The Cold Pine Map of Youxi is the work of Ni Zan in his later years. In his later years, Ni Zan experienced numerous natural and man-made disasters at the end of Yuan Dynasty, and also experienced ups and downs from being rich and carefree to being poor, leading a wandering life around Taihu Lake. Thus, on the road of wandering, a famous picture of a cold pine in a secluded stream was formed. If you want to go to Taihu Lake, you can see that except Huishan Mountain, which is more than 300 meters, all the other mountains are above 100 meters, and 180 meters high. There are no mountains, so it is very realistic. He is based on what he saw and heard during his wandering. He is a realistic landscape, so you can see the cold pine. In addition to the segmented composition, there are obvious folds in his dry pen, which means that like the silk belt worn by ancient people, there are naturally traces of such folds. This is the case, and it is also the painting language mainly used to express some rubble and slopes on the edge of Taihu Lake, all of which are extracted from life. Then there are some miscellaneous trees whose leaves and other branches are hollowed out with this fine pen, which obviously looks like Ni Zan himself, so it is a rigid and typical style.
Just as suffering and exile made Qu Yuan a great poet, so suffering and wandering made Ni Zan an outstanding painter. In the early years, the Ni Zan family was a famous tycoon in the south of the Yangtze River. With the decline of family background, Ni Zan's painting style has also changed. By the time he painted Cold Pine in a Deep Stream in the late New Year, he had completely established his own personal style.
Ni Zan's works are all based on nature. It's just that he doesn't deliberately pursue modeling, but takes the natural landscape as his support to express his feelings. It has been nearly 700 years since Ni Zan, and only a few dozen of his paintings have survived. Because of Ni Zan's high international reputation, his works have high value in the international art market, but the works sold are extremely rare. On 1995 alone, Christie's in Hong Kong launched a calligraphy work "Poem Grass" by Ni Zan, which sold for HK$ 3.32 million, setting a record for Christie's auction of ancient China paintings and calligraphy in Hong Kong.
The advantage of The Journey to the West is that the still picture has a sense of movement, but a painting of space art has a sense of time art. Facing this painting of the ancients more than 0/000 years ago, I can't help but admire the charming artistic conception in the painting. Open the tourist map of Xishan Mountain, and a big mountain stands in front of you. Along with the landscape, there are many inscriptions by collectors, which is the only clue to uncover the famous paintings that have been circulated for thousands of years. The seal and color of this "treasure of imperial books" have obvious characteristics of the Song Dynasty. It can be seen that this famous painting was once collected in the Palace of the Northern Song Dynasty. With the nomads from the south and the demise of the Northern Song Dynasty, a large number of treasures in the palace began to spread among the people, including The Journey to the West in Fan Kuan. The second imperial seal, the "Treasure of Imperial Books" seal, was specially collected by Emperor Qianlong. The central axis of the masterpiece Travel Notes of Xishan, which is more than two meters high, gives the deepest impression that the mountains are pressing the surface and staring at people's eyes. For example, Xu Beihong said: "And a hill that accounts for almost two-thirds of the whole area is so abrupt that people are dumbfounded." The mountains are full of trees, full of tenacious vitality. Meticulous ideas portray the mountain firmly and vividly. A waterfall pours down from the mountain, feeling that "it's flying down three thousands of feet, and it's suspected that the Milky Way has fallen for nine days". At the bottom of the middle foreground. Stones are vertical and horizontal, temples are looming, and streams are rushing. A close look at the abrupt stone shows that a group of travelers are struggling on the mountain road. The whole picture is full of deep, quiet and great weather. On the central axis of The Journey to the West, the abrupt composition of "the peaks are majestic and never leave the table", the expression of "taking the potential far away and getting the quality near", the dry ink lines and the even and vigorous raindrops are all concrete manifestations of the heroic style of Fan Kuan's landscape paintings, which are rich in texture and sense of quantity. In my opinion, the most appropriate summary of Fan Kuan's landscape painting style is: heroic style. It is worth noting that there is such a statement about Fan Kuan in "Xuanhe Tujuan", saying that he "lives in the foothills of Central South and Taihuayan Mountain, looking at its bleak and gloomy scenery, silently meeting God, once between the pens, and suddenly traveling in the middle of the mountain. Although he is in the warm-up match, he is doing his best. Because he realized that "the method of predecessors is not close to taking things, and I have not learned from others." "I'm doing what I'm doing. I'm not a teacher." "Things" refers to nature. Fan Kuan's landscape paintings changed from "learning from others" to "learning from nature", and then reached the artistic realm of "learning from others". On the other hand, Zhongnanshan and Huashan are both close to Chang 'an and belong to the famous mountains in Guanzhong. Their mountains are magnificent and magnificent, which will undoubtedly have a great impact on the landscape painting realm of Fan Kuan. Between "the foot of the Stone Forest" and "the ravine dries up", the magnificent and unique landscape in the north is the object of Fan Kuan's landscape painting, which is also an important reason for his heroic style. During the Song and Yuan Dynasties, masters of painting took Fan Kuan's paintings as a model. Li Tang in the early Southern Song Dynasty, Ma Yuan later, Ni Yunlin and Wang Meng in Xia Guiyuan period all praised Fan Kuan's painting style. Almost all famous painters, when talking about the magical expressive force of Fan Kuan's landscape paintings, agree that "Fan Kuan's paintings never leave their seats when viewed from a distance", while Fan Kuan's paintings, when viewed from a distance, give people an immersive feeling. Zhao Mengfu, a famous painter and calligrapher in Yuan Dynasty, thinks that Fan Kuan's Painting the Mountain is all driven by Qin Long's military. The breadth of the overall situation and the pressure of the mountain are really masterpieces of ancient and modern times. "Towering peaks, lush trees and abrupt boulders depict magnificent natural scenery; The caravan between the mountain roads once again shows the pulse of human life, and nature is in harmony with the life activities of the world.