Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the paintings of the Sui Dynasty truly reflect the way of life and scientific and technological level of the people at that time, combined with the records of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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During the Five Dynasties and Ten Kingdoms period, although the country was divided and war-torn for many years, the location of the Southern Tang capital was relatively stable, so there was a peak period of development of calligraphy and painting art. Especially in the important period of the development of Chinese landscape painting, some painters went deep into nature to create on the basis of the Tang Dynasty using green or ink green on the barrier to write mountains and rivers or pine stones. In the fifth generation, Chinese ink landscape painting tended to mature, and the northern painters represented by Jing Hao and Guan Tong and the southern painters represented by Dong Yuan and Ju Ran created a real and vivid system of majestic northern mountains and beautiful mountains and rivers in the south, known as "Jing, Guan, Dong and Ju".
In the fifth generation, the subject matter of figure painting became more and more extensive, and religious myths, historical stories, and literati life became the themes depicted. Painters pay more attention to the depiction of the looks and psychology of the characters, and the ability to convey the spirit and portray the ability has been improved.
Landscape painting at this time is the biggest change, from the selection of materials to techniques, there has been a leap forward, landscape is depicted as a living environment.
The five generations of flower and bird paintings also appeared in the rare birds and strange flowers in the court garden, the painting method is fine, rendered in light colors; the second is the water bird wild hui, the painting method uses ink pens, the color is very small, relative to the style of the Huang Xiao school, this school is called "Xu Jia Ye Yi", this phenomenon is called "Xu Huang Variant".
Here is an introduction to Dong Yuan's paintings.
Dong Yuan (934 - c. 962), five generations of Southern Tang painters, 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. Dong Yuan's "Xiaoxiang Tu" is regarded by the history of painting as the pioneering work of the "Southern School" landscape.
Dong Yuan was a painter who served in the court. His landscape figures are exquisite, and the most appreciated by posterity is the scenery of the mountains and rivers of Jiangnan, the lush vegetation and the beautiful mountains and mountains painted with a creative map of ink pastel. His works "write more about the real mountains of Jiangnan, not for the strange cliffs", and his scenes such as "landscapes and rivers, wind and rain valleys, obscure peaks, forests relying on smoke clouds, thousands of rocks and valleys with Fu, and heavy shores" can make people look at the actual feeling of "allegory in their place" and immersion in the scene. He changed the landscape painting style of the Tang Dynasty, harmoniously combining pen and ink, wrinkles and dyeing with nature. According to the natural environment of Jiangnan grass and trees, lakes and mountains, the painter uses the painting method of pimpling and piping to express the overall feeling of Jiangnan landscape. The works show the effects of seasons, climate and sunshine and air, which are rare in ancient Chinese paintings. The existing works of Dong Yuan, "Xiaoxiang Tu", "Dragon Sleeve Proud People's Map", "Xiashan Map", "Xiajing Mountain Pass To Be Crossed" are undulating, the continent is lush, the grass and trees are lush, the vast scenery looms in the clouds, the hillside grass and trees are painted with ink dots and hemp, and the wet and dry, thick, virtual, and dyeing are all properly mastered.
His surviving works include the volumes of "Longsu Suburban People's Map", "Xiajing Mountain Pass To Be Crossed", "Tibetan Liaoning Provincial Museum", "Hanlin Chongting Map", "Stream Bank Map", "Cage Sleeve Proud People's Map", "Xiaoxiang Map" volume, now in the National Palace Museum; "Xiashan Map" volume, "Shanghai Museum", "Dongtianshan Hall" Taipei National Palace Museum, "Green Landscape", "Late View of the River Embankment" and so on.
Appreciation of the Five Dynasties southern Tang Dongyuan's "Longsu Suburban People's Map"
Five Dynasties Southern Tang Dong Yuan "Longsu Suburban People's Map" vertical axis, silk color, 156× 160cm, Taipei National Palace Museum collection.
Dong Yuan's "Longsu Suburban People's Map" depicts the autumn scenery of Jiangnan, in which the red leaves of Danfeng, the trees and trees, the streams are gentle, and the distant waters are empty. However, what is the theme of this painting, what is the meaning, what is the ability of the characters in the painting, what is the meaning of "Dragon Residence", what is the interpretation of "suburban people", and even whether it is really Dong Yuan's work, it has not yet been determined.
