original:
Lotus leaf wrinkles, with its tendons and tendons like lotus leaves, that is, the so-called pictograms in the six books are also. Every time Beiyuan uses it, Uncle Lan Tian also likes to do this recently.
Commentary:
As a technique of landscape painting, the lotus leaf lines outline the shape of lotus leaf tendons, so it got this name, which is like the pictograms in the six books of the Chinese character creation method.
The five generations of painting masters Dong Yuan (Dong Beiyuan) often used lotus leaf wrinkles, and his close friend Lan Ying (Zi Tian Uncle) also liked to use this method.
Character Development: Dong Beiyuan
Beiyuan Yuanshu: Beiyuan Mountain is mostly made of small trees, but it is not first used as branches, but it is mostly made of pen. Paint landscapes with the painting of trees, this secret method also. Beiyuan paints miscellaneous trees, but looks like trees from afar, in fact, by embellishment to form, that is, the source of the Mi's falling eggplant, must be dripping approximation, simple in branches and complex in shape, dyed with light ink, dipped with light smoke, such as Wenjun's eyebrows, and daisy color. However, Dong also has not been a small tree, and "Autumn Mountain Journey" is also.
Dong Yuan (934-c. 962), a painter of the Southern Tang Dynasty of the Fifth Dynasty, was the founder of the Southern School of landscape painting. Dong Yuan , also known as Dong Yuan ( ) , was a native of Zhongling , Jiangxi ( present-day Jinxian County , Jiangxi ) , and was known as the Three Greats of the Northern Song Dynasty in the history of Dong Yuan , Li Cheng , and Fan Kuan , and Li Jing , the lord of the Southern Tang Dynasty , was then the deputy envoy of Beiyuan , so he was also known as "Dong Beiyuan". He is good at painting landscapes, working on figures and animals. His landscape began with Jing Hao, his pen strength was heavy, and then he entered the painting with the real scenery of the real mountains in Jiangnan, which was not a strange and steep brush. Distant forests and distant trees, flat and deep, wrinkles are like hemp skin, and posterity is called "Phi Ma". The moss of the mountain head is fine, the water color is river and sky, the clouds and mist are obscure, the peaks are infested, the Tingzhu Creek Bridge, and the rate is more sincere. Mi Fu called his paintings "plain and innocent, and Tang did not have this product". Surviving works include "Xiajing Mountain Pass To Be Crossed", "Xiaoxiang Map", "Xiashan Map", "Creek Bank Map", "Pinglin Ji Color Map" and so on.
"Summer Scenery Mountain Pass To Be Crossed" map of the mountain potential overlaps, gentle and long, lush vegetation, steamy water, like the summer scenery of Jiangnan. At the beginning, the water surface is vast, the flat boat looms, the mountains in the middle scene overlap, the trees are sparse and straight, the bamboo bushes are mixed, and the huts are faintly visible; At the end of the volume, the ferry did not arrive, and the officials waited, pointing out the theme. The whole picture is well conceived, the color is elegant, the hills are clear, and the forests are dense. The technique is mainly based on Phi Ma Chuan, with more moss dots and light colors, which is typical of Jiangnan landscapes.
"Xiaoxiang Tu" shows the southern landscape, the picture depicts a lake and mountains, the mountains are gentle and continuous, the mountains are mostly covered with hemp, and the vegetation above the mountains is rendered with ink dots, and the composition of Pingyuan and the combination of large areas of water in the close-up scene make the picture have a strong sense of space, and it also presents the mistiness of the Jiangnan landscape. In the landscape, there are also characters fishing boats, which are colorful and interesting, adding infinite vitality to the quiet and deep mountain forest.
Creekbank map
The mountain life of the hermit is depicted: the valley between the two mountains, with a stream meandering down, merges into a rippled stream pool. There are bamboo hedgehog huts on the shore of the pond, maids working in the backyard, shepherd boys riding cattle in front of the fence, farmers rushing on the path, a pavilion stretching into the water, Coats sitting on the railing, looking up, looking extremely leisurely, and his wife is holding her children and playing with the servants, a plain but happy life scene. Behind the house, there is a hanging spring on the mountainside, which goes down the stairs to the bottom of the mountain and converges on the creek pool. The water flow and the gushing waves are drawn in thin lines, meticulously, just like the Tang style. The mountain stone is painted with light ink and wrinkles, focusing on rendering layers of light ink, rarely adding dots, and dyeing the junction of the mountain stone with thick ink to wake up the structure. This still seems to be Wang Wei's method of "ink and ink" in the Tang Dynasty. The mountains are not high, and their shape is like a big wave, and several peaks are surging to the left, which is unprecedented. The cliff top of the wave head, stacked back and forth, looks faintly in the form of an "alum head". The downward cliff resembles a valley of waves that slopes. Chinese landscape painting attaches great importance to the vein of the mountain, but such a mountain with strong dynamics is rare, and only in the Ming Dynasty Shen Zhou's "Lushan Gaotu" can only faintly see the mountain like this.