In a famous Chinese painting
High visibility
It is the "Qingming River Map" that everyone is familiar with.
The popular national "Map of a Thousand Miles of Rivers and Mountains"
Chinese culture has a long history,
As far as Chinese painting is concerned,
There are many more masterpieces...
Zhou Wenji
《Heavy Screen Chess Diagram》
"Heavy Screen Chess Diagram" depicts li jing and his brothers Jing Sui, Jing Da, and Jing Guo of the Southern Tang Dynasty. Wearing a top hat and holding a disk box, the middle spectator is Li Jing, the middle player, and the opponent is Qi Wang Jingda and Jiang Wang Jingguo, and the characters are realistic and have different personalities. The stripes are delicate and tortuous, with a slight glimmer of trembling. The screen behind the four people paints Bai Juyi's "occasional sleep" poetry, and there is a small screen of landscape in between. Therefore, the name of the painting day "heavy screen". It is in the collection of the Palace Museum in Beijing.
Appreciation of works
"Heavy Screen Chess Diagram" is not only a picture scroll reflecting the memorization of life in the palace, but also a beautiful portrait of a person. The painted characters have portraits and personalities that are very different. The pattern is dense and the color is natural. The brushwork is lean and stiff, with a slight quivering. Rigidity and softness are unique. Behind the four people, the screen behind bai juyi is painted with the poetry of "even sleep", and there is a small screen of landscape in the middle, because of the reason of drawing the screen in the screen, it is called "heavy screen map". The character image is slender and beautiful, the dynamic expression is portrayed finely, and the modeling characteristics of "close to Zhou Fang, and more delicate than beautiful" reflect Zhou's artistic style. The two sets of screens in the painting have always been one song, not monotonous, but also reflect the realm of painting in the painting, showing the painter's artistic talent of ingenuity and innovation. At the same time, the characters on the screen and the surrounding furnishings give people a strong sense of life and reality.
Part of "Re-screen Chess Diagram"
Huge
"Akiyama Asks Question"
Qiu Shan Qing Dao Tu is a painting created by Ju Ran, the ancestor of the Southern School of Landscape Painting, ink on silk, which was collected by Cai Jing of the Song Dynasty and the Ming and Qing Dynasties, and is now in the National Palace Museum in Taipei.
"Qiu Shan Qing Dao Tu" has no money, with a vertical composition painting of overlapping mountains, the lower clear stream, the winding path leads to the mountain, the mountain pass is a number of huts, there are two people sitting opposite each other in the house, the realm is quiet, the predecessor said that the giant landscape, good for the smoke and lan meteorology, "outside the peak of the mountain, between the forest foothills, like pebbles, pine cypresses, sparse, vines and the like, and the reflection of the stream, the crooked belt, the bamboo hedge hut, the broken bridge dangerous stack, the real scenery between the mountains."
"Qiu Shan Qing Dao Tu" is an autumn landscape painting. The main peak is centered on the painting, which is a typical composition of the five dynasties and the early Song Dynasty. The mountain peaks have less stone and more soil, and the momentum appears gentle and thick. It is completely different from the hard and imposing painting style of the northern painting school. Central, mountain valleys, huts in the dense forest. Several, a winding path that bypasses the chai gate and leads to the deep valley. In the hut, you can faintly see a person sitting on a futon, and a person on the right is sitting on his side, about the questioner. The mountains are high and dense, and the silence is silent. It is the excellent wonderful state of talking about Zen and cultivating the Tao. In the lower part of the picture, the slopes and banks are twisting, the trees are leaning upwards, and the grass at the water's edge is gently swayed by the breeze, which more or less reflects the feeling of autumn coolness.
Part of "Akiyama Asks The Map"
About the Author
Juran, whose original name is unknown, whose year of birth and death is unknown, was a native of Zhongling (present-day Nanchang, Jiangxi) and a native of Jiangning (present-day Nanjing, Jiangsu). In his early years, he became a monk at The Kaiyuan Temple in Jiangning, learned to paint landscapes, and taught Dong Yuan. In the eighth year of the Northern Song Dynasty (975), the Song Taizu Zhao Kuangyin destroyed the Southern Tang, and the later lord Li Yu was taken captive to Beijing. The Southern Tang Hanlin Picture Academy naturally disintegrated, and many painters of the Academy were coerced into working in the Hanlin Picture Academy of the Song Dynasty. In this situation, Juran came from Jianye to Jingshi and became a monk at Kaibao Temple. He painted the famous Queqi, and once painted the two axes of "Story" and "Landscape" for Du Zhi Cai Yuanwai, and later painted murals on the north wall of the Bachelor's Academy, the highest cultural institution of the Song Dynasty, which was passed down as a beautiful talk by the literati at that time. He had a great influence on the development of landscape painting from the Yuan, Ming, Qing and even modern times.
Dong Yuan
"Dragon Su Suburban People's Map"
Longsu Suburb Mintu is one of the important works of Dong Yuan, the master of the Southern School of landscape in the fifth generation, on silk, colored, and now in the National Palace Museum in Taipei.
The people's map of the outskirts of Longsu depicts the people living in the foothills of the river celebrating the festival. This picture is dominated by mountains, and the two large mountains on the right occupy most of the picture, and there are alum heads at the top. The water below the mountain is empty, the stream is meandering, and the trees are densely forested. People at the bottom of the mountain hung lanterns at the head of the trees, and there were two boats by the stream, with colorful flags on them, and dozens of people lined up from the shore and boats, as if they were performing celebratory songs and dances. The road down the hill is dotted with one or two lines of people, as if they are rushing to the road, and they seem to be touring. The intention of this picture should be to express the comfort and pleasure of living in the elegant Jiangnan landscape.
