Quehua autumn color map part
Quehua autumn color map part
Quehua autumn color map part
Autumn Color Map of Que Hua is a masterpiece handed down by Zhao Mengfu, a painter in Yuan Dynasty, and it is a page that cannot be ignored in the history of China painting. In a word, it has four characteristics: 1. It has high artistic value and created a new style of China landscape painting; 2. The only remaining famous paintings of the Yuan Dynasty; 3. There are many famous imperial seals, which are the oldest historical paintings; Four. I was unlucky twice and risked being damaged by the stem. This painting is now in the National Palace Museum in Taipei.
This landscape painting is recognized as a literati painting style in the history of painting. The two main peaks are dark blue, and the blue flowers are mixed with azurite. This is in harmony with the lightness of Phyllostachys pubescens and the various shades of green leaves. Hillsides and watersides are dyed with ochre, and roofs, trunks and leaves are all red, yellow and ochre. Together with cyanine, these warm colors form the complementary color method in chromatics. Very appropriate use.
This book depicts autumn scenery, a famous mountain in qi zhou (now Jinan), but does not pay attention to Queshan. There are bamboo boats in Pingchuan, mangrove reeds, fishing boats and houses looming in the painting. In the shade, two mountains stand out, and the mountains are steep and far away. The author freehand painted rocks and trees, got rid of the habit of meticulous painting and took part in Dong Yuan's brushwork. The trunk is only made of simple double hooks, and the branches and leaves are scribbled with ink. The hills draw the concave and convex levels of the mountains with thin and soft lines, and then use light colors and ink to make them moist and lush. It can be seen that Zhao's brushwork is flexible, his painting style is simple, he learns from Dong Yuan and is innovative.
Dongting Dongshan map
This painting depicts the scenery of Dongshan in Dongting. Dongting Mountain is located in Taihu Lake in the southwest of Wuxian County, Jiangsu Province, and is divided into two rainy mountains. Dongshan Mountain, called Xumushan in ancient times, is also called Moli Mountain, which is a peninsula extending from Taihu Lake. On the map, Dongshan is not high, round and gentle, and the mountain road is tortuous. A man stood on the shore overlooking Taihu Lake. Behind the mountain, it is foggy and the mountains are faint. The lake is rippling with microwaves and canoes. Floating near the mountain, miscellaneous trees have leaves. The author expressed his determination of leisure and happiness in his poem of the same name. Zhu's "Zhao Ziang" seal has been printed. In this painting, there is a poem about Li Hong, Emperor Gaozong of the Qing Dynasty. There is an inscription by Amin Dong Qichang.
This pen and ink is changed from Dong Yuan, with smooth ponytail and dense moss spots, showing the rich and colorful soil mountain form of Jiangnan vegetation. Fine fish scales and waterlines, write down the water light of Taihu Lake. The mountains and plains are covered with faint azurite, turquoise and ochre, the leaves are stained with cyanine, and the color of the lamp surface is Ming Che and elegant. This pale crimson landscape was developed on the basis of the green landscape in Tang and Song Dynasties. The analysis of Zhao Mengfu's appearance had a great influence on the landscape painting style in Yuan Dynasty.
Ancient map of wood and bamboo stones
This icon has the words "Song Xueweng". "Zhao Ziang" and "Song Xue Zhai" are printed on both sides.
Dead wood and bamboo stone painting is the theme of good paintings by literati in past dynasties, which began in the Tang Dynasty and developed greatly in the Northern Song Dynasty. There were writers in the Southern Song Dynasty and the Jin and Yuan Dynasties, who were valued by Zhao Mengfu, forming a temporary fashion and prevailing in the Yuan Dynasty.
Zhao Mengfu painted dead wood and bamboo stones, and on the basis of inheriting Wen and Su, he integrated the brush of calligraphy into painting. He advocated "painting and calligraphy are of the same origin", that is, painting with books. His famous poem in ancient and modern painting circles is "Stone flies as white as a pen, and writing bamboo is still in the eighth route." It had a great influence on later painting circles, and this painting embodies this theory. Shi Gan Tree is written with the "flying white" of calligraphy, with simple composition, vigorous and free brushwork, and full of strength. Bamboo, with its fluent style and the word "grid" or "knot", is both powerful and implicit, full of pen and ink interest, which embodies the elegance and charm of literati painters.
Judging from this picture and painting style, it can be regarded as Zhao Mengfu's works in his later years.