This painting was originally called "Dragon Embroidery Symphony Diagram" and "Cage Sleeve Proud People's Diagram", and I don't know what it means. Later, Dong Qichang got it, and Dong Qichang was a strong advocate of the southern school of landscapes, so he especially liked Dong Yuan's paintings. He successively obtained four paintings by Dong Yuan, and called his hall name "Four Yuan Tang". He identified this painting as a painting by Dong Yuan and renamed it "Longsu Suburban People's Map".
Mr. Qi Gong believes that "longsu suburban people" should be understood as "happy people living in the capital during the Taiping Era". Dong Yuan was a painter of the Southern Tang Dynasty in the fifth dynasty, so the scenery he painted should be a scene on the outskirts of the Yangtze River in the capital of the Southern Tang Dynasty (present-day Nanjing, Jiangsu).
The "Map of the Suburbs 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. At the foot of the mountain, people hung lanterns at the head of trees, and there were two boats by the stream, with 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.
Although the boat and figures in the picture are small, they are bright and bright. The mountain is draped with hemp, which well expresses the characteristics of Jiangnan Tushan, while the alum head is hollowed out to highlight its texture. In the use of color is also unique, the author will ink and turquoise cleverly integrated into one, ink and turquoise complement each other but do not hinder. After the author uses ink pen to outline the rendering, it is slightly green on the slope peaks and other places, which is quite lush and lush.
During the Five Dynasties period, Dong Yuan's "Xia Jing Mountain Pass to Be Crossed" was appreciated
"Xia Jing Shan Pass To Be Crossed" is now in the Liaoning Provincial Museum
"Xia Jing Shan Pass To Be Crossed" is considered to be one of the typical works of Dong Yuan's Jiangnan style. The introductory title of this volume of the great Ming Dynasty painter Dong Qichang reads: "The true deeds of Dong Beiyuan Xiajing Mountain Pass to be crossed." The Yuan Dynasty expert Ke Jiusi inscribed at the end of the volume: "Right Dongyuan Xiajing Mountain Pass to be crossed to the real site, Gangluan Qingrun, Forest Trees Xiurun, fishermen tourists haunted in between, there is a sense of self-satisfaction." True gods also. The Yuan Dynasty poet Yu Ji made a wonderful description of the picture: "Dong Yuan Xia Shan He Ke de, Jia Mu Qianzhang Iron painting." Zeng Luan is full of rain and moisture, and the hundred valleys are overflowing with river light. Inuya Chau Nagisa is full of worms, and the Cangjiang River is scattered with stones. Where there is no ploughing in the mountain field, the source must not be wandering. ”
From the close view of Zhouzhu to the distance, the "Summer Scenic Pass To Be Crossed" is a flat beach, and behind the flat beach is a farther, undulating Zhouzhu. The air is humid, the mountains are hazy, and the whole scene is similar to what Mi Fu said, "The peaks are haunted, and the clouds are obscure... Xiqiao Yupu, Zhouzhu cover, a piece of Jiangnan", Ke Jiusi said that "the gangluan is clear and run, the forest is beautiful, the fishermen and tourists are haunted in the middle, and there is a sense of self-satisfaction". This volume depicts the summer scenery of Gangnam, where the mountains overlap and are gentle and long. The introduction has Dong Qichang inscription, and the volume has Yuan Ke Jiusi, Yu Ji, and YaHu inscription. It was once collected in the Southern Song Dynasty. The plutonium has the "Shao" and "Xing" Zhu Wen Lianzhu seals, and then enters the Yuan Nei Province, and the plutonium has the "Treasure of the Heavenly Calendar" Zhu Wen Seal. Later, it went through the Collection of Ming Xiang Yuan, Qing Geng Zhaozhong, Suo Ertu, and Qing Nei Fu, and all of them had the seal of jian collection.
