Dong Yuan painted the lush and misty rain in the south of the Yangtze River. The Qilu scenery painted by Li Cheng is plain and sparse, with clear trees; Fan Kuan painted the mountains and rivers in Guanzhong, which are vigorous and vigorous. Three schools and three styles have formed the three main streams of landscape painting in the Northern Song Dynasty, all of which have the reputation of "marking the course of a hundred generations". Li Cheng was a painter in China during the Five Dynasties and the Northern Song Dynasty. Word xian Xi. His ancestral home is Chang 'an (now Xi City, Shaanxi Province), and he is a descendant of Emperor Taizong. In the Five Dynasties, his grandfather Li Ding moved to Yingqiu (now Changle, Shandong Province), so he was also called Li Yingqiu. He is well-read and ambitious, but he is not allowed to show his ambition. So he put on poetry, wine and calligraphy, and then he died drunk in Chen Zhou (now Huaiyang, Henan) Guest House. Be good at painting landscapes, learn from Hao Jing and Guan Tong, develop them, and paint more pastoral scenery. Most of them are plain and cold forests, with concise painting style, sharp brushwork and easy use of light ink, which is known as "cherishing ink as gold"; Painting rocks like cirrus clouds is later called cirrus clouds. Mi Fei described Li Cheng's paintings as "light ink like a dream, and stones move like clouds". This image of "stones move like clouds" became an important style symbol for painters to paint with Li Cheng's brushwork in the future. He, Fan Kuan and another landscape painter, Guan Tong, are also called the masters of "Three Masterpieces" and "One Hundred Generations Standard". More people study his paintings. There were few paintings in the Northern Song Dynasty, and Mi Fei even put forward the theory of "no lies". The work successfully shows the beauty of the natural landscape in the foggy climate change, with the characteristics of sparse weather, clear forest, prominent front and implicit ink painting. Today, there are Reading the Stone Monument (the figure in the picture was painted by Wang Xiao), Ye Ping in the Cold Forest, Qingluan Temple, Maolin Xiu Yuan and so on. Li Cheng had a great influence on the development of landscape painting in the Northern Song Dynasty, including Xu Daoning, Li Zongcheng, Zhai, Guo, Yan Wengui and so on. Fan Kuan was born in Huayuan County, Shaanxi Province (now Yaoxian County). The dates of birth and death are unknown. Northern Song Dynasty painter. The name is in the middle and the word is neutral. Because of his generosity, people call him Fan Kuan. Living in the early Northern Song Dynasty, he was listed as one of the three famous landscape painters in the Northern Song Dynasty. Li Cheng, a beginner in painting, studied Hao Jing's method, and later felt that "learning from others, not learning from nature". Because he moved to Zhong Nanshan and Taihua Mountain, he became a representative of the northern painting school without complicated decoration. Fan Kuan's works take the real landscape around Guanshan Mountain as the description object. While emphasizing the essence of learning from others, he emphasized originality, not limited to learning from a certain family. He often travels to Zhong Nanshan and Taihua Mountain, and has a deep feeling and description of the scenery of Guanshan Mountain. According to the records, he is good at expressing the scenery of the four seasons, traveling and "gloomy scenery" and "all writing about the military pull of Qin Long, with a broad view of the overall situation and overwhelming mountains". The painting is characterized by "a dense forest on the top of the mountain" and "water is a boulder", and I like to use the method of "meaning". Together with Guan Tong and Li Cheng, they formed three schools of northern landscape painting in the Five Dynasties and the Northern Song Dynasty, which had a great influence on later generations. Surviving works include Travel Notes of Xishan Mountain and Snow Scene in Cold Forest.
Dong Yuan (? —— About 962) China was a painter of the Southern Tang Dynasty in the Five Dynasties. Dong Yuan was born in Zhong Ling, Jiangxi (now Nanchang, Jiangxi) and called himself "Jiangnan". The date of birth and death is unknown, mainly in the Southern Tang Dynasty (934 ~ 960). Li Jing, the leader of the Southern Tang Dynasty, was then the deputy envoy of Beiyuan, so he was also called "Northeast Garden". After the death of the Southern Tang Dynasty, he entered the Song Dynasty and was regarded as a master of landscape painting of the Southern School. In the history of painting, Dong Yuan, Fan Kuan and Li Cheng were called the three outstanding artists in the early Northern Song Dynasty.
Dong Yuan is not only good at painting landscapes, but also can draw cows, tigers, dragons and figures. As a landscape painter, Dong Yuan is not specialized. Song people praised its colorful landscape and Li Sixun style. But its most primitive and highest achievement is ink landscape. He used pockmarked skin and moss to decorate the natural scenery of Jiangnan, which wonderfully conveyed the scenery of Jiangnan, with dark peaks, hidden islands and hidden trees. He used his pen carelessly. He is short-sighted and doesn't have many objects, but from a distance, his skills are jaw-dropping and creative. His representative works "Waiting for Crossing at Xiajing Mountain Mouth" and "Xiaoxiang Map" vividly show the specific scenery of the hills and rivers and lakes in the south of the Yangtze River in summer. His pen and ink techniques are completely adapted to the specific scenery he shows.
