After the establishment of the Northern Song Dynasty, the art of painting developed rapidly, and the content of painting reflecting real life was extremely prominent. Especially during the Song Huizong period, the establishment of painting academies, a number of skilled professional painters came into being, including the emperor Song Huizong, many paintings, so that the development of landscape painting to a new peak.
There were many more famous landscape painters in this period, and the outstanding representatives were Li Cheng of the Qilu School and Fan Kuan of the Guanshan School. The ink landscape paintings of the late Song Dynasty are most famous for their rice curds. There are also Li Gonglin, Guo Xi and others, who are good at using multiple layers of baking dyeing and painting dots to arrange dots, so that ink accumulation, ink breaking and other techniques can achieve the effect of cloud mountain enveloping and smoke.
The works appreciated here include Li Cheng's "Reading the Stele Stone Map", "Jackdaw Picture Scroll", "Qingluan Xiao Temple Map", "Hanlin Pingye Map", Fan Kuan's "Snow Mountain Xiao Temple Map", "Xishan Travel Map", "Snow Scene Cold Forest Map", Mi Fu "Cloud Rising Building Map", Li Gonglin's "Five Horse Map", "White Lotus Society Map", Guo Xi's "Early Spring Map", "Stone Pingyuan Map", "Tree Color Pingyuan Map", "Panasonic Friends Map", "Xishan Visiting Friends Map", "Mountain Village Map", "Valley Map" and so on.
During the Northern Song Dynasty, Li Cheng's representative work "Reading the Stele Stone Map" was appreciated
Li Cheng, born in 919 and died in 967, was a famous painter of the early Northern Song Dynasty. He was originally from Chang'an, which is now Xi'an, Shaanxi, and his family was very prominent, his ancestors were once the imperial family of the Tang Dynasty, and his grandfather moved his family to Yingqiu, which is now Qingzhou, Shandong, in order to escape the war during the Five Dynasties period, so he was also known as Li Yingqiu. He was very good at painting landscapes, and once learned painting from the great painters of the time, Jing Hao and Guan Tong, and then through his own research and efforts, he finally formed his own unique style. The pen is thin and light, forming his characteristics of "meteorological neglect". It's extraordinary. A far-flung view of Duoping.
"Reading the Stele Stone Diagram", vertical axis, silk, ink pale color. Length 121.4 cm, width 105.4 cm. Northern Song Dynasty Li Chengzuo. It is now in the collection of the Osaka Municipal Museum of Art, Japan.
This picture is composed by the flat selection method, close-up view: oblique low slope, the foot of the mountain is thick and wide; medium view: a small slope of rocky soil grows a few large dead trees, and behind the right side of the tree stands a huge stone stele, in front of the monument there are two pedestrians, an old and a small pedestrian; the long view: for the undulating and misty hills, there seems to be an empty and endless field behind the small hills. In terms of artistic expression, the painter first outlines the mountain stone trees with thin lines, and then writes with light ink wrinkles, deepening layer by layer, moisturizing ink color, and thick and thick. In the painting, the objects and images are exquisitely shaped, strictly tailored, and the ink is heavy and beautiful, in a cold, desolate wilderness, a weathered old man riding a mule, under the guidance of a bookboy holding a wooden staff, looks up at the huge tombstone, the god turtle under the ancient stele looks up at the people, and the characters are immersed in quiet mourning, giving people a sense of sadness and solemnity.
During the Northern Song Dynasty, Li Cheng's "Jackdaw Picture Scroll" was analyzed
Northern Song Dynasty Li Cheng's "Jackdaw Picture Scroll", 27.1cm in length and 113.2cm in width, long scroll of ink on silk. This light ink painting snow ji yan forest, flock of crows, cold pond fading grass. There is no name in the painting, which is set as Li Cheng, and some people think that the style difference is too far, when it is the work of the early Southern Song Dynasty painting academy. Collection of Liaoning Provincial Museum.