"Xiajing Mountain Pass To Be Crossed" Dong Yuan selects the scenery of Jiangnan Ferry, and the river meanders through and appears in the mountains. The structure of the mountain is infinitely changeable, and the disadvantages of the conceptualization of the mountain shape are washed away. This figure is quite similar to the "Xiaoxiang Tu" collected by the Palace Museum in Beijing in terms of painting method and style, and the height of the volume is exactly the same. Some scholars speculate that the two works were originally a painting, but they were cut off and separated by posterity in the process of circulation. Mr. Yang Renkai, honorary director of the Liaoning Museum and a famous calligraphy and painting appraiser, does not see it this way, saying that the reason is that this map "has its own ups and downs, and the beginning and end are intact", and the two pictures are different - the "specific depiction" of "Xia Jing Shan Pass Waiting to Be Crossed" is "much more complicated" than the "Xiaoxiang Map". He also believes that the last emperor Puyi "took several works of the fleeing Dong clan, and this "Xia Jing Shan Pass To Be Crossed" is the most representative."
The painting methods of beaches, slopes, near mountains and distant mountains in "Summer Pass To Be Crossed" are different, and the painting methods of near trees, distant trees, shrubs, willow trees, reeds, and bamboo bushes are also different, but their combinations are rhythmic, changeable, and very harmonious, which can really be called a visual "symphony". It is worth noting that these painting methods are very consistent with the characteristics of Jiangnan scenery, so is it the Jiangnan landscape that gave birth to them, or did they create the Jiangnan style of the landscape? Both. Specific creation is naturally the object root on which specific pen and ink techniques are created, and specific pen and ink techniques are the basic means of creating regional styles. However, the brush and ink techniques, styles and even the entire artistic patterns have been inherited, and Dong Yuan's landscape paintings have been produced by the correction and transformation of Li Sixun and Wang Wei's landscape painting patterns and techniques, but this correction and transformation has been completed under the inspiration of the true mountains and real waters in Jiangnan. This map depicts the landscape of Jiangnan. The herbs are abundant, the rivers are beautiful, the clouds and mist are obscure, which are fully displayed in Dong Yuan's dot dyeing and rubbing, and the Song people commented on his paintings as "ink wang wei, coloring like Li Sixun".
This picture depicts the summer scenery of Jiangnan. At the opening of the scroll, the shallow banks of the flat sand, the rivers and rivers, the boats come and go, the mountains are stacked, the village houses are slightly exposed in the jungle, the sand bank at the end of the roll extends, the weeping willows are lined up, and there are people waiting to cross on the shore, showing the vast river scenery of Pingyuan. The whole volume is painted with a dot of ink to represent the mountains and trees, the painting method is consistent with the "Xiaoxiang Tu", the height of the frame is also the same, so some connoisseurs think that the two are one volume, and later divided, there are defects in the middle, so it can not be coherent. There is no print on this map, and Dong Qichang quotes the first inscription at the front of the volume " Dong Beiyuan Xia Jing Shan Pass To Be Crossed"
During the Five Dynasties period, Dong Yuan's "Cold Forest Heavy TingTu" was appreciated
"Hanlin ShigetingTu", in the Collection of Kurokawa Bunko, Japan
This picture is "Hanlin Shigetsu Map", which is displayed in the Kurokawa Bunko Gakuin in Japan), which is a view of Jiangnan in the middle of winter. The mountain hill lies quietly and horizontally, the water is deep and stretched, the trees with fallen leaves stand wordlessly, the slender reeds shrink in the wind, the small bridge on the creek is empty and cold, and the houses hidden in the cold trees of the barren hills are silent, all of which constitute a desolate and desolate no-man's land.
"Cold Forest Heavy Ting Map" depicts a small hill in the creek, the stream is restored, and the heavy Ting is vast. In the middle of the continent, there are houses built on the hillocks, surrounded by trees, it is late autumn and early winter, most of the tree pages have fallen, only dead branches remain, a clear and desolate scenery of Jiangnan. This is mutually corroborated with the painting style of Dong Yuan's landscape "Xiqiao Yupu, Zhouzhu covered, and a piece of Jiangnan" described in the history of painting. The hillocks in the picture are covered with hemp, and the distant zhouzhu is crossed with long lines, and the pen is dyed in between to show the abundant water weeds. In the pen and ink, there are some characteristics of "Longsu Suburban People's Map" and "Xiashan Map", but they are not exactly the same, and the pen is more generous and coarse than "Xiaoxiang" and other figures. There is no money in this picture, and there is an inscription on the poetry hall of Ming Dong Qichang " Wei Fu collection Dong Yuan painting the world's first".
