Appreciation of landscape paintings in the Northern Song Dynasty, famous landscape paintings in the

Famous landscape paintings of the Song Dynasty: Thousands of miles of rivers and mountains, Xishan Travel Map, Stone Pingyuan Map, Maolin Yuanxiu Map, Qingluan Xiao Temple, Snow Scene Cold Forest Map, Snow Mountain Xiao Temple Map, Jiangshan Tower View, Xishan Tower View, Early Spring, Hidden Valley, Guanshan Spring Snow Map, Mountain Village Map, etc.

During the Northern Song Dynasty, landscape painting flourished. Among them, Li Cheng and Fan Kuan are the representatives of landscape painters in the early Northern Song Dynasty, they inherited Jing Hao's tradition of ink and wash blind liquid, and mainly expressed the majestic natural landscapes of the north. His successors include Wang Shiyuan, Wang Duan, Yan Wengui, Xu Daoning, Gao Keming, Guo Xi, Li Zongcheng, Qiu Na, Wang Xu, etc.

In addition to the landscape painting of the northern landscape system, there are also Guo Zhongshu who is good at boundary painting, Hui Chong, Zhao Lingsui who is good at expressing small scenes of lakes and mountains, Wang Ximeng, who inherited the green landscape painting method since the Tang Dynasty, Ju Ran, the representative of the southern school of landscape painting, and Mi Fu, who created the "Mi Yun Mountain", etc., all have their own unique contributions in the development of Chinese landscape painting.

The landscape painting of the Northern Song Dynasty leaned towards self-preparation, focusing on "truth" and "reality", and advocating the realistic style of landscape painting. The use of silk is not only meticulous and rigorous, but also uses ink to render the picture layer by layer, showing a dignified and tranquil beauty. It shows an unprecedented delicate, rich, and realistic painting style.

The first period of Chinese art was in the Song Dynasty, and the landscape paintings of the Song Dynasty were the most brilliant pearls on the art pagoda of the entire Song Dynasty. When combing through the landscape paintings of the Song Dynasty, we will find that the style of Song Dynasty landscape painting is diverse, and the rules are special: every once in a while, a new style of painting appears, and the new style of painting is very different from the previous traditional style.

The masters of landscape painting in the Song Dynasty seem to have given up the opportunity to learn from the masters closest to them, and instead tried to follow the style of earlier masters. They all saw new possibilities in the works of the painters they were pursuing, and when their painting style matured, they found that it was thousands of miles away from the painting style of the master in their hearts.

Fan Kuan bypassed Li Cheng to pursue Jing Hao's aesthetic thoughts, Guo Xi bypassed Fan Kuan to find Li Cheng as his spiritual mentor, and Li Tang crossed Guo Xi to follow Fan Kuan's footsteps. This kind of "intergenerational inheritance" seems to have been realized in the theory of landscape painting at that time. Since the Tang Dynasty, the theory of landscape space has only begun to bear fruit in the early years of the Northern Song Dynasty, when the literati Su Shi put forward the painting ideal of "painting in poetry, and poetry in painting", and the painters of the Southern Song Dynasty Painting Academy finally pushed the poetic landscape works of solitude and beauty to the peak.

The seemingly overnight transformation can only be achieved through how much mental tempering and struggle the painter has to undertake, and only the painter himself knows the hardships in the middle. The active ideas in the field of landscape painting in the Song Dynasty brought great prosperity to the landscape art of the Song Dynasty, and also brought great trouble to today's scholars to clarify the development of landscape painting in the Song Dynasty.

The main characteristics of landscape painting in the Song Dynasty are: emphasizing the law, emphasizing realism, emphasizing quality and interest, and emphasizing the humanistic spirit.

The landscape paintings of the Song Dynasty emphasized the natural method of learning, and most of them were realistic styles. The painters went into nature, browsed the famous mountains and rivers, and repeatedly observed and experienced the artistic conception in the scenery.

In the landscape paintings of the Song Dynasty, the themes of their expressions were mainly to visit friends and discuss the Tao, seek seclusion and amusement, and the painters conveyed their own emotions in the landscape, or expressed their life ideals and life tastes.

In the middle and late Northern Song Dynasty, under the influence of Li Cheng's painting style, there was a poetic landscape represented by Zhao Lingsui, Mi Fu father and son created the rice point landscape, Wang Ximeng, Zhao Boju and other green landscapes.

The painters of the Northern Song Dynasty created the "Strict Law", among which the "Three Landscapes" in the Northern Song Dynasty landscape painting circle achieved the greatest achievement.

