Chinese landscape painting is referred to as "landscape". Chinese paintings that mainly depict mountains and natural landscapes. It was formed during the Wei, Jin, Southern and Northern Dynasties, but has not yet been completely separated from figure painting. It became independent during the Sui and Tang Dynasties, and matured during the Five Dynasties and Northern Song Dynasties, 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, boneless landscape, etc.
"Ten Thousand Valleys with Pine Wind" from Song, Li and Tang Dynasties --- This panoramic composition does not highlight the main peak. The surrounding pine forest connects the peak into a unified whole, with three parts: near, middle and far. The spatial hierarchy appears natural and decent. The ink in the whole picture is thick and simple yet plump and elegant, and full of natural interest. The slope stones are cracked with an axe, and then the moss is dotted with burnt ink and broken pen, giving it a melancholy and solemn charm. The house in the painting is made of boundary paintings, which shows the artist's rich painting skills.
Song Dynasty's Ma Yuan's "Ta Ge Tu" on silk with light color, 191.8 cm long and 111 cm wide. Stored in the Palace Museum, Beijing. Ma Yuan and Xia Gui, who lived at the same time, are known as "Ma Xia". The main content of this painting is a group of old and young farmers on the ridge of a field, laughing and singing. The brushwork is naturally stretched, which is consistent with the atmosphere of the painting. In the distance, the peaks are opposite and the palace is looming. Judging from the treatment of natural objects, it is a typical Mapai "Yijiaoshan" feature.
Song Dynasty Fan Kuan's "Traveling in Streams and Mountains" depicts the mountains and rocks with dense ink marks as dense as raindrops and jagged rock textures, depicting the rich and vigorous feeling of the rocks, and a waterfall as thin as a string. Thousands of feet away, the sound of the stream echoes in the valley, and the description of the scenery is extremely majestic and lifelike. There are two characters "Fan Kuan" in the shade of a tree in the right corner of the painting. The treasure of the National Palace Museum in Taipei. ?
"Early Spring Picture" by Guo Xi of the Song Dynasty
"Early Spring Picture" by Guo Xi of the Song Dynasty - This picture depicts the early spring when the auspicious snow melts, the earth wakes up, the vegetation grows branches, and a prosperous scene. The main scenery is concentrated on the central axis. The big rocks and tall pine trees in the close-up are connected to the S-shaped rocks in the middle. Through the clouds and mist, two peaks rise again. The main peak is in the middle, facing the abyss. The stream gurgling down from the valley. The brushwork is clear and smooth, and the composition is comprehensive and lofty. , far-reaching and level-distant methods present an ideal landscape that is feasible, promising, habitable and travelable.
Ming Dynasty Shen Zhou's "Lushan High Picture"? The mountain stone forest and trees in the painting are simple and vigorous, with almost no empty space. The mountains and rocks combine Wang Meng's solution and Dong Yuan's and Ju Ran's hemp chapping method. First, the light ink layer is applied. Dye it layer by layer, and then apply thick ink to break it layer by layer. The brushwork is steady and meticulous, not arbitrary, and the ink is alternately thick and light. There is a sense of sparseness in the overall layout, so there is a sense of reality within the void. And the painting of a hanging spring hundreds of feet deep pours down, the stream is soft, the clouds and the mountains are extremely splendid. Collection of the National Palace Museum in Taipei.
Tang Yin's "Lonely Clouds Picture"? This picture is one of Tang Yin's masterpieces. Describe the steep mountains, tall willows, waterside pavilions, river banks, and rays of light. The virtual and the real complement each other, creating a wonderful system. The author uses the Song Dynasty method to paint weeping willows, which are well-proportioned. When painting mountains and rocks, the wet brush is long and chapped, with alternate hooks and strokes, which are interesting in variety. The whole scene is handled neatly and elegantly, and the ink color is harmonious and moist.
Tang Yin Landscape Appreciation --- Tang Yin, one of the "Four Great Masters of the Ming Dynasty", was known as the most talented man in Jiangnan in the middle of the Ming Dynasty. Tang Yin has a wild and unruly personality, and is unique in painting. He has a unique style of painting, with elegant and meticulous brushwork and a free and elegant charm. Self-titled Qijue: "The scenery of Qiantang is like a screen. The road leads to the mountains and cliff houses to the pavilions. People and horses rest on the willow slopes, and cormorant boats pass through the water with a fishy wind."