"Cold Forest Heavy Ting" depicts the scenery of Jiangnan in the middle of winter. The mountain hill lies quietly and horizontally, the water is deep and stretched, the trees with fallen leaves stand wordlessly, the slender reeds shrink in the wind, the small bridge on the creek is empty and cold, and the houses hidden in the cold trees of the barren hills are silent, all of which constitute a desolate and desolate no-man's land. The author dragged a heavy satin with a large pen next to the slope of the other shore, and the momentum was thick and thick, so that it was different from the reeds on this shore, the water flowed slowly, and broke the average state from the pattern momentum. The slopes, trees, sandings, houses, etc. on both sides seem to be similar and real, echoing each other, so that the static picture has an intrinsic sense of movement. The slope of this map is covered with hemp from the foot of the slope, from dense to sparse, until the slope is blank. Add moss dots to the undulating slopes.
This picture shows the scenery of Jiangnan Water Town. In the painting, the sand banks are stained with heavy ink, the reeds are depicted with fine brushes, the cottage board bridge is exposed in the cold forest on the central slope, the hill cottages are also painted on the opposite bank of the distant stream, and the distant creek bank is heavy and extends beyond the painting. The whole picture is stained with wet ink, giving people a sense of endlessness, which is a typical south view of Dong's ink painting. Therefore, it is called the animation of "the first in the world". In the picture, the pen is curved to enhance the momentum, rough and strong, and the moss point uses both thirsty pen, scorched ink, chaotic front, and the pen is fast. The strength is fierce, which enhances the vividness and fun of the picture. In the embankment painting method, the author combines long linen with broken brush points, bringing a sense of rhythm and movement to the picture. Tingzhu is dragged flat with a long linen wet pen, which has the characteristics of smooth and simple.
During the Five Dynasties period, Dong Yuan's "Creek Bank Map" was analyzed
"Riverbank Map", now in the Metropolitan Museum of Art
This picture is the "Creek Bank Map", now in the Metropolitan Museum of Art, this picture is a vertical composition to show the hermitage environment of the mountain and the waterfront, depicting the lofty mountains, there are flying waterfalls and springs, the foothills of the mountains are built with bamboo and poultry huts, and the shore water pavilions are sitting idly. In the lower left of the painting, there is the "Painting of Dong Yuan, Deputy Envoy of beiyuan", and the tibetan seals of collectors such as "Tianshui Zhao" and "Ke JiusiYin". This painting is controversial, some people think it is the authentic handiwork of Dong Yuan, some people think it is imitated by others in the Northern Song Dynasty, some people say that it is a forgery of Zhang Daqian, but most people think that it is a genuine work.
During the Five Dynasties period, Dong Yuan's "Cage Sleeve Proud People's Map" was analyzed
Dong Yuan, Cage Sleeve Proud People's Figure Vertical Axis Silk Color Length 160 cm Width 156 cm, National Palace Museum, Taipei, China
There have been many different interpretations of what is depicted in the paintings throughout the ages. This picture is a large piece of silk, with heavy coloring to paint the scenery of the southern countryside of Jiangnan, the mountains are round and thick, the river is wide and slender, the foothills of the people are hung high, there are colorful boats arranged by the water, the crowd is singing and dancing, there are also drummers on the bow of the ship, and the characters are dyed with heavy paintings, interspersed with customs and plots in landscape paintings. The waterform of zhongshan is very similar to that of Nanjing, and the explicit picture depicts the scene of the southern Tang Dynasty capital Jiankang suburban festival entertainment, and also has a whitewashed shengping component. This picture of the mountains is covered with hemp, green coloring, although there is no money knowledge, successive generations have been passed down as Dong Yuan's pen, must have come from it.
