Three great painters
Painter Dong Yuan
Dong Yuan is called Dong Beiyuan. During the Southern Tang Dynasty in the Five Dynasties, he was Hou Yuan's deputy envoy and later entered the Northern Song Dynasty. His landscape paintings inherited the tradition of Hao Jing and Guan Tong, changed his methods, created "Pimazi" and established a quiet and beautiful style. Wang Wei, an ink painter, and Li Sixun, a colorist, are full of ink, bold and lively. Qiu Chang's works are mostly based on the real scenery in the south of the Yangtze River, with blue color, strong branches and simplicity, showing the unique taste of the mountains and rivers in the south of the Yangtze River.
Dong Yuan is not only good at painting landscapes, but also can draw cows, tigers, dragons and figures. As a landscape painter, Dong Yuan is not specialized. Song people praised its colorful landscape and Li Sixun style. But its most primitive and highest achievement is ink landscape. He used pockmarked skin and moss to decorate the natural scenery of Jiangnan, which wonderfully conveyed the scenery of Jiangnan, with dark peaks, hidden islands and hidden trees. He used his pen carelessly. He is short-sighted and doesn't have many objects, but from a distance, his skills are jaw-dropping and creative. His representative works "Waiting for Crossing at Xiajing Mountain Mouth" and "Xiaoxiang Map" vividly show the specific scenery of the hills and rivers and lakes in the south of the Yangtze River in summer. His pen and ink techniques are completely adapted to the specific scenery he shows.
In the Song Dynasty, Shen Kuo called him "writing more about the true mountains in the south of the Yangtze River than writing strange books". Most of the mountains drawn are hills in the middle and lower reaches of the Yangtze River, and most of them are ups and downs. The earth mountains are all worn by stones and rarely steep. This is in stark contrast to the majestic northern mountain shape displayed by Hao Jing earlier than him. Dong Yuan attaches great importance to the depiction of dotted characters in landscape painting, which always has the plot of genre painting, and sometimes it is actually related to the theme of the whole painting. Although the characters are small, simple and refined, they are all set off by blue, red, white and other heavy colors, which set off ink painting and have an ancient taste. His works handed down from generation to generation include "Figures in the Suburbs of Su Long".
The new style of ink and wash landscape painting initiated by Dong Yuan was imitated by the monks in Ju Ran at that time, and was later called Dong Ju. In the Song Dynasty, apart from Mi Fei and Shen Kuo's great appreciation of Dong Ju's painting school, the general theorists didn't think highly of him. In the Yuan Dynasty, the trend of adopting the East-lifting method gradually opened up. It is believed that "Tang Dynasty painted landscapes since the Song Dynasty, such as (Dong) Yuan was above the princes", and a new understanding of Dong Yuan was gained. The four schools in the late Yuan Dynasty and the Wumen in the Ming Dynasty took Dong Yuan as a model. Although the theorists of "Southern and Northern Schools" in the late Ming Dynasty respected Wang Wei as a "painter of Southern Schools" in theory, they actually described Dong Yuan. In the Yuan Dynasty, Huang said, "Those who make landscapes must learn from Dong, but only those who learn poetry." . Wang Jian in Qing Dynasty said, "Painting Dong Ju, writing Zhong Wang, otherwise it is heresy". Dong Yuan's profound influence on later generations is rare in the history of China's landscape painting.
According to the history of painting, Dong Shi's landscape figures, Yunlong and Niuhu, are omnipotent, especially landscape painting, which created the landscape of the South School. Most of his landscapes are really famous mountains in the south of the Yangtze River, not strange brushstrokes. It is recorded that his landscape painting with Jiangnan scenery as the theme is "plain and naive, and there is no such thing in Tang Dynasty". Mi Fei once praised its landscape, saying, "There are mountains and mountains everywhere, and clouds are around. Not pretending to be smart is naive. " . There is a record in the Five Dynasties Painting Guide: "There are two kinds of landscapes in Dongyuan: ink and wash, sparse forests and distant trees, flat and deep, and jagged rocks; The same color, few essays, heavy colors, people are mainly red Tsing Yi, and people also have pink elements. They are all excellent works. " In Shen Kuo's Random Talk on Meng Xi in the Northern Song Dynasty, he said: "Dong Yuan is good at painting, far-sighted, and writes more about the true mountains in the south of the Yangtze River, not for the brushwork of strange mountains and mountains." He also said, "His pen is scrawled, and his myopia is not like an object, but it is awkward to see the scenery from a distance ...". He is good at painting ink and light landscapes. He likes to use hemp-like brushwork to represent mountains, and uses many alum heads (stones on the top of the mountain) full of moss spots to draw more dense trees, hills with sticks, dark clouds and Jiangnan scenery set off by Xiqiao Yupu and Zhu Ting. Later generations said that what he did was simple and naive, which was not available in the Tang Dynasty. There are also works with strong colors. There are few lines on rocks and rocks, and the scenery is rich, close to Li Sixun style, but more indulgent and lively. Be a dragon, an ox, a tiger, and a character.