"Longsu Suburban People's Map" is painted in the autumn jiangnan Danbi cover, under the Hua Ren, singing and dancing, although the brushwork is more or less related to Li Sixun's green color, but the top of the mountain as a "stone head", the hillside with "Phi Ma Zhen" has developed the appearance of Li Pai. Have you ever thought of finding a folk festival like Duanyang, taking advantage of the good climate of light clouds and light winds, and climbing the small hill next to the village, so that in addition to the beautiful scenery between the mountains and rivers, you can also enjoy the lively scene of the celebrations. This is probably what the "Dragon Su Suburban People's Map" presents.
Dong Yuan (?-c. 962), a painter of the Southern Tang Dynasty of the Fifth Dynasty. Dong Yuanyi (東元) was a native of Zhongling (中陵, in modern Jinxian, Jiangxi). Also known as Gangnam people. During the reign of Li Jing, the lord of the Southern Tang Dynasty, he served as the deputy envoy of Houyuan (i.e., Beiyuan), known as "Dong Beiyuan". Dong Yuan's traditional paintings of flowers, birds, figures, and animals are exquisite, but he has made the greatest contribution to the art of landscape painting. His landscape paintings mainly inherit the essence of the pen and ink of previous generations of famous artists such as Wang Wei and Li Sixun, and mostly use techniques such as ink painting or slight green dyeing to express the bright and lush landscape of Jiangnan. The hills are round and soft, surrounded by continents near and far, and the ethereal atmosphere is full of ethereal, and the landscape spirit of returning to nature and "the unity of heaven and man" has also been reflected to a considerable extent in his paintings. Dong Yuan's "Phi Ma Chuan" pen and ink technique enriched the expressive vocabulary of traditional Chinese landscape painting and had a great influence on future generations.
Dong Yuan is good at painting ink and light coloring landscapes, likes to use a hemp-like pen to express the mountains, on the alum head (mountain top stone) moss dots, many paintings dense trees, hills up, clouds and mist obscurity and Xiqiao Yupu, Tingzhu covered by the Jiangnan scenery, posterity called it plain and naïve, for the Tang Dynasty did not have. There are also works with strong colors, few mountain stone wrinkles, rich scenery, close to Li Sixun's style, and more indulgent and lively. Combining dragons, cattle, tigers and characters. Juran once learned ink landscape from it, and changed it, and later generations were called "Dong Ju", the main representative of southern landscape painting between the Five Dynasties and the Northern Song Dynasty, and his style had a deep influence on later generations. Surviving works include "Xiajing Shan pass to be crossed" (now in the collection of Liaoning Provincial Museum), "Xiaoxiang Tu" (now in the collection of the Palace Museum in Beijing), "Xiashan Tu" (now in the collection of the Shanghai Museum), "Hanlin Chongting Tu" (now in the collection of the Kurokawa Institute of Ancient Cultures in Japan), "Xi'an Tu" (now in the collection of the Metropolitan Museum of Art in New York, USA), "Longsu Suburban People's Map" and other drawings.
Gu Hongzhong
"Han Hee-jae's Night Feast"
"Han Xizai's Night Feast" is a painting by gu Hongzhong, a Southern Tang painter during the Five Dynasties and Ten Kingdoms period, and is now in the Palace Museum in Beijing.
"Han Xizai's Night Feast" depicts the scene of the official Han Xizai's family setting up a night banquet with songs and music. This painting depicts a complete Hanfu night banquet process, that is, five scenes of pipa playing, watching dances, resting between banquets, blowing, and sending off guests. The lines of the whole work are strong and smooth, the work is fine, and the composition is imaginative. The shape of the work is accurate and subtle, the lines are fine and smooth, and the colors are brilliant and elegant. The use of pen and ink in different objects is full of changes, especially the color is more abundant and harmonious, and the plain makeup of the ladies is in stark contrast with the blue and black clothes of the male guests.
Gu Hongzhong used his unique technique to depict the scene of the night feast in Han Province, and cleverly divided the "Han Xizai Night Feast Map" into five parts, each part of which is both independent and coherent. In the techniques of the Tang and later generations, it has the function of inheriting the past and enlightening the future. This painting has a very important position in the history of fine arts, representing the highest level of heavy color in ancient times.
Part of "Han Xizai's Night Feast"
"Han Xizai Night Feast" is one of the representative works with strong realism in the Five Dynasties period, which is rich in content, covering furniture, music and dance, clothing and clothing, etiquette, etc., and is an important reference for the study of costumes, decorations and other artistic styles in the Five Dynasties period, and has high reference value for the study of ancient Chinese paintings, traditional costumes, national music and ancient humanistic life art.
Gu Hongzhong, a native of Jiangnan, was the lord of the Southern Tang Dynasty when he was in Hanlin to be edicted, and the later lord was in the painting academy to be commanded, and he was good at characters, especially good at women, and painted more about the life of the court and nobles. Good at writing moods, on a par with Zhou Wenju, inheriting the Tang Dynasty Zhou Fang and becoming more slender lines, influenced by the calligraphy of the later master Li Yu, he likes to use the trembling "war pen" lines to express the clothing pattern.