Appreciation of Dong Yuan's "Xiaoxiang Picture Scroll" in the Five Dynasties Period
Xiaoxiang Picture Scroll, Five Dynasties, Dong Yuan, Ink Pen on Silk, Hand Scroll, Length 50 cm, Width 141 Cm, Collection of the Palace Museum, Beijing
The Xiaoxiang Scroll, written by Dong Yuan of the Fifth Dynasty, is a representative work in the history of Chinese landscape painting and is now in the Palace Museum in Beijing. At the end of the Ming Dynasty, after Dong Qichang, it was handed over to Yuan Shu, the son of Yuan Keli. In the fifteenth year of Chongzhen (1642), Yuan Shu's hometown of Suizhou City in Henan was successively hit by Li Zicheng's war and river floods, and the calligraphy and painting collection in the first library of Yuan Keli Shangshu's mansion was destroyed, and only these few frames of scrolls traveled thousands of miles back and forth for Yuan Shu to protect him from the disaster of war, which was passed down to the present day and passed on to the history of famous painting collection in China and even the world. Yuan Shu said to himself: "In November of the fifteenth year of Chongzhen, he was awarded to Dong Sibai's uncle's family, and the original value was added to the four chambers."
Interpretation of the inscription of the Five Dynasties Dong Yuan's "Xiaoxiang Tu Scroll" at the beginning of the book:
This volume was obtained in Chang'an in June by Ding You, and the volume has the inscription of Wen Shou Cheng, and Dong Beiyuan lost half of its characters, and I do not know what tuye. If it is exhibited, it is set to be contained in Xiaoxiang Tu, Gai Xuan and painting scores, and the selected poems are the so-called Dongting Zhang Ledi and Xiaoxiang Emperor You'er. Remembering Yu Bingshen holding the festival of Changsha, walking Xiaoxiang Road, Jianxia Fishing Net, Tingzhou Bush, Mao'an Tree Path, Qingyuan Yuandi, one by one, so that people can re-be the guests of the Xiang River without moving. In the past, there were people who took painting as a fake landscape, and those who took landscape as the real painting, how to reverse it. Dong Yuan's paintings are like star phoenixes, and this volume is full of ancient absurdities. The monk Juran returned Dan here, the Mei Dao people tasted one of them, and Yu He was fortunate to lie down and swim in the middle of it. Dong Qichang question. The first summer of The First Summer in March.
"Xiaoxiang" refers to the Xiao River and the Xiang River in Hunan Province, and the two waters flow into Dongting Lake. The picture depicts a lake and mountains, the mountains are gentle and continuous, and the sandbars and reeds in the large water surface are endless. In the painting, the ink is mixed with light colors, and the mountains use the idea method, almost no lines, and the ink dots are used to express the vegetation of the distant mountains, creating a blurry and textured mountain silhouette. The thick and thick ink spots show the undulating bumps of the mountain stones. The painter leaves a little blank space when rendering the ink, creating a feeling of mist and clouds, deep mountains and forests, and faint smoke and water. In the landscape, there are also characters fishing boats dotted among them, giving bright colors and depicting subtleties, adding infinite vitality to the quiet and deep mountain forest. From the fifth dynasty to the early years of the Northern Song Dynasty, it was a mature stage of Chinese landscape painting, forming different styles, which were summarized by posterity as the "Northern School" and the "Southern School". Dong Yuan's picture is regarded by the history of painting as the pioneering work of the "Southern School" landscape.
"Xiao Xiang Tu" Zhongshan momentum from the beginning of the volume, with the flower blue ink hook, do not use the hemp and use the dots, in order to show the depth of perspective, the small mounds on the mountains from near to far from large to small, from sparse to dense, ink dots also have dense and thick changes, showing a dense and complex distant tree posture. The mountain hollow leaves a misty mist, creating a feeling of mist and distance. The trees nearby are also expressed by ideas, but the image given by the idea situation has changed into a whole tree into a leaf, and the trees are lined up in rows, and the heights and heights are jagged near and far, and the fishing village huts are faintly exposed in the forest. The reeds are painted slightly slender, but they still don't get rid of the impression. The whole depiction, looking at the near trees and distant mountains from a distance, is full of ideas, which is dazzling. The water surface is white and black, but through the interspersed and thick and light changes of the slope and the mountain pass, its form and hue produce deep and shallow changes, and the mountains and rivers are beautiful, with a very intoxicating artistic charm.
