"High and far"; looking from the front of the mountain to the back of the mountain is called "far-reaching"; looking from the nearby mountain to the distant mountain is called "pingyuan". "Han Zhuo's

"High and far"; looking from the front of the mountain to the back of the mountain is called "far-reaching"; looking from the nearby mountain to the distant mountain is called "pingyuan". "Han Zhuo's "Shanshui Chunquan" adds another saying: "Guo said that mountains have three distances, and Fool also talked about three distances: those with near shore and wide water, those with vast mountains in the distance are called 'wide and far'; those with mist In the desert, if you can't see the wild water across it, it's called "lost and far away"; if the scenery is extreme, but vague and misty, it's called "remote and far away". " Later generations collectively called it "Six Fars". Huang Gongwang's "Shanshui Jue" of the Yuan Dynasty combined the two schools of thought, saying that "the mountains are divided into three distant places, which are connected continuously from the bottom to the bottom, which is called 'Pingyuan'; from the near side, they are separated from each other. It is called "broad and far"; the distant view from outside the mountain is called "high and far". "◇The name of the six-distance landscape painting technique. See "Three Distances". ◇The name of the seven-distance landscape painting technique. It is divided into: step-by-step view; face-to-face view; use the big to see the small (pull in to see from a distance); use the small to see the big (zoom in); Focus on looking; look away; combine the "six distant views". The "seven views" are interrelated, and you can focus on the famous ancient paintings such as "A Thousand Miles of Rivers and Mountains" by Wang Ximeng of the Northern Song Dynasty and "Along the River During the Qingming Festival" by Zhang Zeduan. Huang Gongwang's "Residence in the Fuchun Mountains" and Wang Meng's "Residence in Qingbian" can be analyzed using this method. See "Three Distances" ◇Cunju refers to the placement of stones in the composition of landscape paintings. The size, gathering and dispersion, quantity, and density must be carefully considered and properly proportioned. Gong Xian of the Qing Dynasty said: The stones must be clustered in several pieces, and the small stones between the big stones must be connected, and the faces should be consistent; even if they are not consistent, the size should be considered. "Tang Dai said: "The stones are large and small, some are flat and steep, some are horizontal, and some are upright. The styles cannot be the same, some are rugged and rugged, some are simple and green, or some are close to the bank. And exploring the water, or being immersed in water and half exposed, the gravel in the sand has the meaning of rolling flow. "◇ Xiaojing Chinese painting term. Different from sketches, it is one of the genres of landscape painting. It began in Huichong in the early Northern Song Dynasty and is known as the "Huichong Xiaojing". Shen Kuo's "Picture Song" also has the sentence "Small scenery admires the misty desert". Guo Ruoxu explained: "The cold pavilion is far away from Zhug, and it looks like a chaotic and empty space." Huang Tingjian also said: "I am proud of the desolate rate and the level of distance". This is Xiaojing style. During his lifetime, Hui Chong was more famous for his poems than for his paintings. Half a century after his death, his "small scenes" attracted the attention of Wang Anshi, who said: "There are many paintings in the history, and Hui Chong came out late and I am the best." Xining, Yuanyou ( From 1068 to 1093), winners were seen in small scenes, such as Zhao Lingrang, Chao Shuozhi, Ma Bi, Zhou Zeng, etc., which can be said to be Hui Chong's successors. However, it was soon rejected by the imperial painting academy of Emperor Huizong Zhao Ji of the Song Dynasty. The small scene was placed under the ink bamboo, and Zhao Lingrang was demoted as "the scenery of Tingzhu on the slopes outside the capital is not comparable to the mountains and mountains." However, the small scene has its own unique interest. ◇Terms for landscape painting of mountains, rivers, forests and rocks. The ancients said that thousands of rocks, thousands of ravines, scattered rocks and sparse forests are all mountains and rivers. According to traditional custom, the former is referred to as "landscape"; the latter is called "forest stone". Li Rihua of the Ming Dynasty said: "In ancient times, the trees and stones were different from the mountains and rivers. Most of the mountains and rivers had a profound artistic conception and a temporary atmosphere, while the forest and stones were sketched carelessly in the brushstrokes, and they were only seen to be tilted up, obscured, gathered and dispersed. Li Yingqiu (Cheng) created a wonderful landscape, and the forest and stone were even more exquisite. Ni Yue (Zan) was originally from Yingqiu, so his paintings were leisurely and leisurely, and were of the style of wood and stone. "◇The name of the boneless Chinese painting technique. Instead of using ink pens as bones, depict objects directly in color. According to legend, it was created by Zhang Sengyou of Liang Dynasty in the Southern Dynasty. Yang Sheng in the Tang Dynasty was good at this painting method. He used cyan, green, vermilion, ocher, white powder and other colors to dye landscape paintings of hills, valleys, trees and rocks, which was called "boneless landscape". Dong Qichang, Lan Ying and others in the Ming Dynasty imitated it. The flower hooks painted by Huangquan in the Five Dynasties were thinner, and the handwriting was almost hidden after coloring, so it was known as "boneless flower branches". In the Northern Song Dynasty, Xu Chongsi followed Huang Quan's example and painted flowers without ink lines and only painted them in color, which was called "boneless painting"; later generations called this painting method "boneless method." In the Qing Dynasty, Tang Yuguang and Yun Shou Equality follows suit.