first, Tang? Korean-Korean dry "Horse-grazing Map" (see Figure 1) Han Gan (? ——78) A native of Chang 'an, whose main activities were in Kaiyuan and Tianbao years, was born in poverty as a teenager, worked as a hotel maid, and was later funded by Wang Wei's appreciation to learn painting. Han Gan is famous for painting horses, and he was called by Xuanzong to be enshrined in the imperial court. He learned from Cao Ba, a famous horse painter at that time, and paid attention to sketching. The horses he painted had both form and spirit, and had obvious style in the prosperous Tang Dynasty. A famous painter of horses in the prosperous Tang Dynasty. This "Horse Wrapping Map" is a masterpiece handed down from generation to generation by Han Gan. In the prosperous Tang Dynasty, all kinds of Chinese arts, such as Li Bai and Du Fu to poetry, Han Yu and Liu Zongyuan to writing, and Yan Zhenqing and Liu Gongquan to calligraphy, all showed a graceful and generous style of the times. In painting, because of advocating the plump manners like Yang Guifei in the ruling stage, the painting styles of the figures and ladies were all plump, graceful and beautiful. In this painting, people in the palace (Ma Guan) lead two black and white horses out to graze, and the description of people is fat and strong, and the horses are even more smooth. The painting method is outlined by line drawing, with fine pen and accurate modeling; Pale color rendering and heavy ink painting set each other off. The figure is dignified, the contrast between black and white is strong, and the background is blank and monotonous. In the upper left corner, there is the inscription "Original Han Gan" by Song Huizong and Zhao Ji. The calligraphy is thin and hard, and the whole work is dignified and generous, with a typical prosperous Tang Dynasty atmosphere. It's a genuine Han Gan. This picture is now in the National Palace Museum in Taipei. In addition, Han Gan also has "Looking at the White Picture at Night" handed down from generation to generation, which is also his masterpiece. Second, the Northern Song Dynasty? Fan Kuan's "Snow Scene and Cold Forest Map" (see Figure 2)
Fan Kuan (about 967-127) The primitive man of Lihua in Yuzhong (now Yaoxian County, Shaanxi Province) was called Fan Kuan because of his generous nature. Li Cheng, a beginner in landscape painting, followed Fa Jinghao and Guan Tong, and often traveled to Zhongnan and Taihuashan. He once said: "With its teachers, it is not like learning from things" and "with its teachers, it is not like learning from nature", so it is a great achievement to live in seclusion in Zhongnanshan, sitting in the nymphs and winning the mountains and rivers in Shaanxi. Fan Kuan's landscape paintings in historical records are good at showing the momentum of Tailong, praising it as "the peak is quite thick, the momentum is strong, the strokes are even, and the people and houses are all of quality". Its painting features are "the top of the mountain is good for dense forests" and "the water is a sudden stone", and it is good to use the method of painting. This picture shows a large double-mosaic silk book, with mountains covered with snow in ink painting, and dead branches and cold branches on the top of the mountain. The rocks are high, majestic and cold, and there is indeed a feeling of taking the snow out of the clouds and chilling. The picture is pale and moist with a pen, and the rocks are quite round. The fine raindrops and moist ink make it more vivid and fascinating. At the foot of the mountain and the bank of the stream, the ancient wood jungle is written in thick ink, and the dead branches are caused. The foot of the mountain is filled with clouds and changes without trace, which makes the mountain more majestic. There are villages in the mountains, and the snow colors of the houses and the Xiao Temple on the mountainside are marked with strong lines. On the right, facing the cottage across the forest, there is a shallow sand bank, and there is a wooden bridge on the bank. The stream flows down from a distance and merges into one piece. The vast mountains and rivers are frozen and covered with snow, which is very chilly. The Snow Scene and Cold Forest is the representative work of Fan Kuan, which has been recorded for a long time in history. It entered the imperial palace in the Qing Dynasty, and then its whereabouts were unknown. It was discovered during the Cultural Revolution in 1966, and was verified by experts. The title "Made by Minister Fan Kuan" was hidden in the front trunk of a tree, which was one of the characteristics of Song painting, because it was determined to be Fan Kuan's Snow Scene and Cold Forest Map. Fan Kuan's works handed down from generation to generation include "Journey to Xishan Mountain" and "Xiao Temple in Snow Mountain", all of which are similar in style.
Third, Song Huizong (biography) "Red Polygonum and White Goose" (see Figure 3) Song Huizong, named Zhao Ji (182-1135), the eighth emperor of the Northern Song Dynasty. In his early years, his works were influenced by Wang Xian, Zhao Danian and others. The calligrapher Xue Yao was even more thin and energetic, and he called it "thin gold body". Since he ascended the throne, he has been worshipping Ning and founding Xuanhe Painting Academy, paying attention to meticulous painting and advocating sketching. His works, regardless of landscapes, figures, flowers and birds, are good at meticulous painting, elegant and rich, and exquisite ecstasy is his specialty. Zhao Ji presided over the Academy of Painting, during which he was awarded prizes, selected artistic talents, compiled Xuan He books, painted scores and so on. Although politically stupid and corrupt, he made outstanding achievements in painting and calligraphy, especially in meticulous flower and bird painting, and made outstanding contributions to the prosperity and development of Chinese painting in Song Dynasty. The picture of Polygonum cuspidatum and White Goose shows that a branch of Polygonum cuspidatum rises from the slope. Draw a broken leaf anyway, turn it over, dye it with powder, and the brushwork is exquisite. The white goose is lying on the shore, looking back with its neck, and its shape is robust and fat. The whole picture, regardless of the branches and leaves of the white goose and Polygonum multiflorum, is consistent with its pen rhyme with thin lines and double hooks, sloping banks and water lines, and is dyed with layers of light ink green, which is exquisite and rich. The whole picture is clear and spacious, and it is a cold atmosphere in late autumn, with simple images. It is worth noting that during the period when Huizong presided over the Academy of Painting, his style of work was eagerly awaited inside and outside the Academy, and he followed suit or even directly ghosted. If you meet a good person, the emperor will be happy for a moment, and write an inscription with a stroke of a pen, and sign "Xuanhe Hall Imperial System" and "One Man under the Heaven", etc., and it is also reasonable to pay the money. Therefore, among the many works handed down by Huizong, which is the real pen and which is the ghostwriting, the academic circles are still unable to agree. Therefore, The Picture of Red Polygonum and White Goose can only be regarded as a masterpiece of this school. If you want to confirm whether Huizong is the real pen, it needs further study by experts.
