Li Cheng's "Qingluan Xiao Temple Map" part
Li Cheng (919-967), painter of the early Song Dynasty. The word Ham Hee. Originally from Chang'an, his ancestors were from the Tang Dynasty, and his grandfather moved to Yingqiu (present-day Qingzhou, Shandong) during the Fifth Dynasty, so it was also called Li Yingqiu. Good at painting landscapes, mastering Jinghao and Guan Tong, after the division of creation, became a family of its own.
"Riding a Donkey in the Cold Forest"
"Cold Forest Riding Donkey" light color on silk Length 162 cm Width 100.4 cm
Collection of the Metropolitan Museum of New York, USA
Paint more of the countryside and the vast landscape. Pingyuan Cold Forest, the painting method is concise, the weather is sparse, it is easy to use light ink, it is known as "cherishing ink like gold"; painting mountain stones is like rolling clouds, which is called "Cirrus Cloud"; painting HanLin creates the "crab claw" method. It had a major influence on the development of landscape painting in the Northern Song Dynasty, and was known as the "first in ancient and modern times" during the Northern Song Dynasty. Surviving works include "Reading stele stone map", "Hanlin Pingye map", "Qingluan Xiao Temple map", "Maolin Yuanxiu map" and so on.
Part of Li Cheng's "Drawing of a Donkey Riding in the Cold Forest"
This "Drawing of a Donkey Riding in the Cold Forest" is the old collection of Zhang Daqian's Dafeng Hall, which depicts literati riding a donkey in the countryside on a large vertical axis, accompanied by child servants before and after. Painting ancient pines has the potential to soar over the clouds, and there are dead trees and cold streams in between, which is quite interesting. At the poetry hall, Zhang Daqian inscribed it with the title of "Dafeng Hall provides for the world's first Li Chenghua". At the lower end of the canvas, there are long inscriptions, among which there are clouds: "Mi Yuanzhang's "History of Painting" YunBaoyue master Li Cheng four paintings, a talent on the road riding a horse, a child followed, Qingxiu like a Ma jie painting "Meng Haoran Riding a Donkey", this cloud riding a horse, a moment of misreading. "And clouds" pine branches are strong, pine leaves are lush and yin, thorny small wood has no redundant pen, not as a dragon and snake noble god, that is, this figure also. ”
Part of "Reading the Stele Stone Map"
Li Cheng's "Reading the Stele Stone Diagram" (the character in the picture is painted by Wang Xiao)
"Cold Forest Plain Field Map" ink painting on silk, Collection of the National Palace Museum in Taipei
Li Cheng"Shi Jinghao did not see a similarity, and Shi Guan Tong had similar leaves and trees. And because of his unique creative talent, he had the greatest influence in the "Three Mountains and Rivers" of the Song Dynasty. Li Cheng's outstanding contribution to landscape painting lies in his ability to express the rich changes in the terrain of mountains and rivers and seasonal climates, and he has a sense of sustenance. The image of "Cold Forest Pingyuan" created by him has stood out from the magnificent appearance of Jingguan. This painting depicts two long pine trees, mixed with dead branches and cold trees, pine branches as crab-shaped, the upper right corner has the Song Huizong inscription "Li Chenghan Lin Pingye" six characters, in front of the "Royal Book" half seal, the upper end of the painting has Qianlong inscription poems and collection seals.
Song Li Cheng Qiao Song Ping Yuan Tu Japanese Cheng Shu Tang Bunko Collection
Five Generations - Li Cheng - Qingluan Xiao Temple
Tinted silk Length 111.4 cm Width 56 cm
Collection of the Nelson Museum of Art, Kansas City, USA
"Qingluan Xiao Temple Map" paints the scenery of the winter valley in a straight format, in which the peaks stand tall, the waterfalls fly down, the temple towers and pavilions are built on the Zhongjing Hills, and the waterfront of the foothills is built with water pavilions, huts, banqiaos, and there are traveling figures in between. The mountain stone is majestic and beautiful, and the pen used for dyeing is varied, and it has both the majesty of Guan Tong and the clarity of Li Cheng. The painter paints the dead woods of the cold forest with sharp brushes, and the scenery is quiet and quiet, although it is not a scenery of Pingyuan, it still has the characteristics of Li Cheng's painting style. It is estimated that this figure was completed in the early Northern Song Dynasty, at least the work of Li Cheng's school. Song's "Xuanhe Pictorial Notation" has a "Xueji River Map" I don't know if it is this map.
Maolin Yuanxiu Tu - Full Volume Northern Song Dynasty Li Cheng Ink on Silk
Length 45.4 cm Width 141.8 cm
Collection of Liaoning Provincial Museum
Maolin Yuanxiu Figure - Left Part
"Maolin Yuanxiu Map" Close-up light boat mooring, pedestrians and horses passing between; The distant palace is densely packed, the shadow of the tower looms, and the city is not far away. Flying spring water mouth, as if smelling its sound, as if it is immersive. Li Cheng's art had a great influence on later generations of landscape painters, and the painter who pushed the Li Cheng school to a new stage was Guo Xi, a famous artist in the painting academy during the Song Shenzong period. This painting has been collected by celebrities such as Jia Xiangdao in the Southern Song Dynasty, Xian Yushu in the Yuan Dynasty, and Yuan Xiang yuanbian in the Ming Dynasty, and later entered the Qing Palace Inner Palace, with more than 100 collection imprints.
Maolin Yuanxiu map - middle part
Li Chengduo painted a landscape of the countryside and the vast expanse. Many works in the cold forest of Pingyuan, the painting method is concise, the brush gesture is sharp, it is easy to use light ink, and it is known as "cherishing ink like gold"; painting mountain stones is like a rolling cloud, and later generations call this expression technique "Cirrus cloud". Mi Fu described Li Cheng's paintings as "light ink like a dream fog, stone like a cloud", and this image of "stone like a cloud" became an important style mark for future painters to paint with Li Cheng's brushwork. Together with another landscape painter, Guan Tong, he and Fan Kuan were known as masters of the "Three Dingzhi" and "Hundred Dynasties Standard". I learned more about his painting method. During the Northern Song Dynasty, there were very few paintings, and Mi Fu even put forward the theory of "no Li theory".
Maolin Yuanxiu Figure - Right Part
Li Cheng had a great influence on the development of landscape painting in the Northern Song Dynasty, and there were many teachers, including Xu Daoning, Li Zongcheng, Zhai Yuanshen, Guo Xi, Wang Yi, Yan Wengui and so on.
Yan Wengui's "View of Jiangshan Lou"
Qing Wang Yi's "Imitation of Li Chengxue Landscape Map"
Wang Shimin, a famous collector at the end of the Ming Dynasty, praised Yuan Shu in the "Inscription of the Smoker Inscription" in the "Inscription of The Self-Painting of Guan Junjun Yuan Huanzhong": "Huan Weng Makes Jun, both a worker and a rich collection. Li Yingqiu was the ancestor of the Scholars, and The Minang Palace was the ancestor of Jingjian, (Yuan Keli's son Yuan Shu) so that the names of Jing, Guan, Dong, and Juzhen returned to his home. ”
Northern Song Dynasty Li Cheng Jackdaw Picture Scroll (Painting Heart) on Paper 21.7X117.2 Forbidden City, Beijing
Northern Song Dynasty Li Cheng Jackdaw Picture Scroll Partial
Northern Song Dynasty Li Cheng Small Hanlin Picture Scroll
Northern Song Dynasty Li Cheng Xiao Hanlin picture volume partial
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