This picture scroll depicts the scene of the crows in the pond and the forest after the snow in winter, which has a deep meaning in the landscape painting. Zhao Mengfu of the Yuan Dynasty called this figure "deep snow in the forest, forced cold, flocks of birds, and a state of hunger and frost, which can also be said to be able to do it", and his ideas and skills are highly respected. Although the depiction is very delicate, connoisseurs believe that it is a work in the painting academy of the early years of the Southern Song Dynasty.
During the Northern Song Dynasty, Li Cheng's "Qingluan Xiao Temple Map" was analyzed
Northern Song Dynasty Li Cheng's "Qingluan Xiao Temple Map", a landscape work colored with ink and pen on silk, is 111.4 cm long and 56 cm wide, and is now in the Collection of the Nelson Museum of Art in Kansas City, USA. The work depicts the landscape of the winter valley in a vertical and vertical format. The picture can be divided into three parts: upper, middle and lower, corresponding to the long-range, medium-range and close-up scenes respectively. Chinese landscape painting has the function of "lying down", allowing painters and viewers to travel through the mountains and rivers without leaving home, and the same is true for this painting.
During the Five Dynasties period, Li Cheng's "Cold Forest Plain Field Map" was analyzed
"Cold Forest Plain Field Map" 120 × 70.2 cm Taipei National Palace Museum. It is a fine silk painting created by Li Cheng, a painter of the early Song Dynasty of the Fifth Dynasty, depicting the middle of the middle of the winter plains, the pavilion of the long pine, the ancient cypress, the branches intertwined, the old roots entangled, the twists and turns of the river, like freezing and solidification, and the smoke and mist sky to the sky. This picture is exactly the scene that Li Cheng is best at showing.
The pine needles in "Cold Forest Plain Field Diagram" have straight lines and great power. Painting pine leaves is called holding needles, the pen is not stained, and it has its own glorious color. But the most distinctive thing about it, I think, is the use of curves. The branches depicted in Li Cheng's "Cold Forest Plain Field Map", regardless of thickness, are curved, maximizing the strength of the lines. The branches of Guo Xi's "Early Spring Diagram", which influenced his students, were also curved lines, called "crab claws". Curves full of strength are the most beautiful lines in Chinese painting.
During the Northern Song Dynasty, Fan Kuan's "Map of Xiao Temple in the Snow Mountain" was analyzed
Fan Kuan (950-1032), a master painter of the Song Dynasty, also known as Zhongzheng, was a Han Chinese, a native of Huayuan, Shaanxi (present-day Yaozhou District, Tongchuan, Shaanxi). He is good at painting landscapes and is one of the "Three Great Masters of the Northern Song Dynasty" for landscape painting.
Fan Kuan lived in seclusion in Zhongnan and Taihua, made up his mind about the scenery, wrote the true bones of the mountains, and became a family of his own. Its painting peaks are thick and dignified, imposing and majestic, which makes people feel majestic and dangerous. The pen is strong and powerful, with many raindrops, watercress, nails, the top of the mountain is good for dense forest, often placed large rocks at the water's edge, and the houses are dyed black. It's also wonderful to be a snow scene.
Surviving works include "Xishan Travel Map", "Snow Mountain Xiao Temple Map", "Snow Scene Cold Forest Map" and so on.
Song Fankuan Snow Mountain Xiao Temple Figure Vertical Axis, Silk, Light Color, Length 182. 4 cm, width 108. 2 cm. The old collection of the Forbidden City is now in the National Palace Museum in Taipei.
Fan Kuan's landscapes are mostly snow scenes, and he should be the earliest to express snow scenes in landscape paintings. This is a representative work of his depicting landscapes in the snow, and the composition is different from other works. The mountain stone trees in the painting appear directly in front of the frame, leaving no space, so that the viewer feels that there is an immersive feeling of cold. Surrounded by mountains, pointing straight to the sky, deep ravines, dense forests hide Xiao Temple, and in the thick rocks, "the stream is deep and empty, and the water is like a sound." The mountains stacked from near and far, "folding and falling", the cold trees under the mountain are strong and strong, like iron brooms, showing Fan Kuan's exquisite skills of "writing the true bones of the mountain" and "conveying the gods with the mountains". The poetry hall has Wang Duo's inscription "Bo Da Qi'ao, Qi Bone XuanMiao, with Jingguan Dong Juyun one of the machines, and the Spirit Of God Mai, especially the ancient and modern first".
