Qing Dynasty Painter Er Yuan's large paintings (How is the silk taut?)

Wooden board taut silk, first taut white paper. Then use the nail in the wet silk nailed to the board, should be smeared around the paste with water spray and pull outward, but must be straightened warp and weft lines, the first draft hooked out, and so after drying (because to dip the water, the ink is not dry or ink is not good in the process of avalanche paintings will run the ink) with a brush dipped in water to wipe out the silk (silk is the best pad on the bottom of the paper) from the middle of the up and down the two end of the brush, the water should not be too much to wipe out on the good, (sometimes the silk is not good), then crashed around the silk on the alum, (sometimes the silk is not good), and then the silk is not good. (Sometimes the silk is not good will leak alum), and then around the collapse of the water glue, with other paper smear paste and wait for it to dry on it ~ ~

Yuan Jiang, Yuan Yao lived in the Kangxi, Yongzheng, Qianlong period. The two of them to painting style rigorous landscape pavilion boundary painting unique in the Qing Dynasty painting world, to "two Yuan" known in the history of painting.

/space.php?uid=54281&do=blog&id=37534

Yuan Jiang, Yuan Yao's life

Yuan Jiang's name and the simple situation of the earlier records of the history of the Zhang Geng's "National Dynasty Painting Record" (including the continuation of the record), Li Dou's "Yangzhou Floating Boat Record," as well as anonymous "Painter's supplement. These historical books were all written. These historical books were written in the middle of the Qing dynasty, about the late Yongzheng to Qianlong years, the book age and the painter lived not far away from the period. The following are copied from the relevant source material.

Yuan Jiang, the word Wentao, Jiangdu people, good landscape, pavilion, middle-aged to the nameless Pro Ancient Manuscripts, so the great progress, the constitutional temple called? The temple of Xian called him. -Zhang Geng, "National Dynasty Painting Record? The sequel to the record" volume on

Yuan Jiang, word Wentao, Jiangdu people, good landscape, pavilions, in his middle age to the nameless Pro Ancient Painting manuscripts, the skills of the great advancement, had been selected into the outside of the Palace of the Yangxin. -Anonymous "Painter's Supplement"

Yuan Jiang, character Wentao, a native of Jiangdu, was good at landscapes and pavilions, initially learned from Qiu Shizhou, and in his middle age, he was given the drafts of ancient paintings by Anonymous, so his skills were greatly improved. -Li Dou "Yangzhou painting boat record" Volume II

The above three documentary records, the text content is similar, apparently copied from each other. From the age of the book, Zhang Geng's "National Dynasty Painting Record" and Anonymous' "Painter's Supplement" are slightly earlier.

Based on the above materials, we can know that Yuan Jiang word Wentao, Jiangdu people, that is, now Yangzhou, Jiangsu Province, which and Yuan Jiang works on the signature "Ganjiang" and the seal on the seal is completely consistent. In addition, according to the book Index of Chinese Calligraphy, Painting, and Seal Engraving Sizes through the Ages, edited by Shang Chengzuo and Huang Hua, Yuan Jiang also had a name, "Cuiquan," which is not recorded in the history of painting, but is inscribed on one of the paintings in the 12-page album of landscapes, which is one of Yuan Jiang's later works, with the inscriptions Cui and Quan, and the inscription Cuiquan. However, on one of Yuan Jiang's paintings on page 12 of the large volume of landscapes in his later years, there are two seals, "Cui" and "Quan". This painting was painted in the "Kuihai" period (1743, the eighth year of the Qianlong reign), and is one of the later works signed by Yuan Jiang that can be seen. These two seals have never been seen on any of Yuan Jiang's other paintings. There are two possibilities here: either the word "Cuiquan" was a number Yuan Jiang used in his later years, or, more likely, the word "Cuiquan" was the seal of a collector. There is no more information to support the notion that "Cui Quan" was Yuan Jiang's name. It is possible that Yuan Jiang was known as "Nanmingzi," a name that is also not documented in any of the literature, but only in his works. Tianjin academy of fine arts collection of Yuan Jiang "boat smoke" axis and "spring thunder hibernation" axis, the author signed respectively: "nanming zijiang" and "nanming zi play write", this should be the painter called himself.