IV. Yuan Yongle Palace mural "Gods" (see Figure 4) Yongle Palace was built in 12-135, and it was the center of Quanzhen religion in Yuan Dynasty. According to legend, it was the former residence of Lv Dongbin, a Taoist fairy. The original site was on the bank of the Yellow River in Yongle Town, Yongji County, Shanxi Province. After liberation, it was moved to Ruicheng County due to the Yellow River Regulation Project. Yongle Palace has three main halls, such as Sanqing Hall, and there are many murals in its inner and affiliated buildings, all of which are the real contents of Taoist immortals. The "Gods of Heaven" introduced here is a part of the "Chao Yuan Tu" on the west wall of Sanqing Hall. This picture was painted in the third year of Yuan Taiding (1325), and its contents are all kinds of gods, such as Tian Dingli, crowned immortal, golden couple, etc., so it is also called 36 duty gods. The whole picture is centered on eight main images, and there are more than 28 kinds of immortals, which are rich in image and magnificent in scale, which is rare in the previous generation. The style of Yongle Palace murals can be seen from the part of "The Gods" here. The fairy in blue robe in front looked down at the water board with her hands flat, and her expression was vivid. All the other gods stand in the form of water rafters, and their faces are serious, powerful, respectful or amazed, and their personalities are different, showing the author's high level of description of the inner world of the characters. Although the picture is meticulous and heavy-colored, it uses the cross-filling technique to apply heavy colors in a large area, which reflects the splendid weather in a uniform and thick way. The gods in the original are far bigger than the real people. Two or three meters long lines as thick as hemp rope are written at one stroke, which are accurate and smooth, calm and very decorative. Throughout the whole painting, there is indeed a wind-filled, beautiful and calm atmosphere. A magnificent charm that catches people's eyebrows shocked the viewers. At the end of the mural of Sanqing Hall in Yongle Palace, there are the names of painters such as Ma Junxiang, and others. This shows that the level of folk artists at that time was high, and they did have unique achievements outside the literati painting school. Although they piled up gold and learned from Tang Zong, they were vivid in modeling and skillful in drawing lines, and made outstanding creations on the basis of the previous generation, thus shining brilliantly for the creation of figure painting in Yuan Dynasty. V. Ming Tang Yin's Song of Mountain Road (see Figure 5)
Tang Yin (147-1523), a native of Wuxian County, Jiangsu Province, was known as Bohu and Ziwei, and was called Tang Sheng, a country of Lu, a good Buddha in his later years, and a layman in his sixth year. In his early years, Tang Yin's natural posture was outstanding, and he enjoyed himself and paid attention to fame and career advancement. After the official career was frustrated, he suffered from cold weather and was engaged in a lot of creation. His landscape painting was originally taught by Zhou Chen, and then inherited from Li Tang and Ma Yuan in the Southern Song Dynasty, and with the natural charm of literati painting, he formed a unique style that was smooth, fluent and charming, which injected a high degree of cultural connotation into the pattern of college painting in the Southern Song Dynasty and made outstanding achievements in landscape painting creation. Tang Yin is gifted and talented. Besides landscape painting, he is also good at figures, flowers and birds, calligraphy and poetry. Although it is widely rumored that "San Xiao's Marriage" is attached to the meeting, it is beneficial to see the great influence and wide reputation of this romantic talent. Song of Mountain Road is a mature work of Tang Yin when he was 48 years old, and it was painted for a Suzhou magistrate named Li at that time. Therefore, the captions on the screen are "Li's parents" and "Under Tang Yin". In the painting, the main body is abrupt with waterfalls between peaks, and the road in front of the mountain is tortuous nearby, with wooden bridges and railings. Under the bridge, the water is gurgling, and the huge stones in the water stand vertically and horizontally. On the left side of the picture, there are three giant pine trees, which are hidden under the peak. On the wooden bridge, a noble man sings in the sky and looks proud. A boy with a piano followed. On the right, there are two remote peaks across the water. There are green bush cages on the front slope of the peak, and there are houses among the trees, only the roof is exposed. The whole painting is poetic and beautiful. This painting method is beautiful and flowing. Because it is a work presented to local parents, it is carefully written and meticulous in composition, pen and ink image. At the top right of the picture, the poem titled "My daughter's wild road in front of the mountain is crossing, and the sound of the spring is partially released. If you try to lean your ear from the quiet, you will feel angry." This shows her detached and comfortable attitude, and the calligraphy of the inscription is more rigorous than other works of Tang Yin. Through a comprehensive and in-depth appreciation of this picture, we can see the artistic characteristics of Tang Yin's landscape painting, and we can taste that his meticulous, fluent, elegant and elegant charm really comes from his high literary and artistic accomplishment.