This figure has no paragraph, and Wang Duo's title is Fan Kuan's work. The picture paints the mountains and deep valleys under the cover of snow, the dense forest on the top of the mountain is overgrown with cold trees, the mountain streams are arranged with ancient temples, cold springs and travels, and the ink is used to dye the dark sky, and the mountain stone pen is not much and the weather is majestic, which still shows Fan Kuan's exquisite skills of "writing the true bones of the mountains" and "conveying the gods with the mountains". On the painting is the Qing Jiaqing Zhuxi, and the poetry hall has wang Duo's inscription "Bo Da Qi'ao, Qi Bone XuanMiao, with Jingguan Dong Juyun one machine, and Ling Yun Xiong Mai Yun is the first in ancient and modern times".
During the Northern Song Dynasty, Fan Kuan's "Journey map of Xishan Mountain" was analyzed
Fan Kuan (Northern Song Dynasty) Xishan Travel Map (color on silk) 206× 103 cm Collection of the National Palace Museum, Taipei
The towering high mountain stands on the top of the mountain, standing in the middle of the picture, occupying one-third of the picture, standing on top of the sky and the ground, and standing on the wall, giving people a distinct impression. The top of the hill is overgrown with dense forests, resembling fungus, and surrounded by clusters of mountains on both sides. There are slightly exposed buildings in the woods, and a group of caravans between the hills and rocks are hurrying to the road, and in the quiet mountains, it seems that people can hear the sound of water and donkey hooves. The cascading waterfall cascades thousands of feet, the sound of the stream reverberates through the valley, and the description of the scenery is extremely majestic and realistic. The full width of the mountain stone is densely rained with ink marks and jagged rock wrinkles, depicting the feeling of thick and vigorous mountain stones. The shade of the tree in the right corner of the painting frame has the word "Fan Kuan".
During the Northern Song Dynasty, Fan Kuan's "Snow Scene Cold Forest Map" was analyzed
Song Dynasty, Fan Kuan's "Snow Scene Cold Forest Map" silk, ink, length 193.5 cm, width 160.3 cm. Originally from the Yuanmingyuan Collection, it is now in the Tianjin Municipal Museum.
"Snow Scene Cold Forest Map", magnificent, far-reaching realm, moving, vividly depicts the poetic scene of mountains and rivers and forest sculptures after the snow in Qindi, which is one of its representative works. The pen and ink are thick and moist, and the layers are clear, and the rubbing and rendering are used at the same time. He outlines the mountain stones and forest trees with thick lines, which are strong and rigorous, and express the texture of the mountain stones with fine "raindrops". When rubbing and dyeing, pay attention to leaving blank space on the slope and the top of the mountain to emphasize the snow. In addition, attention should also be paid to drawing a feeling of dense trees and sharp branches.
This picture group of peaks stand on the screen, the mountains are towering, the deep valley is cold, and the Xiao Temple is hidden; the ancient wood forest, the banqiao cold spring, and the flowing water winds down from afar. It truly and vividly shows the majestic momentum of Qinlong Mountain and River after the snow. The pen and ink are thick and moist, wrinkled and stained, the chips are clear and integrated, and the fine raindrops are wrinkled in the thick brush outline of the vigorous and upright, showing the texture of the sharp branches of mountain stones and dead wood. This figure has historically received widespread attention. Therefore, it is particularly rare in Fan Kuan's limited works. The four characters of the famous "Chen Fan Kuan System" are hidden in the foreground tree, and it is not easy to identify because of the long-standing handwriting, which is an important work representing the Fan Kuan school in Song painting, and it is recognized by everyone. According to the seal of the collection, it can be known that after the Qing Liang Qingbiao, Anqi Jianzang, Qianlong entered the Inner House, and in 1860, when the British and French combined forces plundered the Yuanmingyuan, they were exiled to the people.
