapher should be regarded as the best.
The calligraphy is collected in:
Chibi Fu (National Palace Museum, Taipei)
Thanks to the Civil Master (Shanghai) Museum)
Dongting Spring Ode (Jilin Provincial Museum)
Hanshitie (Taipei National Palace Museum)
Huaisu's Autobiography (Tokyo National Museum)
Ji Dao Wen (Shanghai Museum)
Poems of Li Baixian (Osaka Municipal Art Museum)
Poems of Alder Wood (Lan Qianshan Museum) Mi Fu, courtesy name Yuan Zhang , named Lumen Jushi, Xiangyang Manshi, Haiyue Waishi, a famous calligrapher, painter and connoisseur in the Northern Song Dynasty. His ancestral home is Taiyuan, and he later moved to Xiangyang, where he was known as "Mi Xiangyang". During the Xuanhe period, Huizong Zhao Ji called him a doctor of calligraphy and painting. Mi Fu was good at poetry and writing, especially in calligraphy and painting. He is capable of all styles of seal script, Li script, Xing script, Cao script, and regular script, and he is particularly accomplished in cursive script. Fu Ziyun studied from various schools and schools, but judging from his works, Wang Xianzhi and Shi Zhiyong were the most popular. His writings are full of joy and elegance, and his calligraphy skills reached a state of perfection in his later years.
Mi Fu's calligraphy can be said to be a culmination of various calligraphy styles. He has a rich collection of calligraphy and painting, and has benefited a lot from the Dharma books of the Jin and Tang Dynasties. His regular script, running script, cursive script, seal script and official script have all reached a very high level. His artistic activities also involved painting, the Four Treasures of the Study, and the collection of rare stones. He also published the famous "Baojin Zhai Dharma Notes". Mi Fu was also a famous calligraphy and painting appraiser at that time. When Song Huizong compiled the "Xuanhe Calligraphy Book" and "Xuanhe Painting Book", Mi Fu also participated in the appraisal of a large number of calligraphy and paintings.
To this day, Mi Fu's seal and signature can still be seen on calligraphy and painting works such as "Tang Dynasty Lin Huang Ting Jing" and "Gu Kaizhi Luo Shen Tu".
The calligraphy collection is in:
Bai Zhongyue Mingzuo (The Palace Museum, Beijing)
Tiaoxi Poetry (The Palace Museum, Beijing)
Shu Su Tie (National Palace Museum, Taipei)
Poems on the Boat in the Wujiang River (Meadow Polytan Museum of Art)
Yanshan Inscription (National Palace Museum, Beijing)
M Fu collected a large number of Dharma books of famous Jin and Tang dynasties throughout his life, and also witnessed a large number of famous Dharma books collected by the imperial government and private individuals. Mi Fu copied these masterpieces from time to time. Due to historical reasons, a large number of Dharma books of the Jin and Tang Dynasties have disappeared in the chaos of war and fire. Fortunately, some of the Dharma books copied by Mi Fu have been passed down to this day. In the past nearly a thousand years, these calligraphy works by Mi Fu have been regarded as famous works of the Jin and Tang Dynasties for a long time and are highly valued by the world because of their profound writing skills and their unique charm. Among them, the most famous one is "Linwang Xianzhi December Tie", which is the "Mid-Autumn Tie" seen today. This post is a typical "one-stroke calligraphy", with plump and mature lines, coherent lines, flowing Qi, free and elegant. It was regarded as one of the "Three Nobles" by Emperor Qianlong. The "Da Dao Tie", "Dongshan Tie", "Qun Ge Tie", "Rehmannia Tang Tie", "Huzhou Tie" and "Changfeng Tie" that have been handed down to this day also have more or less the meaning of Mi Fu's calligraphy.
During the Northern Song Dynasty, the literati paintings promoted by Su Shi and Wen Tong paid more attention to the temperament of literati and the feelings of scholar-bureaucrats who were concerned about the country and the people. Li Gonglin developed the white-painted paintings, which were originally used as drafts, into a new style that reflected the literati's interest. Wen Tong and Su Shi isolated some of the more special themes in mature landscape, flower and bird paintings, such as dead wood, bamboo and stone, plum orchids and daffodils, and gave them new meanings and forms. A new style of ink flower and bamboo paintings was formed, which was completely different from the traditional formal painting style, especially the style of the Palace Painting Academy. Later, the "Mi Dot Ink Play" landscape painting represented by Mi Fu came to the fore.