Collected Yuan Jiang signed with a rough arrangement of the works of the year (dry calendar), we can find that his earliest works painted in the twenty-seventh year of the Kangxi (wuchen, 1688), the latest works painted in the eleventh year of the Qianlong period (bingyin, 1746), before and after the creation of the time of more than 50 years. It is assumed that Yuan Jiang was born before the tenth year of the Kangxi reign and died after the eleventh year of the Qianlong reign, at the age of seventy.

The National Dynasty Painting Records and Painter's Supplement books have mentioned that Yuan Jiang "entered the Palace of Yangxin" during the Yongzheng period, and the "Palace of Yangxin" was the location of the Office of the Ministry of the Interior in the Qing Dynasty, which means that he entered the palace to become a painter for the court. And Li Dou's "Yangzhou painting boat record" about Yuan Jiang's record, although basically from the above two books copied down, but the book will be Yuan Jiang once for the inner court deleted. I think that Li Dou in the process of copying, according to their own understanding of the situation, the material was screened, about Yuan Jiang served the inner court of the content, is its intention to delete. Hu Jing's "national court painting book" is a book specializing in the Qing dynasty Kangxi, Yongzheng, Qianlong three dynasty court painting and court painter's work, which, although it is not immune to omissions, but from the painter Yuan Jiang survives more works, if he did serve the court, the book should be documented, but the book is included in the Yuan Jiang's name, "" stone canal "not recorded," the name of Yuan Jiang, who was in the painting institute, his surname is intentionally deleted. Had entered the Academy, his surname is scattered in the Zhixian, Wenji genealogical records of the books," the tone of the narrative is not very sure. Hu Jing once participated in the compilation of the three editions of the Shiqu Baoji, access to the palace collection of paintings, but he did not write down any of Yuan Jiang's works. Qing dynasty court painters and some of the word minister painters, for the emperor painting or offering works, in the picture of the signature has a fixed format, that is, in their own names before the word "minister", in order to indicate that this is exclusively for the emperor's paintings, no exceptions, which can be from the large number of Qing dynasty court paintings and word ministers paintings left behind to be proved. The number of Yuan Jiang's works that have survived to the present day is not small, but we have not seen a single one signed with the word "minister". In addition, we have found no trace of Yuan Jiang's activities in the archives of the Ruyi Hall of the Office of the Minister of the Interior in the Qing dynasty. Li Dou, the author of the book Yangzhou Paintings and Boats, deleted Yuan Jiang's wait for the court when transcribing his entries; while in the same book, Zhang Zongcang's introduction, immediately after Yuan Jiang, clearly states that he "served the court with his paintings". Li Dou was very familiar with the history of Yangzhou, and his deletion must have been well founded. The above list of circumstances, seems to be no coincidence, they show that the painter Yuan Jiang once in the Yongzheng years for the inner court of the record is inaccurate, Yuan Jiang did not serve the experience of the inner court.

As for the cause of the misremembering, one is Yuan Jiang had a long time north of Shanxi painting, also did go to Beijing, the author of the book does not know much about his situation, mistakenly thought he was "the inner court"; Yuan Jiang's style of painting is neat and meticulous, colorful, decorative, and in the general impression, this type of work should be In the general impression, this kind of work should be categorized as "courtyard painting" within the scope of the author will also be categorized into the ranks of the court painters.

According to other sources, we also know that Yuan Jiang was active in his hometown of Yangzhou as an adult, painting gardens and buildings for wealthy local merchants, and his works were very realistic. He also once went to Nanjing, and continued south to the Zhejiang area, and in the painter Gao Qipei House, for its large works of rendering color, and even make sketches. In the early years of the Yongzheng reign, Yuan Jiang was hired by a Shanxi merchant who ran a salt business in Yangzhou to paint in Shanxi. Whether Yuan Jiang stayed in Shanxi or returned to his hometown of Yangzhou in his later years is inconclusive, as no convincing historical evidence has yet been found.

There is even less material on Yuan Yao's life than on Yuan Jiang. Yuan Yao's name was first seen in the Qianlong years into the book "painting people addendum" book, its text records only a few numbers, and still attached to the entry in Yuan Jiang biography: "...... (Yuan Jiang) has a son named Yao, landscapes and pavilions are still able to keep the family law." The word "Yao" is also mistaken for the word "Yao".