This picture uses three large vertical drawings of silk to write about the mountain forest meteorology after the winter snow in the north. The painting shows mountains with heavy walls, imposing, deep valleys and dangerous paths, dead wood and cold ke, looming temples, dense forests at the foothills of the water, and a village house behind them, one person looking at the door. The whole painting is arranged in a strict and orderly manner, and the pen and ink are simple and thick. The painter uses the "grab the brush" brushwork, dense dots to hold clusters, and participate in short strips of brushwork to portray the texture of the northern mountain stone, so that the picture is thick and moist, calm and elegant. Whether this figure is Fan Kuan's true pen is still controversial among connoisseurs, but it is recognized as a masterpiece in the Fan school of the Northern Song Dynasty.
During the Northern Song Dynasty, Mi Fu's "Cloud Rising Building Map" was analyzed
Mi Fu (1051-1107) was a Northern Song Dynasty calligrapher, painter, and theorist of calligraphy and painting. His ancestral home was Taiyuan and he moved to Xiangyang. Talented, scattered, and clean. Obeyed by the Tang Dynasty, more than a strange stone. The world number is mi bump. Calligraphy and painting are a family of their own. Can paint dead wood bamboo stone, new ideas, but also can paint landscapes, created as ink cloud mountain ink drama, smoke clouds, plain and innocent. Good poetry, calligraphy, fine identification. He is good at seals, subordinates, letters, lines, grass and other calligraphy styles, and is good at copying the calligraphy of the ancients, reaching the degree of chaos. One of the four families of song. He once served as a school secretary, a doctor of calligraphy and painting, and a member of the ceremonial department.
Mi Fu's "Clouds Rising Building" is in the collection of the Freer Gallery of Art in Washington, D.C
Mi Fu is best at depicting jiangnan landscapes in the way of pen and ink dot dyeing, this piece of "Yunqi Lou tu" is a typical "Mi's Yunshan" tradition, in terms of technique, using the tradition of Jiangnan painters Dong Yuan and Juran, using moss ink dots and smudging to paint curved mountains, so that the landscape image is integrated in a fog, especially with lyrical charm.
In the middle of the picture, there are one or two courtyards at the top of the hill, overlooking the river below, and the distant view is a mountain with smoke and clouds. This is reminiscent of Mi Fu located in Runzhou
The close-up scene also uses a similar ink dot diagram to write two rows of pine wood before and after, the ink color is slightly thicker, and between them and the distant mountains, the space is still separated by the technique of leaving smoke and clouds, which is in contrast with the ethereal meaning of the whole picture expressing the sense of spatial hierarchy. The style of its mountain wood and tree stone seems to be traced from Dong Yuan. In addition, Mi Fu "takes the ancient and modern phases of landscapes", that is, the fusion of ancient techniques and the understanding of natural landscapes into one family, with a unique style, so it is called "rice".
This painting is also "Rain Map when the Sky Falls", the painter skillfully uses the technique of "smoke cloud cover" to separate the sense of space between the distant mountains and the pine wood, especially the rounded mountain head of the ink point blended, which can be seen that the ink on the top of the mountain is thick and the shadow is expressed, and the smoke cloud below the mountainside is not faintly inked, as if the continuous mountains are in and out of the clouds, ethereal and distant.
