Yue Qing's "Distant View of Jiangge"
Ink on silk is lightly colored
72.5cmx116.2cm
"Jiangge Distant View" is a landscape painting that was attracted at the first sight, and then every time I turned it over, I would itch my heart, so I came to it. From the composition point of view, the structural method of Ma Yuan and Xia Gui's landscape paintings is adopted, and the scene layout is concise and clear. Before that, I painted a lot of landscape paintings of Ma Yuan, so I thought of Ma Yuan at the first sight of this painting. The picture does not make a layer of complex panoramic layout such as water pavilions and lofty mountains, but only selects a certain corner of the scene and describes it with care, so that the theme is more prominent: the close-up water pavilion and the distant view of the mountain city on the other side of the picture are distributed in two corners, far away. As for the trees, the loose branches are coiled upwards, and they are also the same as the long pine trees in Ma Yuan's "Ta Ge Tu", and the rhythm of the hook and stretch can only be exclusive to Ma Yuan's boundary painting of the Water Pavilion Building, which is finely crafted with a pen, and the structure of the block surface and the flying white of the rubbing are really authentic Ma Yuan.
"Distant View of Jiangge" is a light color painting on silk created by the Ming Dynasty painter Wang Chen, which is now in the Palace Museum in Beijing. This painting depicts a scene of Pingyuan looking across the river. The pine forest stone wall is facing the big river, there are water pavilions on the riverside, and the opposite side of the river in the distance is filled with clouds and fog, the peaks are undulating, the mountains are surrounded by mountains, and the building boats are moored on the riverbank. In the middle, there is a vast river wave, the water and sky are wide, and there is no end. The close-up buildings and the distant mountain city are far away, and the picture is imposing and artistic. The water waves in the lake are fine, and the front and back are light to form a high, far,away, wide, and water-to-sky situation. On the other side of the distant mountain, the blend is light, which contrasts with the heavy ink re-dyeing in the close-up,
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a drawing
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