In the "Xiaoxiang Map", there are Dong Qichang Baosan, Yuan Shu baoyi, and Wang Duobaoyi. There are "Yuan Shu Private Seal", "Yuan Shu's Seal", and "Suiyang Yuan Family Collection Secretary". Ming "Yuan Shu Appreciation" calligraphy and painting chapters, "Yuan Shu Seal Letter", "Bo Ying" and other imprints. In the Qing Dynasty, the "Xiaoxiang Tu" was collected by Bian Yongyu and An Qi, and then entered the Inner Palace, and Puyi took it to Changchun when he left the palace, and was scattered among the people after the War of Resistance Against Japan. In 1952, it was donated and sold to the Chinese government by a generation of masters Zhang Daqian from Hong Kong, and in 1959, the Cultural Relics Bureau of the Ministry of Culture allocated the Palace Museum to collect it. In May 2008, the "Exhibition of Calligraphy and Paintings of the Forbidden City" that was being held at the Wuyingdian Calligraphy and Painting Museum of the Forbidden City was suddenly closed for one day, and it was announced to the outside world that it was because of internal decoration, but the real reason was because of the original traces of a national treasure-level cultural relic, Dong Yuan's "Xiaoxiang Picture Scroll" of the Fifth Dynasty, which was wet with dripping water on the upper part of the display case, causing the damaged part of the paper to be opened and glued. The damaged part is right on the boat at the heart of the frame. This damaged "Xiaoxiang Picture Scroll" is the only authentic work of Dong Yuan in the collection of the Forbidden City, which belongs to the first-class first-class cultural relics and is extremely precious.
During the Five Dynasties period, Dong Yuan's "Xiashan Map" volume appreciation
Five Generations, Dong Yuan's "Xiashan Tu" volume, ink on silk, light color, length 49.2 cm, width 313.2 cm, Shanghai Museum collection
Dong Yuan's landscape painting "Xiashan Map" full volume of high-definition large-scale "Xiashan Map" is a picture of heavy mountains and stacked hills and satin smoke trees, and the momentum is vast. There are small characters, boat bridges, huts, cattle and sheep looming, a beautiful scenery of Jiangnan. Grass, trees, mountains and stones are clustered with dots, dry pens, wet pens, broken pens are thick and light, summarized concisely, as Shen Kuo said, "myopia is almost different from things, and farsightedness is the scenery." Together with the "Xiaoxiang Map" and the "Xiajing Mountain Pass To Be Crossed", they are all famous relics, and they all belong to Dong Yuan's later variants.
At the beginning of the Five Dynasties and the Song Dynasty, Dong Yuan's achievements in landscape painting did not attach great importance to it, and the Northern Song Dynasty Made a very high evaluation of his paintings, and Dong Qichang of the Ming Dynasty admired Dong Yuan, treating Dong Yuan as an authentic in the history of the development of landscape painting, and also running Dong Yuan through the four families of Wang Wei, Li Cheng, Mi Fu, and Yuan to form a department of literati painting. This composition is taken from a high and far perspective, the whole painting is heavy and stacked, Yuanzhu Smoke, trees, cattle grazing, a school of Jiangnan mountain and township weather. The trees and mountain stones in the painting are all made of ink dot clusters, the trees are thick and thick, there is a sense of lushness, and the mountain stones are made of raindrops, dry pens, wet pens, broken pens, thick and light references, and the extreme variety is unpredictable.