Appreciation of Li Gonglin's "Five Horse Diagrams" during the Five Dynasties period
Li Gonglin (1049-1106), courtesy name Boshi, was a native of Shucheng County (present-day Shucheng), Lujiang County, Northern Song Dynasty. Born into a famous family, the family has a lot of ancient artifacts and famous paintings, has a lot of knowledge since childhood, good ancient goodness, many strange characters, since the Xia Shang Zhong Ding Zun Yi can be tested to determine the world, distinguish the knowledge. Longer than poetry, the line of writing has a Jin style. Throughout his life, he has worked hard and painted countless paintings, such as figures, historical facts, interpretations, scholars, landscapes, kurama horses, animals, flowers and birds, and is omnipotent and exquisite. Draw horses over Han Gan. It can gather the strengths of all the families, get its great achievements, teach the law naturally, boldly innovate, become a family of its own, and be respected by future generations as the first big stroke and the hundred generations of masters. His works include the "Five Horse Diagrams" volume, which is now in the National Palace Museum in Taipei, the "Linwei YanMu Fangtu" volume, the "Weimo YanjiaoTu" in the National Palace Museum, the "Chibi Map" and the "Shuchuan Sheng Overview Map" flowed to the United States, and the "Lotus Society Map" axis (Southern Song Dynasty facsimile) was stored in the Nanjing Museum.
Li Gonglin's Five Horse Figures Ink and pencil on paper, 29.3 cm in length and 225 cm in width, are now in the National Palace Museum in Taipei
"Five Horse Diagrams" is Li Gonglin's representative work, ink and pencil on paper, 29.3 cm in length and 225 cm in width, no name. The picture depicts five horses from the Western Regions paying tribute to the Northern Song Court in a white depiction, each led by a Xi official. After each horse, there is an inscription of Song Huang Tingjian, which refers to the age of the horse, the time of tribute, the name of the horse, the stables received, etc., and is called the work of Li Boshi (Gonglin). The five horses each have a good name, which is reverie.
The painting has no author name, and is divided into 5 paragraphs, the first 4 paragraphs have notes from Huang Tingjian of the Northern Song Dynasty, the back paper has huang shi bao, and there is a zeng lu of the northern song and early Southern Song dynasty, saying that Huang Tingjian was written in the fifth year of the Yuan Dynasty (1090). There are inscriptions of the Qianlong Emperor in two places on the canvas, and there are 20 prints such as "Leshoutang Treasure Collection" in the Qing Dynasty.
According to the Huang inscription, the five horses were the crested horse, the brocade, the good head red, the zhao ye bai, and the manchuan flower, all of which were male horses, all of which were tributes to the western region, and belonged to the Song court's Zuo Qi Ji Yuan and the Zuo Tianqi Supervisor. The first three horse controllers are the images and attire of the ethnic minorities in the Western Regions, with different postures, no similarities, and the beauty of their spiritual temperament is also slightly different, some are weathered and frosted, cautious and cautious; there are young and vigorous people who take the reins and stride forward; and there are those who wear official uniforms and are arrogant. The shape of the horse varies from breed to breed, with different sizes, fat and thin, high and low, and coat color, but the temperament is gentle and peaceful, indicating that it has been tamed and tamed. The subject matter of Da Fan's painting of the gongma, the appearance and gait of the horse are like this.
Part of Li Gonglin's "Five Horse Diagrams"
On the basis of white painting, the painter slightly applies light ink rendering, which is supplemented by the expressiveness of line drawing, making the artistic effect more perfect, reflecting the aesthetics of literati painting that pays attention to simplicity, elegance and indifference. Since then, almost all white-painted figure paintings have originated from Li Gonglin's white-painted art.
The five horses were strong, with different coat colors and postures, but they appeared to be tame and extremely docile. The five Xi officials, because of their different identities, were arrogant, or arrogant, or arrogant, or cautious, or old-fashioned, and they all raised their hands and feet, all of which were appropriate. Although Li Gonglin was introduced by Wu Daozi, his line drawing kung fu can be called "blue out of blue and better than blue". When you look at the silhouette of the horse, you seem to feel its skeletal muscles, and after a little baking, you seem to be able to feel its fur and markings. The facial portrayal of the character is very simple, but the structure is extremely accurate, the appearance is extremely vivid, and between the eyebrows, not only can you see their age, identity, ethnicity, and even from the expression can peek into their hearts. The pleats of the clothes are naturally the most beautiful part of the line drawing, and the viewer opens the picture scroll, and is immediately attracted by these smooth and rounded and condensed lines, and cannot but be impressed by the exquisite shape. Later generations pushed it as the first in Song painting.