What is the relationship between Yuan Jiang and Yuan Yao? In addition to the book "painting people supplement" said father and son, there are "uncle and nephew said" and "brother said". "Uncle and nephew said" in the "Chinese painter's name dictionary" (cited in the "Qing painting"): "Yuan Yao, Yuan Jiang from the son." The "brother" theory is found in Qin Zhongwen's History of Chinese Painting and Li Yu's Outline of Chinese Art History. However, when Qin Zhongwen talked about Yuan Jiang and Yuan Yao in his books, he did not sound very sure: "They are still brothers." "uncle and nephew" and "brother said" appeared very late in time, and the basis are not sufficient, so the author thought that should be "father and son said" is.

Wang Mao's Yangzhou Painting Garden Records (cited in Chuncaotang Suibi), published in the early years of the Guangxu period, includes Yuan Yao's name: "Yuan Yao, word Zhaodao, Jiangdu." This is not the same as the name of Yuan Yao on his works. This is consistent with the name and place of origin of Yuan Yao's works and seals. Yuan Yao's character "Zhaodao" and the name of his father, Yuan Jiang, obviously hoped that he would achieve the same success as the famous painter Li Zhaodao in the Tang Dynasty, and compared himself to Li Sixun, the father of Li Zhaodao. Li Sixun, Li Zhaodao father and son in the history of Chinese painting is "green landscape" and "gold and blue landscape" is famous for painters, known as "big and small Li General". Yuan Jiang asked his son to use "Zhaodao" as his character, from this detail, we can also see the tradition and aesthetic orientation that Yuan Jiang admired and inherited in his painting art.

Yuan Yao's earliest work was painted in the twelfth year of the Yongzheng reign (1734), and his latest work is the Qionglou Spring Colors scroll (now in the Guangdong Provincial Museum), which was painted in the forty-ninth year of the Qianlong reign (1784), and was created 50 years ago. It is estimated that Yuan Yao was born around the end of the Kangxi period and died after 1784. At the time of Yuan Yao's birth, Yuan Jiang was probably already relatively old, and could be considered to have received a son in his old age.

Like his father, Yuan Jiang, Yuan Yao practiced painting in his hometown of Yangzhou when he was young. In the Yongzheng era, He Junzhao, a native of Linfen, Shanxi Province, built his own private garden in Yangzhou, which he named the "He Garden". In the ninth year of the Qianlong reign (1744), the He family added pavilions to the garden, and when it was completed, He invited people from all walks of life in Yangzhou to inscribe their names on it, and Yuan Yao was one of the invitees. Two years later, in the eleventh year of the Qianlong reign (1746), He Junzhao invited Yuan Yao to paint twelve scenes of pavilions and pavilions in the He Garden, which were combined with other people's poems and plaques in the garden to form a booklet called East Garden Inscriptions. The above two from the "Yangzhou painting boat record" in the information, have a clear chronology, for Yuan Yao life age determination is extremely valuable.

Yuan Jiang and Yuan Yao's painting creations

In the early Qing Dynasty when "literati painting" was popular, Yuan Jiang and Yuan Yao's paintings were unique in the painting world. They inherited the fine traditions of their predecessors (mainly Song, Yuan and Ming brushwork landscape and pavilion paintings) and made some innovations, which resulted in remarkable achievements.

Yangzhou Painting Boat Records says Yuan Jiang "first learned from Qiu Shizhou", Qiu Shizhou that is, one of the "Wu family four" Qiu Ying in the middle of the Ming Dynasty, and Qiu Ying is to paint green landscapes. For Zhao Boju, Zhao Bo crocodile exquisite work of the extreme, but also have the morale, later imitators of its work can not get its elegant, if the Yuan Ding Naofu, Qian Shunju is already, cover five hundred years and have Qiu real father."

Yuan Jiang early learning Qiu Ying's painting method, it can be seen that he is mainly inherited from the Tang Dynasty Li Si Xun, Li Zhaodao father and son of the tradition, which in Yuan Jiang for his son Yuan Yao number "Zhaodao", can also be seen; Song Dynasty, Zhao Bokui, Zhao Boguan brothers of the "green landscape" is also a traditional painting method, which is also a traditional painting method. The "green landscapes" of the brothers Zhao Boju and Zhao Bogou in the Song Dynasty also belong to the traditional painting method; Qiu Ying is a painter who specializes in copying ancient paintings. It seems that Yuan Jiang, in the process of learning painting in his early years, had likewise worked hard on the works of his predecessors, including Qiu Ying.

