Yuan Yao (born and died unknown), Qing Dynasty painter, zi zhaodao, a native of Jiangdu (present-day Yangzhou, Jiangsu). Nephew of Yuan Jiang. Painting landscapes, pavilions, and boundary paintings. The painting style is neat and gorgeous, similar to Yuan Jiang. Its fine products are better than those of Yuan Jiang. It is also very good to be a flower and bird. Qianlong's eleventh year of "Twelve Views of Lishan Mountain to Avoid Summer", Qianlong's forty-fifth year of "Afang Palace Map", now in the Nanjing Museum. It was about the middle of the Qianlong period. Not only the green and green landscapes, the pavilion works are famous, and the flowers and birds he paints are also very good. There are more works circulating than Yuan Jiang. And often drastically. The paintings of "View of the Waterfall" and "View of the Qiujiang Building" are exquisite in terms of layout, rendering, and even point scene characters. There are large and exquisite works such as "Afang Palace Map" and "Twelve Views of Lishan Summer Escape". The Twelve Views of Mount Riki is now in Japan.
"Four Screens of Yuan Yao's Landscape and Water" is a color painting created by Yuan Yao in the Qing Dynasty.
It is now in the Palace Museum
original
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The four screens are titled" Spring Terrace Bright Moon, "Stratosphere Waterfall", "Wansong Diecui", "Pinggang Yanxue", and "Yuan Yao Painting on Hanshang in Midsummer of Pengshu". "钤" Yuan Yao", "Zhao Dao" yin 2 parties.
The group painting screen is a work by Yuan Yao in his later years, which is painted as four scenic spots in the northern suburbs of Yangzhou, all of which are sketches. "Spring Terrace Bright Moon" paints a pleasant spring color, the branches of the lake shore are new green, the weeping willows are yiyi, the pen is delicate and beautiful, and the color is light and elegant. "Advective Waterfall" paints the shade of tall trees in summer, and the lush forest is dyed with a thick ink color, and the flowers are lush. "Wansong Stacked Cui" writes the meaning of Xiao Ser in autumn, the composition is flat and clear, the distant mountain stones are outlined in stick figures, the forest is sparse, and only the evergreen pine trees are still stacked. "Pinggang Yanxue" paints the winter earth covered with snow, the old plum is independent, the look is dashing, the branches are sophisticated and vigorous with a pen, and then dyed with rouge and white powder dots. The painter placed the pavilions and pavilions and famous gardens on both sides of the Slender West Lake in the nature of the four seasons of spring, summer, autumn and winter, and used the exquisite techniques of traditional boundary painting to truly display the prosperous scene of Yangzhou's "two banks of flowers and willows all by the water, all the way to the mountain" in front of the viewer.
The book "Addendum to the Painter" states that he "can still abide by the family law in the landscape and pavilions". It is a painting of landscape pavilions and inherits the painting methods of the Tang and Song dynasties and the Ming Dynasty Qiu Yingqing green landscape painting. The pen and ink are strictly and meticulously arranged, and the colors are bright and rich, which is the representative figure of the Qing Dynasty boundary painting with Yuan Jiang.
Appreciation of works
appreciative remarks
"Mountain Rain Coming" axis, Qing, Yuan Yao painting, silk, color, length 195.1cm, horizontal 116 .8cm.
This painting is self-titled: "The mountain rain is about to come and the wind is full of buildings, Yuan Yao is intentional." "钤" Yuan Yao's seal and "Zhao Dao's" seal 2 sides.
This painting takes the poetic meaning of the Tang Dynasty poet Xu Hun's "East Tower of Xianyang City", and the original poem is "A high city is sad, and the crab leaves are like Tingzhou." The stream and clouds rise at the beginning of the sun and sink the pavilion, and the mountain rain is about to come and the wind fills the building. Birds under the green turnip QinYuan sunset, cicadas singing yellow leaves Han Palace autumn. Pedestrians do not ask about the events of the year, the country came to the east to wei water flow. "The picture depicts the building under the dark clouds and fierce winds before the rainstorm came. Dark clouds are rolling in, and the curved trees, low crops, fluttering boats, farmers against the wind, and distorted, towering and dangerous mountain rocks add dramatic tension and internal tension to the picture. The wind is invisible, but the painter creatively uses dynamic brushstrokes to intersperse the elegant and transparent static pavilions in the dynamic landscape, and the many elements that make up the picture are contrasted and harmonized, achieving a balance between movement and static.
Landscape Atlas 27cm×33cm
Xunyang Rao Figure 64.5cm×79cm
AfangGong figure 180.2cm× 134.5cm
Main works: Qianlong's eleventh year "Twelve Views of Lishan Mountain Avoiding Summer", Qianlong's forty-fifth year "Afang Palace Map", now in the Nanjing Museum. It was about the middle of the Qianlong period. Not only the green and green landscapes, the pavilion works are famous, and the flowers and birds he paints are also very good. The paintings of "View of the Waterfall" and "View of the Qiujiang Building" are exquisite in terms of layout, rendering, and even point scene characters.
In middle age, Yuan Yao created a masterpiece "Penglai Wonderland Picture Screen", which is set against the background of the legendary Penglai Wonderland, and then imagined the magnificent scenes and magnificent scenes of mountains, rivers, lakes and seas swallowing the sun and the moon.
"Penglai Wonderland Picture Screen" one to three screens
"Penglai Wonderland Picture Screen" four to six screens
"Penglai Wonderland Picture Screen" seven to nine screens
"Penglai Wonderland Picture Screen" 10 to 12 screens
This set of picture screens totals 245*606cm, a total of 12 screens, collected in Tianjin Museum. The picture screen is painted with clouds and mist, the sun and moon rise and float, and the immortal qi flutters; the mountain is huge and majestic, the pavilions are spectacular and exquisite; the sea surface is choppy, the momentum is magnificent, and the view is shocking.