During the Northern Song Dynasty, Li Gonglin's "White Lotus Society Map" was analyzed
White Lotus Society Diagram (facsimile) Northern Song Dynasty Li Gonglin Original Nanjing Museum Collection
It depicts the story of the Eastern Jin Dynasty Yuanxing first year (402), the monk Huiyuan and Liu Yimin and more than 100 other colleagues founded the White Lotus Society at the Shandong Lin Temple in Lushan, Jiujiang, Jiangxi, focusing on the recitation of The Buddha as a practice method, and a total of one period of rebirth in the Pure Land of the West. This vertical axis is expanded from bottom to top.
This picture is shown in this way: Tao Yuanming was carried back due to a leg disease; Xie Lingyun arrived on horseback; huiyuan and Lu Xiujing, the head of the society, met and laughed; His Holiness Buddha Yeshe and Buddha Sat on the rock; monks Tan Chang, Dao Fang, and Zhou Xuzhi did Buddhist things in front of the statue riding the golden lion; monk Huiyong, Hui Zhi, Hui Rui, Liu Yimin, and Zhang Yi sat around the stone platform to turn over the scriptures; monks and Zong Ping returned from a mountain tour with their staffs; monks and monks sat on the bed according to Hu bed and several sayings, monks Tan Jie and Dao Jing exhibited and sat on the bench, Lei Cizong sat on animal skins, and performed the Bai Yu Listening Method; zhang Aimin Mao foot watched the waterfall.
During the Northern Song Dynasty, Guo Xi's "Early Spring Map" was analyzed
Guo Xi (1023 – c. 1085), an outstanding landscape painter of the Northern Song Dynasty, was a native of Wen County, Henan (now part of Henan). Xi Ning (1068-1077) was a school of art in the Academy of Graphic Arts, and later served as the head of the Hanlin Dynasty, and the era of vigorous creative activity was the reign of Emperor Shenzong of Song, Xi Ning and YuanFengjian (1068-1085).
Guo Xigong paints landscapes and cold forests, Zong Li Chengfa, mountain stones use "cirrus clouds" or "grimace" methods, painting branches like crab claws drooping, pen strength is strong, ink is clear. The arrangement of the penmanship is unique, in the early years of skillful work, in the later years of the pen is strong, often in the High Hall Subi as a long pine giant tree, Huixi cliff, rocks and mountains, peaks and peaks, clouds and smoke change.
The axis of "Early Spring Map" and the axis of "Guanshan Spring Snow Map" are both stored in the National Palace Museum in Taipei. He is the author of the painting theory "Lin Quan Gao Zhi", which was compiled by his son Guo Si, and was the first work in China to completely and systematically expound the laws of landscape painting creation.
Guo Xiyu worked in Hanlin, and taught Li Cheng. His representative works are "Pingyuan Tu of Qiao Shi" and "Early Spring Map".
The axis of the "Early Spring Map" is stored in the National Palace Museum in Taipei.
The main scenes of "Early Spring Map" are concentrated on the central axis, and the composition of the panoramic combination of high, flat and far-reaching, expresses the majestic momentum of the northern high mountains and ravines in early spring, rendering the quiet and vibrant atmosphere of the picture.
"Early Spring Map" echoes in the subtleties, the big opening and closing places look forward to each other, the momentum is full of momentum, and the interest is full of interest, creating a realm of "feasible", "hopeful", "tourable" and "habitable" for the viewer.