Yuan Jiang in his middle age, "the anonymous man's copy of the ancient paintings, skills then greatly improved", some people think that Yuan Jiang "middle-aged anonymous man's copy of the paintings, may be the Song masterpieces". Yuan Jiang's works can be seen, he Fan Kuan, Guo Xi, Li Cheng, Li Tang, Xiao Zhao, Ma Yuan, Xia Gui, Yan Jiping Song dynasty landscape painters have absorbed and adopted the painting method, in the management of the location (composition) and absorbed a lot of Yuan, Ming since the strengths of landscape painting.

Yuan Jiang's landscape paintings of buildings and pavilions, but also inherited the tradition since the Tang and Song dynasties. Pavilion painting is also known as "house wood", in the drawing of buildings need to use the boundary ruler to draw a line, "boundary painting" is one of China's traditional painting painting, the Yuan Dynasty Tao Zongyi in the book "Dropout Records" will be divided into thirteen sections of the painting, which is that there are "Boundary Painting" is one of the traditional painting subjects in China. After the Tang Dynasty, the successive dynasties have specialized in painting the boundary of the pavilion of the competent. But the Song and Yuan times, "literati painting" has been a great development, boundary painting is gradually regarded as artisans, the status is increasingly low, "the world on painting, must say that there are thirteen sections of painting, landscapes hit the head, boundary painting hit the bottom". By the Ming and Qing dynasties, there were very few people who were good at boundary painting, and most of their works were lacking in meaning and vitality. Yuan Jiang and Yuan Yao, under such circumstances, revitalized the boundary painting, which had been on the decline since the Yuan and Ming dynasties.

Yuan Jiang, while learning from ancient traditions, did not neglect to learn from painters who were slightly ahead of him or his contemporaries. During the Kangxi, Yongzheng, and Qianlong periods, a group of Yangzhou painters known for their heavy brushwork and specializing in green landscape painting were also quite active in the painting world, such as Li Yin, Xiao Chen, and the brothers Yan Feng and Yan Yue. The painting styles of these painters were all relatively neat and meticulous, very different from the "literati" style. Li Yin, in particular, was good at boundary painting, and his landscape paintings were in the style of the Tang and Song artists. Although there is no explicit record that Yuan Jiang ever learned painting from Li Yin, the artistic connection between Li Yin and Yuan Jiang and Yuan Yao is obvious when comparing their works. The painting styles of Li Yin, Xiao Chen, Yan Yiyi, Yan Yue and other painters undoubtedly had a great influence on the formation of Yuan Jiang's and Yuan Yao's painting styles. It was on the basis of learning from their predecessors and contemporaries that Yuan Jiang and Yuan Yao created their distinctive boundary paintings of landscapes and pavilions, and brought traditional boundary paintings to new heights, making them one of the more important schools of painting in the Qing Dynasty.

Yuan Jiang's and Yuan Yao's boundary paintings of landscapes and pavilions can be divided into two main categories in terms of the objects depicted: works of sketching of the landscape, and works that are completely imagined and fictionalized.

Yuan Jiang and Yuan Yao have both produced masterpieces of landscape sketching. For example, Yuan Jiang's "Zhan Yuan Tu" scroll (in the collection of the Tianjin Cultural Relics Company) depicts a garden building in Nanjing. "In the early Ming Dynasty, Zhan Yuan was the residence of Xu Da, the founding father of Zhongshan. At the end of the Ming Dynasty, Xu Da's descendants transformed it into a garden building; at the beginning of the Qing Dynasty, it became the government office of the Buzhangzhi. Yuan Jiang's "Zhan Yuan" unfolds from right to left, and the first thing that catches the eye is the tall courtyard wall, with a few servants dressed in Manchu costumes cleaning up the courtyard wall. Inside the wall, there are heavy buildings and pavilions, winding corridors, ancient trees and strange flowers, and stacked rocks and peaks. A pool of water with ripples. In the background, a touch of distant mountains, set off the tower shadow, painting some of the pavilions on the plaque text, clearly distinguishable, such as "a glimpse of the building" couplet for "autumn clearing with the bamboo leaves; spring cold rhyme guard plum blossom"; "Lai Shuang Fengqing "Pavilion has two couplets, one for the" case no mundane matters always quiet; court with pomegranate flowers dream is also clear ", one for the" every look at the lonely clouds inviting wild cranes; often with bottles of wine sealing the famous flowers ". Fine ink and brushwork, depicting the subtle, busy but not chaotic, dense but not broken, the picture is organized in a structured way, a good performance of a Jiangnan garden architecture of the pattern and style. From the point of view of the painting method, it may be Yuan Jiang's earlier works, but it is already quite powerful.