Zhao Mengfu, born in 1254- 1322, whose real name is Song Xue, is also known as the Water Mirror Palace in Goulpeau, and he worked as a Meng Qi in middle age.
Representative works: Paintings include Stack of Han Dynasty, Shuangsong Plain, Quehua Autumn Color Map, Drinking Horses in Autumn Suburb, Lohan in Red and Man Riding. The book traces include Luo Shen Fu, Tao Te Ching, Danba Monument, Rebuilding the Three Gates of the Mysterious Temple, Tracing Xi Ci, Huanglin Pavilion Classic, Eleven Postscripts of Lanting in Dugu, Qiu Ai Tombstone Inscription, and Four-body Thousand-character Text.
In Zhao Mengfu's paintings, landscapes, figures, flowers and birds, bamboo stones and pommel horses are omnipotent; Fine brushwork, freehand brushwork, turquoise, ink and wash, everything is fine. His paintings, landscapes take Dong Yuan and Li Cheng; Characters, pommel horse teacher, Li and Tang people; Bamboo, flowers and birds are all known for their mellow and elegant brushwork, painting stones with flying white and writing bamboo with calligraphy. He urged to change the courtyard style of the Southern Song Dynasty, claiming that "painting is expensive with ancient meaning, without which, work is useless". He chased the testimonies of the Five Dynasties and the Northern Song Dynasty from a distance, and the commentator said, "Someone made it lose its fiber in the Tang Dynasty; There is a hero of the Northern Song Dynasty who went there. " It broke the unification of Ma Xia and created a new style of painting in Yuan Dynasty. Amin Wang Shizhen once said: "Scholars painted from Dongpo to Song Xue." Zhao Mengfu's position in the history of China's painting can be highlighted. Zhao Mengfu, as a great master in the period of reform and transformation, put forward the slogan "Painting is precious with ancient meaning", taking the Jin and Tang Dynasties as a mirror, which reversed the decline of painting since the Northern Song Dynasty and turned painting from complicated style to simplicity and naturalness. It is believed that "Yunshan is a teacher", emphasizing the painter's realistic basic skills and practical skills, and opposing the attitude of literati painting since the Northern Song Dynasty. At the same time, it is put forward that "calligraphy and painting are the same", and calligraphy is used in painting, which makes the literati temperament of painting more rich and the charm changes. Under the political situation of the unification of the North and the South and the Mongols' occupation of the Central Plains, Zhao Mengfu absorbed the strengths of the North and South paintings, revived the traditional painting art of the Central Plains, and maintained and continued its development. Zhao Mengfu not only maintained the individual interest of literati painting, but also abandoned the game attitude of literati painting. As a morphological principle, Zhao Mengfu not only created a unique form of expression of literati, but also made it worthy of the technical style of conventional painting, and carried out comprehensive practice in various painting themes, thus establishing the position of literati painting as a conventional painting in the painting world. It should be said that Zhao Mengfu made professional formal painting and amateur literati painting, which were originally opposite or parallel painting traditions, communicate and merge. Since then, a new era of painting with literati painters as the protagonist and the construction of literati painting schema as the theme has begun.
What needs to be pointed out in particular is that Zhao Mengfu's landscape paintings not only combine Hook Shadow, Danqing and ink painting, but also emphasize pen and ink, learning from others and innovation, and also combine chivalry with rambling literati atmosphere, changing "sightseeing landscape" into "lyrical landscape"; In addition, the harmony and unity of creation and freehand brushwork, poeticization and calligraphy in painting laid a solid foundation for the emergence of a style of literati painting in which "four outstanding figures of Yuan Dynasty" (Huang, Wang Meng, Ni Zan and Zhenwu) expressed their seclusion by poeticization and calligraphy. These theories and practices pushed Zhao Mengfu to the position of a master of painting in Yuan Dynasty.
As a grandmaster, Zhao Mengfu was not only influenced by Zhao Mengfu's good friend Gao, his wife Guan Daosheng and his son, but also influenced by his disciples Tang Di, Zhu Derun, Chen Lin, Yao Yanqing, Wang Meng, his grandson, and even Huang and Ni Zan at the end of Yuan Dynasty, which promoted Zhao Mengfu's aesthetic view to varying degrees and made literati painting in Yuan Dynasty last forever. "Draw first and then order this paper. It looks good from a distance." Zhao Mengfu's books, paintings, poems and seals were famous at home and abroad at that time, and even Japanese and Indians attached great importance to his works, which contributed to the cultural exchange between China and foreign countries at that time.
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