The landscape paintings of the Qing Dynasty can be described as colorful, with the Four Kings, the Four Monks, the Xin'an School, the Jinling School, the Yushan School, the Loudong School, the Yangzhou School, the Jingjiang School, and the Maritime School, each showing its own strengths. Painters in the Dynasty and the painters in the opposition either imitated the ancients, or innovated, enriching the landscape painting scene of the Qing Dynasty with different styles.
The factional forces of the Four Kings gradually declined during the Daoguang and Xianfeng years, and there were not many accomplished painters, only Tang Yifen and Dai Xi made breakthroughs in their landscapes, which were valued by the people of the time, and the landscapes of Qian Du, Hu Yuan, Wu Qingyun, and others were also praised for a while.
The four monks represented by Zhu Yun, Shi Tao, Jia Yan, and Hongren were all remnants of the Ming Dynasty and all held a strong sense of nationality. They used paintings to express the vicissitudes of life and depression, and pinned their love for the mountains and rivers of their homeland. Artistically, he advocates "borrowing from the past to open up the present," opposes Chen Chen Xiangyin, attaches importance to life feelings, and emphasizes the spirit of a single Khan. Now I am admiring it with many painting friends.
Diagram of the brachiobra
Figure of the Short Hagi of the Dead Maple Qing Hongren Ink and Pencil on Paper 81.4 X Width 34.4 cm Collection of the Palace Museum in Beijing
This picture depicts the study of Hirohito's poet. The simple hut and the two dead trees outside the door that point straight to the sky sit on the edge of the clear water pool, surrounded by high and low rocks. The water in the pool of water waves shows the owner's bland state of mind of not chasing fame and fortune.
Landscape map
Landscape Diagram Qing Wang Zhirui Ink and Pencil on Paper 79 X 52 cm In the collection of the Palace Museum in Beijing
Wang Zhirui, date of birth and death unknown, painter of the early Qing Dynasty, a native of Xiuning (Ling belongs to Anhui). At the beginning, he learned painting from Tongyi Li Yongchang. Gongshu, good at landscape and water. Make good use of the hanging elbow center, thirst for pen scorched ink, more clothing, lotus leaf wrinkles, covered for his hometown Huangshan Mountain Stone Of The Axe also. This picture uses thirsty pen and scorched ink to paint distant mountains and forests, small bridges and flowing water, mountain stones are unstained, and the painting style is close to Huang Gongwang.
Green sky map
Green Sky Figure Qing Hair Residue Color on paper Length 85 X Width 40.5 cm Collection of Nanjing Museum
Calvary (1612-1673), a native of Changde. He is good at painting landscapes, learns from the "Yuan Sijia", and changes the method of his predecessors to adapt to his own meaning, and his works are thick and vast. This picture is dense, the artistic conception is deep, and although the scale is not large, it gives people a sense of broad and majestic, which shows the author's skill.
Graph of layered rocks
Layered rock stacked ravine diagram Qing Hair residue Color on paper Length 107 X width 41.4 cm Collection of the Palace Museum in Beijing
This picture is complex in composition, changeable in hills and valleys, rich in content and fascinating, and is the author's heirloom work. This figure uses Cangxiu mellow brushwork, dry pen rubbing, scorched ink fluffy moss, and hemp, rope untangling and other methods.
Cloud Room Dancing Crane Diagram
Unfang Maizuru Figure Kiyoshi Ink on paper Light color Length 90.8 X Width 26.4 cm (Japanese) Izumiya Boko Collection
According to legend, Yunfang Temple was once a place where immortals haunted, and this painting was painted in Yunguanzhong on August 1, 1661, the seventeenth year of Shunzhi. The composition is rigorous, the pen and ink are calm and thick, especially the wet pen rubbing adds infinite depth.
Rain washes the mountain root map
Rain wash mountain root figure Qing Hair residue Ink and pencil on paper 103 X width 59.9 cm Collection of the Palace Museum in Beijing
The landscape paintings of the remnants of the skull were deeply influenced by Wang Meng, as well as by Shen Zhou, Wen Zhengming, Dong Qichang, and others in the Ming Dynasty, making good use of bald pens and thirsty pens, specializing in dry brush rubbing, dense scenery, reckless pen and ink, strange realms, thick charm, and self-style. The pen and ink dots are crisscrossed and layered, and the mountains, water, clouds, and fog after the rain are vividly expressed.