Yuan Yao also has a strong knack for realism. In addition to a number of landscape paintings featuring ancient poems and mythological stories, Yuan Yao also has a number of wonderful sketches of landscapes that have been handed down to us.

The large horizontal panel of Ganjiang Scenic View is one of his masterpieces of realistic painting. Combined with the textual materials such as "Record of Yangzhou Floating Boat" and "Yangzhou Prefecture Records", the painting should be the scenery in the northwest of Yangzhou suburb. The lower left corner of the screen when the city gate building for Yangzhou's north gate GuangDuMen (also known as ZhenHuaiMen); city gate outside the river name of the city river, outside the north gate for the Meihua Ridge, the Ridge on the ShiGongShrine (the end of the Ming dynasty against the qing dynasty general ShiKeFa clothing graves); Qing dynasty YongZheng years in the Ming dynasty ChongYa academy on the site of the built in the Meihua Academy is also in the place; along the river to the west and then to the north, across the thin west lake, is the yangzhou scenic spot Shugang. The Daming Temple and the Pingshan Hall, which were built in Yangzhou by the Tang Dynasty monk Jianzhen before he traveled east to Japan, are located on top of Shugang. In Yuan Yao's painting, all of these famous places are meticulously and concretely represented. The whole picture is composed in a bird's-eye panoramic view, with close-up, middle and distant views, with distinct layers and a clear view, which are delivered very clearly. Such a masterpiece can never be painted without sketching and investigation in the field. On the basis of sketching, Yuan Yao carefully operated the position, taking and giving, striving for perfection, leaving a masterpiece reflecting the scenery of Yangzhou in the early years of the Qianlong period, which provides precious information for us to understand the historical appearance of the northwestern part of Yangzhou city at that time, and its value is multifaceted.

In addition, Yuan Jiang and Yuan Yao also have a large number of virtual landscape and pavilion paintings on the themes of fairyland in folk myths and legends, and huge architectural complexes famous in ancient history. For example, A-Fang Palace, Liang Garden, Jiucheng Palace, Shenxiang Pavilion, Lishan Palace, Green Field Hall, Penglai Immortal Island, etc. These painting subjects have been painted by Yuan Jiang and Yuan Yao many times.

Yuan Jiang's "Flying Snow in Liang Garden" scroll depicts a garden built by Liu Wu, the filial king of Liang in the Han Dynasty. King Liang Xiaowang liked to meet guests from all over the world, and famous people of that time such as Sima Xiangru, Meixian, and Zou Yang all lived in this garden. Yuan Jiang placed this famous building in the snow, the gorgeous and colorful architectural decorative paintings and the pure and elegant white snow, resulting in a strong contrast in color, while the building arch and the windows and doors are detailed and delicate, and the roof snow without a stroke, but also caused a strong contrast between reality and reality, is a very outstanding boundary painting works.

Yuan Jiang has a "tide picture" axis, now in the Palace Museum in Beijing. It is painted on silk, 97 centimeters longitudinally and 131 centimeters horizontally. This picture was painted in the year of Bingshen (1716, the fifty-fifth year of the Kangxi reign), and belongs to Yuan Jiang's earlier works. The tide of the Qiantang River occurs from the 16th to the 18th day of the eighth month of the lunar calendar every year, and during the Southern Song Dynasty, when the capital was moved to Lin'an (present-day Hangzhou, Zhejiang Province), tide-watching became an annual event for the imperial court and the public. At that time, seawater along the trumpet-shaped Qiantang River against the river, such as "Yucheng Xueling, between the big to come, as loud as thunder, shocking shooting, swallowing the sky Wozhi, the potential for extremely male and male". This work depicts the tidal wave of the Southern Song Dynasty. The picture is diagonal composition, the lower left corner of the congested full, the upper right corner left a large blank, forming a strong contrast between reality and falsehood, clearly showing that the painter by the Southern Song Dynasty Painting Academy painter Ma Yuan side of the corner of the influence of the composition. In the rocks on the chapping, it is more borrowed from the Northern Song Dynasty Li Cheng, Guo Xi, Wang Monk and other painters of the brush, focusing on the performance of the volume of the block, the brush is flexible and changeable, in the river on the painting method also has the Song residual charm. Color is very careful to contrast, the pavilion's fine ornate, set off the river's color white as practice. The horizontal composition matches the subject matter of the painting, making the surging tide even more powerful. Other paintings include Yuan Jiang's Summer at Mount Li, Pavilion of Sinking Fragrance, Three Mountains on the Sea, and Yuan Yao's Penglai Immortal Landscape.