In the Song Dynasty, Shen Kuo called him "writing more about the true mountains in the south of the Yangtze River than writing strange books". Most of the mountains drawn are hills in the middle and lower reaches of the Yangtze River, and most of them are ups and downs. The earth mountains are all worn by stones and rarely steep. This is in stark contrast to the majestic northern mountain shape displayed by Hao Jing earlier than him. Dong Yuan attaches great importance to the depiction of dotted characters in landscape painting, which always has the plot of genre painting, and sometimes it is actually related to the theme of the whole painting. Although the characters are small, simple and refined, they are all set off by blue, red, white and other heavy colors, which set off ink painting and have an ancient taste. His works handed down from generation to generation include "Figures in the Suburbs of Su Long".
The new style of ink and wash landscape painting initiated by Dong Yuan was imitated by the monks in Ju Ran at that time, and was later called Dong Ju. In the Song Dynasty, apart from Mi Fei and Shen Kuo's great appreciation of Dong Ju's painting school, the general theorists didn't think highly of him. In the Yuan Dynasty, the trend of adopting the East-lifting method gradually opened up. It is believed that "Tang Dynasty painted landscapes since the Song Dynasty, such as (Dong) Yuan was above the princes", and a new understanding of Dong Yuan was gained. Dong Yuan was regarded as a model by the four schools at the end of Yuan Dynasty and Wumen in Ming Dynasty. Although the theorists of "Southern and Northern Schools" in the late Ming Dynasty respected Wang Wei as the "ancestor of Southern Schools" in theory, they actually described Dong Yuan. In Yuan Dynasty, Huang said, "Those who make landscapes must learn from Dong, but only those who learn poetry.". Wang Jian in Qing Dynasty said, "Painting Dong Ju, writing Zhong Wang, otherwise it would be heresy". Dong Yuan's profound influence on later generations is rare in the history of China's landscape painting.
According to the history of painting, Dong Shi's landscape figures, Yunlong and Niuhu, are omnipotent, especially landscape painting, which created the landscape of the South School. Most of his landscapes are really famous mountains in the south of the Yangtze River, not strange brushstrokes. It is recorded that his landscape painting with Jiangnan scenery as the theme is "plain and naive, and there is no such thing in Tang Dynasty". Mi Fei once praised its landscape, saying, "There are mountains and mountains everywhere, and clouds are around. Not pretending to be smart is naive. " . It is recorded in the Five Dynasties Painting Guide: "There are two kinds of landscapes in Dongyuan: ink and wash, sparse forests and distant trees, distant and deep, and jagged rocks; The same color, few essays, heavy colors, people are mainly red Tsing Yi, and people also have pink elements. They are all excellent works. " Shen Kuo in the Northern Song Dynasty mentioned in "Talk about Meng Xi": "Dong Yuan is good at painting, looking at the autumn haze from a distance, and writing more about the real mountains in the south of the Yangtze River, not for the brushwork of strange mountains and mountains". He also said, "His brushwork is sloppy, and his myopia is not like an object, but his scenery looks awkward from a distance ...". He is good at painting ink and light landscapes. He likes to use hemp-like brushwork to represent mountains, and uses many alum heads (stones on the top of the mountain) full of moss spots to draw more dense trees, hills with sticks, dark clouds and Jiangnan scenery set off by Xiqiao Yupu and Zhu Ting. Later generations said that what he did was simple and naive, which was not available in the Tang Dynasty. There are also works with strong colors. There are few lines on rocks and rocks, and the scenery is rich, close to Li Sixun style, but more indulgent and lively. Be a dragon, an ox, a tiger, and a character.
Handed down works
Xiaoxiang map, now in the Palace Museum;
Summer Mountain Map, Shanghai Museum;
The Waiting Map at Xiajing Mountain Mouth in Liaoning Provincial Museum;
The two axes of "Su Long Suburb" and "Dongshantang" are recorded in 300 Kinds of Famous Paintings in the Forbidden City.
The Five Dynasties to the early Northern Song Dynasty was the mature stage of China's landscape painting, which formed different styles. Later generations summarized it as "Northern School" and "Southern School". Dong Yuan's "Xiaoxiang Map" is regarded as the pioneering work of "Southern School" landscape painting to draw history. Dong Yuan's existing works include Summer Resort, Xiaoxiang, Summer Resort and Suburb of Su Long. Xiaoxiangtu, in the Five Dynasties, is 50 cm long and 14 1 cm wide. It is now in the Palace Museum in Beijing.