Xia Gui of the Song Dynasty, "Picture of Hakka in the Snow Hall" --- This picture shows the snow scene in the south of the Yangtze River. The composition adopts the form of a "corner", and the brushwork is vigorous and vigorous. The mountains and rocks are chopped with a small ax and the short lines are bare and straight, which makes the picture square and steep, and the ink is green and moist. Silk, color.
Xia Gui's "Willow Boats on the West Lake" of the Song Dynasty --- the willow embankment in the picture is looped, and three layers can be seen. However, its density, distance, straightness and interspersion, as well as the wooden bridges, houses, boats, etc. that complement each other are rich, vivid and varied. The sky is dyed with light ink with floating white clouds, which are connected with the distant woods in the hazy smoke, strengthening the climate characteristics. The brushwork used to paint willow branches is vigorous, dense but not chaotic, and has a strong sense of rhythm, which is quite realistic and beautiful. ?
The authentic work of Huang Gongwang's "Xishan Tu" --- "Xishan Tu" is a well-preserved masterpiece, painted in 1347. The mountains and water in the picture are undulating, and the mountains and water are mostly painted easily with dry light ink. The long hemp cracks make the mountains look sparse and graceful; the trees are painted with thick and light ink brushes, making them vivid and vivid, with simple and distant brushwork. Mai, the style is vigorous and tall, and the momentum is majestic.
Yuan Dynasty Huang Gongwang's "Picture of Jade Trees on Danya" --- This layer of rocks is covered with greenery, and there are tall pines and small houses. The clouds and mist on the mountain are misty and misty, and the palaces and pavilions are half exposed. At the foot of the mountain, a small bridge lies horizontally, and the trees are lush. One person is looking for a quiet place with a stick. Use the pen holder to refine it, the brushwork is green and the colors are elegant. The composition is relatively dense, with many rock formations on the top of the mountain and light crimson colors. Just as Wu Xiu of the Qing Dynasty said: "The ocher and yellowish colors paint the spring, and the dark green and dark green dye the spirit." This picture is collected in the Palace Museum in Beijing.
"Picture of Ge Zhichuan Migration" by Wang Meng of the Yuan Dynasty --- This picture tells the story of Ge Hong moving home with his son and nephew to refine alchemy in Luofu Mountain. Only a small area of ??water is left in the left corner of the picture. The rest is covered with rocks and trees, making the scenery look particularly lush and lush. It is Wang Meng's typical style of mountains and peaks. The picture is full of rocks, dense trees, looping springs, and winding mountain paths, creating a deep, tranquil and far-away world. Collection of the Forbidden City, Beijing.
Ming Wen Zhengming's "Tea Event Picture" vertical scroll --- Wen Zhengming's painting skills are comprehensive, and he can combine landscapes, figures, flowers, orchids and bamboos. He is especially famous for landscapes. Together with Shen Zhou, he established the tone of the Wu School. . His landscape paintings mostly describe the garden scenery in the south of the Yangtze River and the living environment of literati. The scenery is peaceful and tranquil, the brushwork is elegant and implicit, and the emphasis is on lyricism and bookishness, reflecting the ideological sentiments and aesthetic preferences of the literati and officials at that time
Qiu Ying's "Maple" in the Ming Dynasty "Stream Fishing" --- This painting depicts the magnificent scenery of the vast mountains and countryside in late autumn. Pavilions are looming in the mountain jungles and flowing clouds. On the streams and rivers covered with red maples, scholar-bureaucrats in plain court uniforms are standing on the mountains. Sit quietly and fish on the boat. The painting features high peaks, huge walls, and far-reaching hills and valleys. The brushwork is vigorous and skillful, and the colors are simple and simple. It adopts the traditional combination of chaffing, rubbing, dotting, and dyeing. It is majestic, charming, and gives people a sense of relaxation and joy.
Tang Yin's "Spring Mountain Companion Picture" --- This picture depicts the scene of two scribes sitting cross-legged on the rocks near the stream, looking for a quiet conversation in a valley with green spring mountains and splashing springs. In the picture, the mountains are towering back, dead trees are sprouting new branches, and buds are blooming, revealing the news of spring. The spring hanging at the mouth of the valley is like a spring, flowing into the stream, and jumping beads splash out, making a cold sound. The environment is elegant and clean. The conversation between the two scholars added a touch of poetry and painting. Collection of Shanghai Museum.
