The cool and green landscape painting depicts the scenery around Qingliang Mountain in Nanjing.
In his later years, Gong Xian bought several tile houses and half an acre of land in Qingliangshan, Nanjing, planted flowers and grass, and devoted himself to painting, which is called "Half an acre garden". This picture depicts the real scene of Qingliangshan where Gong Xian lives. The picture is wide, surrounded by ancient cities, with rolling mountains, a cool platform looming between clouds, and the composition is flat and exotic.
the color is mainly stone green, with a large piece of blooming flowers, which is rich, thick and dripping with ink. The specifications, dimensions and painting methods of this picture are the same as those in the volume "Photographing the Mountain and Qixia", which depicts the scenery of Qixia Mountain in the Palace Museum, and should be made at the same time.
As Ceng Xi's inscription at the end of the paper commented, "The wild remains have lived in Jinling for the longest time, and the mountains written are all in Jinling. The second picture is particularly gloomy and gloomy. Reading it is like swimming in Qixia, cool and refreshing, and expanding my strong bosom. " The year "Bingchen" was in the fifteenth year of Kangxi, and Gong was 58 years old, so this picture should be made for his later years after 58 years old.
Author:
Gong Xian, a Qi Xian, whose name is half a thousand, was born in Kunshan, Jiangsu Province, and lived a poor life during the war in the late Ming Dynasty. He is a landscape painter who pays attention to both traditional brushwork and imitation. He, together with painters Fan Yin, Gao Cen, Zou _, Wu Hong, Ye Xin, Hu _, Xie Sun, etc., who were also active in Jinling area, were also called "the Eight Schools of Jinling".
Works and poems, good deeds and grass, originated from Mi Fei, and are independent of ancient methods. He is the author of Vanilla Hall Collection. Besides The Riverside Scene at Qingming Festival, what other famous paintings and calligraphy works are there in China?
Gu Kaizhi's Painting of the Goddess of Luo in the Eastern Jin Dynasty, the most reliable authentic painting of the Tang Dynasty by Han _, the most famous long scroll The Riverside Scene at Qingming Festival by Zhang Zeduan in the Northern Song Dynasty, and the most gorgeous green landscape painting "A Thousand Miles of Mountains and Rivers" by Wang Ximeng in the Northern Song Dynasty.
What are the famous China ancient landscape paintings? Chinese painting with mountains and rivers as the main description object. It was formed in Wei, Jin, Southern and Northern Dynasties, but it has not been completely separated from figure painting. It became independent in the Sui and Tang Dynasties and matured in the Five Dynasties and the Northern Song Dynasty, becoming an important branch of Chinese painting. Traditionally, according to the painting style, it is divided into green landscape, golden landscape, ink landscape, light crimson landscape, small green landscape and boneless landscape.
Song Li Tang's "Wan He Song Feng Tu"-This panoramic composition does not highlight the main peak, and the peaks are connected into a unified whole through the surrounding pine forest, and the three spatial levels of near, middle and far are natural and decent. The brushwork in the whole picture is thick and unpretentious, without losing the charm of beautiful and elegant, and it is full of interest. The slope stone is chopped with an axe, and then it is covered with Jiao Mo and broken pens, which has a melancholy and strong charm. The house in the painting is made by boundary painting, which shows that the painter has rich painting skills.
The silk version of Song Mayuan's "A Trekking Map" is 191.8 cm in length and 111 cm in width. kurama in Beijing Palace Museum is far away from Xia Gui at the same time, so it is called "Ma Xia". The main content of this painting is a group of farmers, old and young, laughing and singing on the ridge, stretching naturally with their pens, which is consistent with the atmosphere of the picture. In the distance, the peaks are opposite and the palace looms. From the way of dealing with natural objects, it is a typical feature of the "one corner mountain" of the Ma school.
Fan Kuan's Journey to the Xishan Mountain in Song Dynasty depicts the vigorous feeling of the rock with raindrop-dense ink marks and sawtooth-like rock grains. As a waterfall as thin as a string falls over thousands of feet, the sound of the stream echoes in the valley, and the description of the scenery is extremely magnificent and realistic. The right corner of the frame is shaded with the word "Fan Kuan". The treasure of the town hall of the National Palace Museum in Taipei.
Song Guoxi's Picture of Early Spring
Song Guoxi's Picture of Early Spring-This picture shows the melting of snow in early spring, the awakening of the earth, and the flourishing of vegetation. The main scenery is concentrated on the central axis. The close-up rocks and tall pine trees connect the S-shaped rocks in the middle, and through the clouds, the second peak rises again, the main peak is in the middle, and the next one faces the abyss. The stream flows down from the valley, and the pen and ink are clear, and the composition is comprehensive, far-reaching and far-reaching, showing an ideal landscape that is feasible, promising, livable and swimable.