The "Three Landscapes" are represented by Li Cheng, Fan Kuan, and Dong Yuan, and Li Cheng's landscape paintings at that time were "the first in the dynasty". Li Cheng founded "Cirrus Cloud" according to the characteristics of the mountains in the Qilu region; Fan Kuan depicted the style of the high mountains and boulders of Guanshan with a straight pen ** and founded the oak bi "Raindrop"; Dong Yuan founded the "Phi Ma Xuan", which is more suitable for expressing the quality of the mountains in the south of the Yangtze River.

Summary. Li Cheng and Fan Kuan are representatives of landscape painters in the early Northern Song Dynasty, inheriting Jing Hao's tradition of ink painting and expressing the majestic natural landscapes of the north. His successors include Wang Shiyuan, Wang Duan, Yan Wengui, Xu Daoning, Gao Keming, Guo Xi, Li Zongcheng, Qiu Na, Wang Xu, etc.

In addition to the landscape painting of the northern landscape system, Guo Zhongshu, who is good at boundary painting, Hui Chong and Zhao Lingsui, who are good at expressing small scenes of lakes and mountains, and Wang Ximeng, who inherited the green landscape painting method since the Tang Dynasty, all have their own unique contributions to the development of Chinese landscape painting.

Li Cheng and Fan Kuan are the representatives of landscape painters in the early Northern Song Dynasty, inheriting Jing Hao's tradition of ink painting, and using trapped beams to express the majestic natural landscapes of the north. His successors include Wang Shiyuan, Wang Duan, Yan Wengui, Xu Daoning, Gao Keming, Guo Xi, Li Zongcheng, Qiu Na, Wang Xu, etc. In addition to Wang Naoyun, the landscape painting of the northern landscape system, Guo Zhongshu, who is good at boundary painting, Hui Chong and Zhao Lingsui, who are good at expressing small scenes of lakes and mountains, and Wang Ximeng, who inherited the green landscape painting method since the Tang Dynasty, all have their own unique contributions to the development of Chinese landscape painting.

It's Li Cheng or Jing Hao.

Dear, it's Jing Hao.

Li Cheng and Fan Kuan are both Shangcheng Jing Hao's tradition of ink painting.

It is my honor to introduce you to a Song Dynasty landscape painting - "Qingxi Turquoise Map". This painting is the representative work of the Northern Song Dynasty painter Li Cheng, which is now in the Palace Museum. "Cheonggye Turquoise" depicts a clear stream flowing from the right side of the picture and flowing down the rocks on the left side of the picture.

The picture is a tall pine tree, and the branches and leaves of the pine tree stretch upwards to form a graceful arc. Under the pine tree is a boulder, the surface of the stone has traces of texture and unevenness, giving a sense of texture and heaviness. On the rocks on the right side of the picture, there are several small trees and some shrubs, and the shape and color of these plants are very natural.

The tone of the whole painting is fresh and elegant, giving people a sense of tranquility. The composition of this painting is very exquisite, the painter uses the "rule of thirds" in landscape painting, dividing the picture into three parts: heaven, earth, silver, and people, and there are no clouds in the sky, and the painter leaves the sky blank to make the picture more fresh and natural. The painter also used the technique of "virtual and real", contrasting the physical images of pine trees and boulders with the illusory images of mountains, rocks and water streams, making the picture more vivid and interesting.

Overall, "Qingxi Turquoise Stone" is a very beautiful landscape painting, the painter through delicate brushstrokes and delicate composition, the natural scenery is vividly displayed, giving people a sense of tranquility and nature.

Dear, it's a pleasure to serve you! The Song Dynasty landscape painting chosen for Min is Wang Ximeng's "On the Dongting Lake". "On the Dongting Lake" is a work of the Song Dynasty painter Wang Xiji Nameng, according to records, the painting was hung in the south gate hall of Suzhou, and was later collected by Huizong of the Song Dynasty, which belongs to one of the representative works of the famous calligrapher and painter Wang Ximeng in the Song Dynasty.

"On Dongting Lake" depicts a beautiful landscape landscape, with Dongting Lake as the theme in the picture, the lake water is crystal clear, the shore is lush with green trees, and the Dongting Mountains in the distance are luxuriant, the scenery is clear, the scenery is pleasant, and it is full of tranquility and comfort. The visual sense of space in the painting is very strong, and the visual depth is also very strong, through the careful treatment of colors and fresh lines, the picture presents a soft and tolerant atmosphere, giving people a great sense of tranquility and pleasure. Wang Ximeng's "On Dongting Lake" mainly uses ink techniques to depict the waves on the surface of the lake in dark ink color, reflecting the clear bottom of the lake and the green grass on the shore of the lake.

In addition, Wang Ximeng's treatment of lines is also very fine, he uses thin lines to outline the scene, making the picture more three-dimensional and more layered.