Dong Bangda, "Scroll of Angle Interpretation", on paper, 25cm×245cm, collection of Lushun Museum. This volume depicts the mountain forest wilderness after the Qianlong Emperor hunted and paraded in Nanyuan.
At the beginning of the volume, there is the "Explanation of the Imperial Elk Horns": "The antlers of the deer are noted, and it is clear that both the deer and the elk are untangled (referring to the horns that have been surrounded and disarmed) in the summer, not in the winter, and there are both words and no reasons, and they are often geng. Yesterday, after the winter solstice, there were so-called producers in Nanyuan, or the horns were dissolved in winter, and it is not known. Sending people to look at it is just in their time... Hold its dissolved horns to return. It is refreshing to know that the reason of the world is not easy to be poor, and the things are not easy to qualify, as it is..."
The rocks of the cangshan mountains, the curved pine trees, and the three elk either climbing or bowing their heads to eat show people a quiet scene of winter sky outside Saiwai. The composition is meticulous and intricate, the calm and flexible brush and ink, the fine and uncut and mature drawbacks, representing the highest level of Dong Bangda's landscape painting in the Qianlong period.
Dong Bangda learned the skills of famous masters throughout the ages, and in addition to absorbing Dong Jujiao's method and Huang Gongwang's shallow painting method, he was also deeply influenced by the "Four Kings of the Early Qing Dynasty". However, unlike the "Four Kings", he paid more attention to the vitality of painting, and his works could not only cater to the emperor's favorite shengping atmosphere, but also have the distant artistic conception pursued by literati painters. His paintings are beautiful in middle age, and in his old age, he uses his pen to be between not being raw and unfamiliar, and there is no arrogance. In particular, in his later years, Shen Xiong's simple and simple works were very skillful and clumsy, and the literati interest presented was inherited from the wild yi of Nanzong's pen and ink, which was similar to Dong Yuan and Dong Qichang. He brought the elegance of the literati into the court, which was obviously different from the gorgeous decoration of the professional painters of the Qing Dynasty court, and became the representative of the elegant culture in the court at that time.
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