Handed down works: Two Axes, Su Long Suburb Map and Cave Hill Hall are recorded in 300 paintings of the Forbidden City.
The Five Dynasties to the early Northern Song Dynasty was the mature stage of China's landscape painting, which formed different styles. Later generations summarized it as "Northern School" and "Southern School". Dong Yuan's Xiaoxiang Map is regarded by the history of painting as the pioneering work of "Southern School" landscape painting. Dong Yuan's existing works include Summer Resort, Xiaoxiang, Summer Resort and Suburb of Su Long.
Painter Fan Kuan
Fan Kuan's date of birth and death is unknown. (According to the history of painting, he was born at the end of the Five Dynasties, and he is still alive in the heyday of Song Renzong (1023- 103 1). ) The real name is Zhongzheng and the word is neutral (also called Zhongli). He was a landscape painter in the Northern Song Dynasty. He lived in the early Northern Song Dynasty and was listed as one of the three famous landscape painters in the Northern Song Dynasty. Shaanxi Huayuan (now Yaoxian) people. Because of his generous nature, people called him "generous", so he named himself Fan Kuan. According to Xuanhe Huapu, he is "elegant, extroverted, addicted to alcohol and down-and-out." Fan Kuan studied under Hao Jing and Li Cheng in his early years. Later, he realized that he should pay attention to the observation and experience of natural mountains and rivers, so he lived in Huashan, Zhong Nanshan and other places in Shaanxi for a long time, watched the subtle changes of clouds and smoke, and created ideas for the scenery, vividly showing the desolate scenery of towering mountains, ancient trees and forests. The rocks he painted were vigorous and powerful, and the strokes were short and powerful (later called raindrops), which painted the shape and texture of the rocks. The mountains in the painting stand tall and majestic.
Painter Li cheng
Li Cheng was a painter in China during the Five Dynasties and the Northern Song Dynasty. Word xian Xi. His ancestral home is Chang 'an (now Xi City, Shaanxi Province), and he is a descendant of Emperor Taizong. In the Five Dynasties, his grandfather Li Ding moved to Yingqiu (now Changle, Shandong Province), so he was also called Li Yingqiu. He is well-read and ambitious, but he is not allowed to show his ambition. So he put on poetry, wine and calligraphy, and then he died drunk in Chen Zhou (now Huaiyang, Henan) Guest House. Be good at painting landscapes, learn from Hao Jing and Guan Tong, develop them, and paint more pastoral scenery. Most of them are plain and cold forests, with concise painting style, sharp brushwork and easy use of light ink, which is known as "cherishing ink as gold"; Painting rocks like cirrus clouds is later called cirrus clouds. Mi Fei described Li Cheng's paintings as "light ink like a dream fog, stones moving like clouds". This image of "stone moving like a cloud" has become an important style symbol for painters to paint with Li Cheng's brushwork in the future. During the Five Dynasties and the Northern Song Dynasty, He, Guan Tong and Fan Kuan formed three schools of northern landscape painting, and many people learned from him. There were few paintings in the Northern Song Dynasty, and Mi Fei even put forward the theory of "no lies". The work successfully shows the beauty of the natural landscape in the foggy climate change, with the characteristics of sparse weather, clear forest, prominent front and implicit ink painting. Today, there are Reading the Stone Monument (the figure in the picture was painted by Wang Xiao), Ye Ping in the Cold Forest, Qingluan Temple, Maolin Xiu Yuan and so on. Li Cheng had a great influence on the development of landscape painting in the Northern Song Dynasty, including Xu Daoning, Li Zongcheng, Zhai, Guo, Yan Wengui and so on.