"Early Spring Map" depicts the scene in the mountains where early spring is coming: winter comes to spring, the earth recovers, and the mountains float with a faint mist, sending out the message of spring. In the distance, the peaks are towering and majestic; the nearby round hills are stacked with rocks; the mountain springs flow down and merge into the river valley, and the bridge road tower view is hidden among the trees on the cliffs. People who move around the water's edge and in the mountains add to nature's boundless vitality. The mountains and rocks are depicted with trees, either straight or straight, sparse or dense, with different postures. The trunk is flexible with a pen, and the tree has many insect branches, and there are many small branches like eagle claws and crab claws on the branches.
There are three large areas of water that appear in the painting, one in the upper left and left and right below the painting, in addition to a number of springs and waterfalls. There is a lake on the left and right sides of the picture, and there are fishermen who stop their boats and land. On the left, a woman holds a baby in her arms and a yellow-haired child in her hand, and the woman looks back at the man behind her who is shouldering the burden, while the boy seems to be attracted by the black puppy in front of her and steps forward, a scene of happy spring return. On the right side of the picture are two men who are preparing to land, the man on the left is holding a bamboo penny in his hand, looking up as if he is staring at the mountain in front of him, which is the "high and far" of "from the bottom of the mountain to the top of the mountain"; the man on the right is looking down at the fishing net, and the fishing basket and other objects are faintly recognizable on the boat, and the fisherman of the Spring River Plumbing fisherman is prophetic. Above the two men, there are three stacks of waterfalls, which are the clear streams of spring thawing, and the source of living water is a sign of vigorous business. Unlike the many dead branches in other parts of the picture, the trees here have sprouted young shoots, and although they do not have the peach willows that are common in the spring of Jiangnan, they can smell a hint of warmth from winter to spring from the spring fog glowing from the mountains.
The third body of water in the painting is located on the left side of the painting between the blurred distant mountains and the layers of light ink rendering of the sky, with a spring of water slowly flowing down, so that the viewer's eyes with the flow of water for the walking on the boardwalk and the figure of the woodcutter, the three of them interact with the look back of the man in front. It is through their footsteps into the mountain that we "peek from the front of the mountain to the back of the mountain" and get a "far-reaching" visual effect. Looking at the picture, there are three groups of nine people who are active, all of which show the smallness of people and the greatness of the mountain.
This painting depicts the melting of snow, the change of clouds and smoke, the revival of the earth, the branches of grass and trees, and a thriving early spring scene.
During the Northern Song Dynasty, Guo Xi's "Pingyuan Map of The Stone" was analyzed
Silk, ink, length: 120.8cm, horizontal: 167.7cm, now in the National Palace Museum, Taipei
The picture is close-up, the stream is shallow, the rocks on the shore are exposed, the trees on the stone are a clump, the branches are curved, some leaves are gone, and some draw old leaves, rendered with light ink. In the distance, the cold smoke is green, the wasteland is reckless, the mountains are lined up like a barrier, and the sky is clear and dustless, which is a scene of late autumn.
In Guo Xi's theory of landscape painting, he advocates going deep into the real mountains and real waters as a prerequisite for observation and experience. In his in-depth physical observation, he employs a contrasting approach to observation. The "Pingyuan Tu of the Stone" depicts the late autumn in the north. From comparative observation, he realized that "the mountains of the northwest are thick and thick," "its mountains are piled up, coiled and continuous, and constantly thousands of miles away, and the jieqiu has a top and a peak, and it is outstanding in the wilderness of the four clouds." "The stones and distant mountains in the painting reflect these characteristics. The use of cirrus cloud furrowing to express the thickness and coiling of the northern landscape is Guo Xi's creation. And autumn, his feelings are "Akiyama is clear and as makeup", "Akiyama is clear and pure to shake people solemn", there is no depression and sadness in the painting, from the momentum of the composition, the sharpness of the pen, giving people a sense of solemnity, solemnity, and purity. In particular, the meandering stream, clear and fresh, not irritated, and clear and shallow, is associated with the stones of the calendar, giving people the feeling of "falling out of the water". This late autumn scenery is full of charm and is difficult for ordinary painters to detect and express.