In Shen Zhou's "The High Map of Lushan Mountain" in the Ming Dynasty, the mountains and trees are vigorous, and there is little space. The mountains and rocks are a combination of Wang Meng's Jie Suocun, Dong Yuan and Ju Ran's method of covering hemp, which is dyed with light ink layer by layer, and then awakened by thick ink layer by layer. The brushwork is steady and meticulous, not arrogant, and the ink is thick and light, which has a sense of spaciousness in the full layout, so it feels empty in reality. The painting hangs in the spring and rushes down, the water in the stream is gentle, and the clouds and mountains are extremely wonderful. The National Palace Museum in Taipei.
Tang Yin's "Lonely Picture in the Sunset" is one of Tang Yin's representative works. Write mountains, high willows, waterside pavilions, riverbanks, and glow, and the reality and reality set each other off, thus becoming a wonderful system. The author painted weeping willows with the method of Song people, which is patchy and well-organized, while painting rocks is wet and long, with alternating hooks and corners, which is interesting to change. The whole landscape is easy to wash and practice, and the ink color is pleasant and moist.
Tang Yin's landscape appreciation-Tang Yin, one of the "Four Masters of Ming Dynasty", is known as the first talented person in the south of the Yangtze River in the middle of Ming Dynasty. Tang Yin's personality is wild and uninhibited, but he is unique in his paintings, with his exquisite brushwork and elegant charm. Self-title seven unique: "Qiantang scenery is like a screen, and the road is sent to the cliff house to send Ting. Yangliupo rested on his horse, and the cormorant boat crossed the water and the wind was fishy. "
Song Xiagui's "Hakka Dialect in Xuetang"-This picture shows the snow scene in the south of the Yangtze River. The composition is in the form of a "corner", the brushwork is vigorous and vigorous, and the rocks are painted with a small axe and the short lines are bald and straight, thus making the picture hard and strange, and the ink is pale and moist. Silk book, colored.
Song Xiagui's "Willow Boat Map of the West Lake"-the picture shows the Liudi loop, and you can see three floors. However, its density, distance, straight curve and interpenetration, wooden bridges, houses, boats, etc., are rich, vivid and varied. The floating white clouds in the sky are dyed with light ink, which connect with the distant Woods in the misty fog, strengthening the climate characteristics. The brushwork of drawing willow branches is vigorous, dense but not chaotic, with a strong sense of rhythm, which is quite true and beautiful.
Huang Gongwang's original "Xishan Map"-"Xishan Map" is a well-preserved structure, which was written in 1347. The picture shows that the mountains are undulating, and the mountains and water are easily drawn with dry and light ink. The long ponytails make the mountains look sparse and beautiful. Trees are painted vividly by using thick and faint ink pens, with simple brushwork, vigorous style and magnificent momentum.
Huang Gongwang's "The Jade Tree Map of Danya"-this layer is covered with green rocks, high pines and small houses. The mountains are misty and misty, and the temples and pavilions are half exposed. The small bridge at the foot of the mountain lies across, the trees are lush, and one person seeks seclusion with his staff. Wash and refine with pen holder, the brushwork is pale and beautiful, and the color is elegant. The composition is more dense, and there are many rocky rocks on the hills, painted with light crimson colors, as Wu Xiu of Qing Dynasty said: "The ochre yellow painting is spring, and the dark green is dark green." This picture is in the Palace Museum in Beijing.
Yuan Wangmeng's "Ge Zhichuan's Migration Map"-this picture tells the story of Ge Hong's emigration with his sons and nephews in Luofushan. There is only a small piece of water in the left corner of the picture, and the rest are covered with rocks and trees, which makes the scenery look particularly rich and colorful. It is a typical mountain-like style of Wang Meng. The picture is full of mountains and rocks, dense trees, and the flowing springs and winding mountain paths create a deep, quiet and far-away situation. The Forbidden City in Beijing.
The centerpiece of Wen Zhiming's Tea Picture in Ming Dynasty-Wen Zhiming's painting skills are comprehensive, and he is famous for his landscapes, figures, flowers and orchids, which together with Shen Zhou laid the foundation for the Wu Sect. His landscape paintings mostly describe the landscape of the gardens in the south of the Yangtze River and the living environment of the literati. The scenery is peaceful and quiet, the pen and ink are delicate and subtle, and they pay attention to lyricism and bookishness, which embodies the ideological sentiments and aesthetic hobbies of the literati and officialdom at that time.