There is no author's print on this volume. Ming Dong Qichang was named "Xiashan Tu" according to the records of the Xuanhe Pictorial Notation. There are thirty-six seals such as "Chang", "Huang Lin", "Yuan Shu", "Xu Weiren", "Huang Fang's Private Seal", "Pang Yuanji Calligraphy and Painting Seal", and "Wang Lingwen's Secret Collection". Ming Dong Qichang Sanbao, Qing Xu Weiren, Dai Xi, Pan Zunqi and other treks. Once the Southern Song Dynasty Jia Xiangdao, Yuan Shi Chongwen, Ming Huanglin, Yuan Shu (Yuan Kelizi), Dong Qichang, Qing Qi Meilu, Xu Weiren, Huang Fang, Shen Shuyong, and his neighbor Pang Yuanji and other collections, circulated in a good way. "Ancient and Modern Painting Book", "Qinghe Calligraphy and Painting Ship", "Coral Gang", "Style Gutang Calligraphy and Painting Examination", "Virtual Qi Famous Painting Catalogue".
Dong Qichang of the Ming Dynasty handed it into the suiyang yuan shu collection, and the painting was sewn with the seal of the "Yuan Shu" collection. In the fifteenth year of Chongzhen (1642), the city of Suizhou in Henan was successively hit by Li Zicheng's war and river floods, and the calligraphy and paintings and tens of thousands of volumes of books in the first library of Yuan Keli Shangshufu were destroyed, and only these few frames traveled thousands of miles back and forth were passed down to this day for Yuan Shu to Jiangsu Hushu Qianguan's residence to protect them from the disaster of war. Wang Duo was very happy to see this painting at the home of Yuan Shu in Hushuguan, and gave this good deed to the volume. After entering the Qing Dynasty, it fell into the hands of folk and collectors, and is now in the Shanghai Museum.
Appreciation of Dong Yuan's "Map of Dongtianshan Hall" in the Five Dynasties Period
During the Five Dynasties period, Dong Yuan's "Map of Dongtianshan Hall" is colored on silk, 183.2 cm in length and 121.2 cm in width, and is collected by the National Palace Museum in Taipei.
"Dongtianshan Tang Tu" This painting has no style, painting white clouds floating in the mountains, dense pine forests in the valley, clear streams flowing, hidden tower view, the realm is quiet, and clearly expresses the paradise. The four characters of the book "Dongtianshan Hall" in the upper right of the painting point out the theme of the whole painting. The poetry hall has Wang Duobao's saying: "Divine qi rhyme, gu xiu lingtong, into the mouth micro, Dong Yuan's painting, of course, xuanhua, two days after the end of the yang inscription in Langhua pavilion." Therefore, it was determined to be Dong Yuan's handwriting. However, this brush ink is vigorous, the scenery is dense, the clouds are painted with white powder, which is quite different from Dong Yuan's light ink light lan, closer to the landscape style after the twelfth century, according to the Jin Dynasty many landscape paintings inherit Dong, huge and change, so it seems more appropriate to propose this painting as a work of the Jin Dynasty.
Appreciation of Dong Yuan's "Green Landscape" in the Five Dynasties Period
Dong Yuan style Green landscape vertical axis four screens, material, shape: color paper, size: 105×80.5cm×4
Dong Yuan: Mingyuan, also known as Yuan, Zi Shuda, served as the deputy envoy of Beiyuan during the Southern Tang Dynasty, especially known for landscapes, and his works include ink painting, green and green two-body, and especially fine ink landscape. Together with Juran, he is called "Dong Ju", the ancestor of the Southern Landscape Painting School, and together with Li Cheng and Fan Kuan, he is known as the "Three Great Masters of the Northern Song Dynasty". Jiangxi Jinxianren, five generations of Southern Tang painters. Good at landscapes, characters, tiger cattle, dragon water.
Appreciation of Dong Yuan's "Evening View of the River Embankment" in the Five Dynasties Period
Dong Yuan's "Evening View of the River Embankment" Axis Silk Color 179 x 116.5 cm Collection of the National Palace Museum in Taipei. According to Mr. Zhang Daqian's research, this painting is determined to be Dong Yuan's work. Shi Zai Dong Yuan's "ink painting Wang Wei, coloring such as Li Sixun", during the Northern Song Dynasty, it was also named after the green and green, and the mountain stone was made of hemp, which was the characteristic of Dong Yuan's style. In the painting, the green waves are sparkling and the green mountains are high, the wine curtain is quiet and the horseshoe is light, and a spring is swinging. This painting is a bequest of Mr. Zhang Daqian.