Xianyuan diagram
Xianyuan figure Qing Jie remnant Color on paper Length 84 X width 42.8 cm Collection of the Palace Museum in Beijing
The painting is composed in a far-reaching way, with many hills and valleys, mountains and rivers, and dense sets, but there is no sense of triviality. Several virtual scenes, jagged and varied, make the scenery more empty. In the works, bald pens are often used, the brushwork is simple, and the outline and rubbing are completed several times, which makes the picture more ancient and thick.
Snow Room Reading Diagram
Snow Room Reading Chart Qing Fa Ruozhen Color on Paper Length 161 X Width 87 cm Shenyang Museum Collection
Fa Ruozhen (1613-1696), a native of Jiaozhou, Shandong. Gong poetry, fine calligraphy, good at landscape and water. His paintings are elegant and vulgar, and his brush and ink float, which are self-contained. This picture depicts people living in the snowy mountains. The author dyes the sky and the earth with light ink, sets off the snow scenery, outlines the arrogance, and applies the dyeing to the elegant.
Spring Mountain Show Color Map
Spring Mountain Beauty Color Chart Qing Gao Yu Silk Color Length 174.4 X Width 150.5 cm Collection of Guangdong Provincial Museum
Gao Yu (1616-1687), a native of Xinhui, Guangdong. Versatile, especially good at landscapes, pen and ink are vigorous and thick, and they are refined in their later years. This picture is the author's birthday celebration for the mother of a friend. The brush strokes are calm, the ink color is rich in layers, and the painting style is thick and foresty, which is a representative work of Gao Yu.
Water bamboo grass jai diagram
Water Bamboo Mao Zhai Figure Qing Cha Shi Specimen Color on Paper Length 126.3 X Width 49 cm Collection of Shanghai Museum
Zha Shibiao (1615-1698), a native of Haiyang, Anhui. Good at painting landscapes, teaching Ni Zhan, and later wuzhen, he did not use much pen, and his ink was like gold. This painting is in the style of Ni Zhan, with a dry brush and a clean brush. The painting shows two huts and one on the ground. Living in the water, it is a place to read in both winter and summer.
Empty Mountain Knot House Map
Empty Mountain Knot House Diagram Qing Cha Shi Specimen Color on Paper Length 98.7 X Width 53.3 cm Collection of the Palace Museum in Beijing
The drawing is of an empty mountain, in which a house stands, and the two sit facing each other and talk. The mountain stone is rubbed with a dry pen, and the mood is quiet and clear.
Cloud and water shadow diagram
Yunrong Water Shadow Figure Qing Cha Shi Specimen Shallow on Paper Length 143.6 X Width 72 cm Collection of Tianjin Municipal Art Museum
This picture imitates Shen Zhou's penmanship, painting in the middle of a mountain stream, two old men sitting on a boat fishing, leisurely but self-satisfied. The picture is sparse, the scene is wonderful, showing a kind of celebrity temperament and super-elegant demeanor.
Imitation of Huang Gongwang Fuchun Victory Map
Imitation Huang Gongwang Fuchun Shengguan Map Qing Cha Shi Specimen Ink and Paper Length 92.5 X Width 44.9 cm Shanghai Museum Collection
This picture imitates the meaning of Huang Gongwang Fuchun Shengyun's drawing. The brushstrokes are crisp, the ink is exquisite, the ink is colorful, and although the composition takes the Fuchun map, the picture adopts more far-reaching methods.
River dry wind and rain map
Jianggan wind and rain figure Qing Fan Xi Ink on paper color 146 X horizontal 72 boxes of meters Shanghai Museum collection
Fan Ji (1616-?) ), a native of Jinling (present-day Nanjing, Jiangsu). Fine landscapes, flowers, characters, etc., are one of the "Eight Houses of Jinling". This drawing depicts the cascading mountains on the banks of the river, the lush trees, the ripples of the river, the flow of fishing boats, and the scenery written by the river is full of gods and gods, and it is unique. The picture layout is exquisite, the pen is concise and accurate, the color is bright, and the scenery of the jiangnan water scenery is fully presented.
Pinewood Bookstore Diagram
Songlin Book House Figure Qing Gong Xian Color on paper Length 271.2 X width 128.3 cm Lushun City Museum Collection
Gong Xian (1618-1689), a native of Kunshan (present-day Jiangsu), lived in Jinling (present-day Nanjing). Painting landscapes, taking the fa Dongyuan and Wu Zhen, attaching importance to sketching, dyeing with layers of ink, rich and moist, creating a style of self-creation, and being one of the "Eight Houses of Jinling". This picture depicts lush woods and staggered mountain rocks in a thick and simple ink color, with a strong ink and abundant ink and a beautiful meteorological situation. (To be continued)