The fishing map of Fengxi in Ming Chou Ying-this magnificent scenery of the vast mountains and rivers in late autumn, with pavilions looming in the jungle and flowing clouds in the mountains, and the rivers covered by mountains and red maple. The picture is high, with huge walls, far-reaching hills and valleys, vigorous and skillful pen and ink, simple colors, and a combination of traditional rubbing, rubbing, lighting and dyeing, which is magnificent and charming, giving people a sense of relaxation.
Tang Yin's "Spring Mountain Companion Map"-This picture depicts the scene of two scribes sitting on the rocky rocks in Linxi, in the valley where the spring mountain is green and the spring is splashing. In the picture, the mountains are hunched, dead trees and new branches are sprouting, revealing the news of spring. Taniguchi hangs like a spring, flowing into a stream, jumping beads splashing out, and it is cold and audible. The environment is elegant and dusty. Kan Kan and talk about two scholars, added a little poetic. Collected by Shanghai Museum.
Mi Fei's "Spring Mountain Ruisong Map"-The picture depicts the scenery of the forest covered with clouds, with white clouds full of valleys, distant mountains standing in the clouds, and several trees looming in the fog in Gu Song nearby. The shapes of rocks and trees are gentle in beautiful and elegant, and the pine trees are graceful. The rocks are green and beautiful with the method of "rice-dotted painting", which makes the scenery open, calm and sad, showing the artistic conception of moist and interesting in spring. This painting can't be proved to be made by Mi Fei, and it may be copied by Song people.
Dong Qichang's "A Visit to the Ancient Paintings in Fengjing"-this painting imitates Dong Beiyuan's brushwork, showing mountains and valleys, tall ancient trees, vast expanses, small bridges and streams, villages and people, and a lofty realm. Paint a slope stone or use a poncho, or use a folded band, a light ink pen, and dry and wet rubbing. The whole picture has a feeling of ink color. The National Palace Museum in Taipei.
The Poetic Picture of Lin Hejing by Dong Qichang in Ming Dynasty-This picture was created by Dong Qichang according to the poetry of Lin Hejing, a poet in the Northern Song Dynasty. The poem reads: "The landscape is not deep, and there are few fish and birds. I plan to relocate in this life. It should only be on the Sanzhu stream, and the single tree is the bridge. " This map is also called "Three Zhu Stream Map". The composition of the work is far-reaching and far-reaching, and the color of the picture is mainly light crimson and turquoise, which is gentle and simple, showing the plain and naive meaning pursued by the painter in colored landscape paintings.
The Map of Fishing Music in Wei Wu in Ming Dynasty-it depicts the harbor where the fishing boats are berthed by lakes and mountains. The scenery is simple. There are several rugged rocks nearby, several old trees, three or five fishing boats berthed on the shore, and the peaks and ridges in the distance are rich and varied. The S-shaped composition makes it near, middle and far. The overall realm is open, vividly depicting the beauty of Jiangnan fishing port.
Kun Can's "Cloud House Dancing with Crane" in Qing Dynasty-According to legend, the Cloud House Temple was once a haunt of immortals. This picture was made on August 1, the seventeenth year of Shunzhi, in Yunguanzhong. On the screen, streams are gurgling, pines are singing, white clouds are fluttering, cranes are flying, and a hermit is here to pursue the immortal legacy. "Let's lean on the fence and send word to find a gentleman." It's not the realm of immortals, but also a paradise on earth. The composition is rigorous, the pen and ink are calm and vigorous, especially the wet pen rubbing adds infinite depth.
Wang Yuanqi's Ten Records of Lu Hong Caotang (Part I)-This picture is painted with ink in the name of Ten Records of Caotang, which is conveyed by various schools. Lu Hong, a hermit and scholar in Tang Dynasty, was good at calligraphy and painting. He once wrote Ten Records of Caotang to describe the mountain scenery in his seclusion. Wang Yuanqi's "Ten Records of Lu Hong Caotang" is based on the brushwork of various schools in the Tang and Song Dynasties. In the picture, the mountains and peaks are thick, the trees are thick, the pen and ink are fine and tight, the song and the show are seamless, and the softness is strong.
Qian Du's Poetic Picture of Walking on the Moon in Yushan Cottage in Qing Dynasty-This picture is characterized by the contrast between the big density and the small density. Layers of luxuriant forests, with fine point method, and cirrus-like rocks, written in dense and decorative Jie Suocun, are in sharp contrast with the empty world and white walls. The brushwork is a combination of Wang Meng's complexity and Wen Zhiming's delicacy.