Mi Fu's "Picture of Pines in the Spring Mountains" --- The picture depicts a mountain forest scene shrouded in clouds and mist, with white clouds filling the valley, distant mountains towering above the clouds, and several ancient pines nearby hidden in the mist. The shapes of the rocks and trees are elegant and gentle, the pine trees have graceful postures, and the rocks are green and soft with the "rice dot-milling method", making the scenery open, calm and melancholy, showing the moist and interesting artistic conception of spring. This painting cannot be confirmed to be by Mi Fu, but it may have been imitated by someone from the Song Dynasty.
Dong Qichang's "Visiting Ancient Pictures in Fengjing" --- This work imitates Dong Beiyuan's brushwork. In the picture, there are mountains and ravines, tall ancient trees, vast greenery, small bridges, streams, and village houses, creating a high and elegant state of mind. When painting slope rocks, you can either use hemp cloth or folded ribbons, use light ink and dry brush, and dry and wet rubbing to give the whole picture a green and moist feeling. Collection of the National Palace Museum in Taipei.
Ming Dynasty Dong Qichang's "Lin Hejing's Poetry" --- This painting was created by Dong Qichang based on the poetry of Lin Hejing, a poet of the Northern Song Dynasty. The poem is: "The mountains and rivers are not deep and there are few fish and birds. I plan to move there again in this life. Only on the Sanzhu stream, there are single trees forming bridges and small houses." This picture is also called "Sanzhu Stream Picture". The composition of the work adopts the method of far-reaching and horizontal distance, and the color of the painting is mainly light purple and green, which is warm and gentle, showing the plain and innocent meaning that the artist pursues in the color landscape painting.
"Picture of Fishing Joy" by Wu Wei of the Ming Dynasty---a picture of a bay where lakes and mountains connect with fishing boats. The setting is simple, with a few rugged rocks nearby, several old crotch trees, and three or five berths. There are fishing boats on the shore, and in the distance are the misty peaks. The layout is rich and varied. The S-shaped composition makes the near, middle and far scenes appear tortuous and undulating, and the virtual and real are intertwined. All the scenes are connected to each other, without appearing crowded, and full of richness. A sense of layering and depth. The overall realm is broad and vividly depicts the beauty of Jiangnan fishing port.
Qing Dynasty Kuncan's "Yunfang Dancing Crane Picture" --- It is said that Yunfang Temple was once a place where immortals haunted. This picture was painted in Jieyun Pass on August 1, the 17th year of Shunzhi. In the picture, the stream is gurgling, the pines are singing and roaring, the white clouds are floating, and the cranes are flying. A hermit has built a grassroots here, pursuing the legacy of the immortal, "Leaning on the railing, there is endless joy, and I spread the word to find the king." It is not a fairyland, but also a resort in the world. The composition is rigorous, and the pen and ink are calm and thick, especially the wet brush rubbing adds infinite depth.
Wang Yuanqi's "Ten Records of Lu Hong Thatched Cottage (Part 1)" --- This picture borrows the name of "Ten Records of Thatched Cottage" and is made of splashed ink and color, using the brushstrokes of various painters.
Lu Hong was a hermit and scholar in the Tang Dynasty. He was good at calligraphy and painting. He once wrote "Ten Records of the Thatched Cottage" to describe the mountain and forest scenery where he lived in seclusion. Wang Yuanqi's "Ten Chronicles of Lu Hong Thatched Cottage" is based on the brush strokes of various painters in the Tang and Song Dynasties. In the picture, the mountains and mountains are thick, the trees are thick, the brushwork is fine and tight, the pines are beautiful and natural, soft yet strong.
Qing Dynasty Qian Du's "Poetic Picture of the Moon Stepping in the Thatched Cottage of Yushan" --- This picture is characterized by the contrast between dense and sparse. The layers of lush forests are painted with fine dots, and the cirrus-like mountains and rocks are written with dense and decorative textures. They form a strong contrast with the empty sky and earth and the white walls, which are airtight and sparse. The painting method combines Wang Meng's complexity and Wen Zhengming's delicacy.