During the Northern Song Dynasty, Guo Xi's "Tree Color Pingyuan Map" was analyzed
Northern Song Dynasty Guo Xi "Tree Color Pingyuan Map", silk, 32.4cm in length, 104 .8cm in width, collection of the Metropolitan Museum of Art in New York, USA.
During the Northern Song Dynasty, Guo Xi's "Panasonic Huiyou Map" was analyzed
Usually, good works of art can take the creator to a better place and a better life. Guo Xi was no exception, and he who painted so well was soon favored by the emperor in the capital. Emperor Shenzong of Song specially made him an official, and as soon as he had time, he would invite Guo Xi to the palace to paint.
During the Five Dynasties period, Guo Xi's "Xishan Visiting Friends" was appreciated
Xishan Visiting Friends Picture Silk, ink pen, length: 96.5 cm, width: 46.3 cm Collection of Yunnan Provincial Museum
This painting depicts a landscape in late autumn. The mountains rising from the clouds, the clear streams, the boulders, the long pine trees, dotted with gaoshi who are looking for friends, show the Yaxing of the forest spring. At the top right of the canvas there is the author's letter "Chen Guo Xi" three characters, should be in the painting academy to do the work, this picture pen and ink Xiu Jin chapter method is strict, the age of the drawing should be before the "Early Spring Map", is the early works of the existing Guo Xi's paintings.
Appreciation of Guo Xi's "Mountain Village Map" in the Five Dynasties period
"Mountain Village Map" Silk, light color, length: 109.8 cm, width: 54.2 cm Nanjing Museum
This picture is interspersed with villages and secluded life in the summer mountain landscape. In the middle of the standing is a majestic giant peak, the mountain is strange and dangerous in the smoke, below it is a canyon between two mountains, the lower flat area is built with mountain villas and pavilions, the foothills are shallow and the sand flat bank has fishing boats moored, the landscape is dotted with sedan taxis and the fishermen and mountain people of The park, although there are only a few strokes, but the characters' expressions are dynamic and jump on silk. Although this picture has no knowledge, the cirrus-like mountain stones and strong brush and ink are Guo Xi's true colors, painting the lush forests of the mountains and mountains, showing the style of "the summer mountains are green and dripping".
Appreciation of Guo Xi's "Valley Map" in the Five Dynasties Period
"Valley Map" is a vertical axis, silk, 168 cm in length and 53.6 cm in width in the collection of the Shanghai Museum
The "Valley Map" is a vertical axis, silk, 168 cm in length and 53.6 cm in width. On the narrow vertical frame, the painter represents the deep mountains and ravines under the snow covered from an overhead angle. The picture is a lofty mountain; In the middle scene, on both sides are steep and steep cliffs, in the middle is a deep canyon, snow fog, smoke and lan fill the mountains, showing a high, strange, dangerous, deep and mysterious realm. The white snow creates a desolate and desolate atmosphere for the picture. Trees that grow resolutely in the snow show tenacious vitality. In the distance, lush trees are clustered on the top of the mountain, clustered into a large area. Several strange trees grow obliquely on steep cliffs. The dark tree body is particularly conspicuous against the white snow. The leaves have fallen, and the bare branches sway in the wind like crab claws or antlers. The trees on the screen either stand proudly, or bend down, or lean down, as if to show the viewer their dignity and cold, fighting the wind and snow. Looking down along the deep stone valley, I did not expect that there was spring water slowly flowing out of the stone in this icy snow. A trickle of clear water washes across the frozen lake. Flowing water, life is endless, and it is impossible for natural things to be crushed by ice and snow. In the works, the majestic snow-capped mountains, deep ravines, and dry trees seem to convey the silence of "the winter mountains are bleak and like water"; The vigor of the branches, the muddy trunks of the old trees, and the flourishing of the woods seem to be trying to eliminate the burial of the winter snow and eliminate the drowsiness of the winter snow; The sound of the weeping spring seems to be calling for the earth to wake up quickly...