Northern Song Dynasty Fan Kuan's "Journey to Xishan"
"Xishan Travel Map" is based on the mountains in his hometown of Guanzhong, Shaanxi, and is majestic and magnificent, with strong pen strength. Fan Kuan developed Jing Hao's northern landscape painting school and was able to break new ground, so the Song people ranked it alongside Guan Tong and Li Cheng, and praised it as "three dingzhi and hundred generations of standards". This painting depicts huge peaks towering majestically, waterfalls in mountain streams cascading down, majestic mountains, lush trees, and the wrinkles of the rocks are also recognizable, showing a kind of "panoramic landscape" and "big mountains and rivers". At the foot of the mountain, the fog is misty, the rocks are standing, the old branches are strong, the stream is babbling, there are travelers on the mountain road to drive through, although people and animals are painted as small as ephemerals, but they are real and vivid, making people feel as if they can hear the sound of donkey hooves. Fan Kuan often uses "raindrops" in his pen, which is unique in depicting the wind bones of the northern landscape. This painting is vivid, the ink is deep, the pen is strong, and the artistic conception is long, which is really a masterpiece of landscape painting.
Northern Song Dynasty Guo Xi "Early Spring Map"
Guo Xi, a painter of the Northern Song Dynasty, is a good Taoist scholar and loves to travel. Good at painting, at first no teacher, after being inspired by copying Li Cheng's landscape paintings, the brushwork was greatly advanced, Song Shenzong studied art in the painting academy, and then promoted to be commanded, becoming an important member of the court painting academy, he worked to paint landscapes, taking the law Li Cheng, the mountain stone with a pen shaped like a cirrus cloud, drawing branches, such as crab claws drooping, strong brushwork, ink clear. In the early years, the style was more skillful, and in the later years, it turned majestic, often on the high walls of the giant mantle, as long pine trees, curved creek cliffs, beautiful peaks, and changing scenery of clouds and smoke. Later generations called him "Li Guo" along with Li Cheng, and was a master of landscape painting. He opposed the old ways of attacking and keeping the old ways, advocating teaching nature while "absorbing the public view", advocating "full travel and watching" and daring to be original.
The "Treatise on the Ancients" says: "Guo Xi landscape, its mountains towering back, the water source is high, the ghost face stone, the chaotic clouds, the eagle claw tree, the pine leaf needle, the miscellaneous leaf clamp pen, the single pen companion, the character pen tip with a point chisel, excellent." ”
This comment basically summarizes the characteristics of Guo Xi's technique. In addition, he also made an in-depth study of the expression techniques of landscapes, and proposed the "lofty, far-reaching, and flat 'three-far' painting method", which is a summary of the traditional painting experience. There are paintings such as "Lin Quan Gao Zhi Collection", and the works passed down from generation to generation include "Early Spring Map", "Guanshan Spring Snow", "Pingyuan Map of Kashi", "Valley" and other maps.
"Early Spring Diagram", this picture is on silk, ink. Length 158.3 cm, width 108.1 cm. It has been passed down through the generations and is now in the National Palace Museum in Taipei. In the picture, the water vapor is floating, the mist is lightly caged, the new leaves are beginning, and the spring water is smooth, depicting the early spring season of the revival of all things happily. The activities of the characters in the picture and the layout of the boats and pavilions all serve the theme. Its composition is strange, the artistic conception is clear, the stone is peculiar, and the mountain light floats. Su Shi wrote that "The Jade Hall hides the spring day idle, and there is Guo Xi painting the Spring Mountain; Ming dove milk swallow first fell asleep, white wave Qingfeng non-human" verse, similar to this painting realm. The methods of expression are high, far-reaching, and flat, and the compact mountains and stones and the long river are contrasted with each other, so that the whole picture gives people a sense of clarity and freshness. Paint the left signature "Early Spring, Nonzi Nian Guo Xi Pen." "The painting method adopts curved composition and cirrus cloud method, which makes the picture present a bit of ancient meaning.
Southern Song Dynasty Ma Yuan", "Ta Ge Tu"
Ma Yuan, an outstanding painter of the Song Dynasty. Father Shi Rong, uncle Gong Xian, brother Kui, are all painters of the academy. Li Tang, the first teacher, can break new ground and become a family of his own. Ma Yuan's art surpassed his predecessors in his art. Ma Yuan enjoys a high reputation in the history of Chinese painting, and is known as the four masters of the Southern Song Dynasty along with Li Tang, Liu Songnian and Xia Gui. His landscape paintings have the greatest achievements and are unique, and he is on a par with Xia Gui, then known as "Ma Xia", becoming a great painter with originality in the history of painting. He inherited and developed Li Tang's painting style, painting trees in a multi-faceted form of dragging techniques, especially good at boldly choosing and cutting in the chapters, depicting parts of the end of the mountain and the corner of the water, leaving a large blank space on the picture to highlight the landscape. The characteristics of this kind of "corner scenery" are as pointed out by predecessors: "There are not many in the whole territory, and its small or steep peaks go straight up without seeing its top, or the cliff goes straight down without seeing its feet, or the near mountain is towering in the sky and the distant mountain is low, or the lonely boat is full of moon and sitting alone", giving people endless fun.
He painted tree stones and used Zheng Qian's pastel method, which was quite similar to Juran. The next stroke is solemn, using a majestic and concise brushwork, a large axe with vigorous ink, and a solid, hearty and powerful shallow dye to describe the majestic mountains and rivers of Jiangnan. He is good at composing portraits of heads-up or upwards, using scorched ink as tree stones, the stones are square and hard, the cliffs are dangerous, and the water color blends. In terms of composition, he is good at giving a high degree of concentration and generalization to complex landscapes. Painting a mountain, often painted a corner of the mountain, called "horse corner". His simple and powerful composition is called "the scene of the corners". He also used more ink and painted pavilions with "boundary paintings"; Paint the trunk of the tree thin and hard for flex iron, but there is softness in the rigidity. The brushwork is bold and rigorous, with many changes and harmony. Successive critics have commented on his style of "ink vigorousness". This figure adopts the composition of the middle and lower sections, although it is not like the one-corner composition he has always loved, but it is his masterpiece.
Southern Song Dynasty Xia Gui's "Qingyuan Map of Xishan Mountain"
Xia Gui, painter of the Southern Song Dynasty. Worker figures, jingshanshui, teacher Law Li Tang, infiltrated with Fan and MiJiafa. The penmanship is old, the ink is dripping, likes to use a bald pen, out of the mind, "the world is known as the night light has no enemy, how like Xia Jun's divine pen, cangran strong iron fist has a spirit, open the picture exhibition to cherish people." The use of ink method is also unique, creating "dragging mud with water" or "splitting with water axe", first dying with ink and then using ink pen, to achieve ink blending, dripping vitality, subtle and colorful, endless fun. The composition is simple, perhaps influenced by the Southern Song Dynasty, often half-side framing, focus concentration, space expansion, close-up highlighting, long-range light method of painting, known as "summer half". Painting pavilions and pavilions do not use boundary rulers, they are handy, the brushwork is precise, wonderful and abrupt, and the charm is particularly high. With the same name as Ma Yuan, it was called "Ma Xia" at the time, and was one of the "Four Greats" of the Southern Song Dynasty.
Xia Gui painted figures in his early years, and later became famous for his landscape paintings. In terms of composition, Xia Gui is good at cutting and beautifying natural scenes, good at painting "corner scenes", he and Ma Yuan at the same time, known as "Ma Xia", also known as "Ma a corner, summer half". He is one of the "Four Greats of Nandu". "Xishan Qingyuan Tu" is a long scroll, the following picture is only one of the paragraphs, the composition is dense, the cut is clever, and the brushwork is firm and steep. His pen and ink are pale, the ink is bright and moist, the dots are dyed with smoke, the trance wants rain, and the trees and stones are thick and clear. Because more water is used, it has a more "ink dripping" effect. Its method of dragging mud with water" or "splitting with water axe" is to use a pen first and then render with an ink pen.
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