Yuan Yao's masterpieces under the title of "Four Scenes of Landscape" are the four paintings of "The Highest Peak in Spring", "The Mountain Rain Desires to Come", "The Han Palace in Autumn and the Moon" and "The Negative Hustle Figure", among which the spring and the autumn two paintings are dominated by the pavilions while the summer and the winter two are dominated by the landscapes. If these four paintings are hung in the same hall, the splendor of the pavilion and the magnificence of the landscape will cause visual changes, which is also the result of the author's overall conception. The four paintings have the same visual effect as the "Tongjing Screen". The highest peak in the sea is the highest spring painting, behind the gnarled pines, one can vaguely see the reddish peach blossoms and tender green willows, the whole picture is full of the spring meaning of peach blossoms and green willows. The summer scene in the four seasons screen is called "Mountain Rain Desiring to Come", which is taken from the famous line of the Tang Dynasty poet Xu Hun, "Mountain Rain Desiring to Come", and the portrayal of the wind is the most outstanding part of this summer scene painting. Four views of the autumn landscape in the mountains, to the Han Dynasty Wang Zhaojun married Huns story as the theme, in fact, the author's interest is not in the story itself but in the portrayal of the majestic palace, but Yuan Yao will be gorgeous buildings covered in a night, a round of the moon hanging high, more or less bleak mood, but also in line with Wang Zhaojun will be far away from their hometowns and loved ones of the sadness of the parting of the feelings. Negative pleasantries" is the last of the four scenes, showing the winter scenery. The three words "Negative Greetings" refer to the meaning of basking in the sun to keep warm in winter. The picture shows a thatched hut in a village, and several farmers, after a year of hard work, gather in front of the hut to chat and bask in the sun. The thatched roof is in stark contrast to the magnificent palaces in the spring and fall scenes.

Yuan Jiang painted the "bamboo buds and pines" screen twelve, now in the Palace Museum in Beijing. Painted on silk with colors, painted in kimao (the first year of Yongzheng, 1723), Yuan Jiang is a masterpiece of the mature period of painting. The phrase "bamboo and pine" comes from "Xiao Ya" (The Book of Songs), which uses bamboo as a metaphor for the fundamental nature of life. Xiao Ya", bamboo is a metaphor for the solidity of the foundation and pine is a metaphor for the flourishing of branches and leaves, which is a metaphor for the prosperity of the family, and is often used as a toast to the completion of a new house. This set of twelve screens looks like it was painted for the completion of a manor house. The exquisite architecture of the mountains and the water, appearing between the pines and the green bamboo, elegant and quiet. The combination of rocks, lakes and buildings in the painting is very natural; the whole painting is dominated by lime green, and only a few beautiful colors are used between the houses, which is a change in harmony and unity. From this group of works, we can see the artist's ability to handle large scenes.

Yuan Yao also painted a number of screen paintings, "Peach Garden" 12, created in the Eastern Jin Dynasty Tao Yuanming's masterpiece of prose, "Memories of Peach Blossom Garden," under the title of the bingyin (the eleventh year of the Qianlong reign, 1746). Yuan Yao's painting draws on the theme to depict a quiet idyllic life, with a farmer leisurely plowing his way through the day. Peach blossoms in full bloom adorn the mountains and rivers, creating the image of a "paradise" where one can cultivate, weave, and read. When Yuan Yao made this picture, he paid great attention to the changes in the undulation of the picture and the correspondence between the real and the imaginary, with the lake running horizontally at the beginning of the picture, the sloping rocks rising up in the middle, and then the lake, and finally ending with the abrupt peaks. When the viewer appreciates this picture, the line of sight moves up and down with the scenery, intermittently, releasing and retracting, resulting in a kind of wave-like dynamics and rhythm, getting rid of the straight horizon line, and achieving a very good effect.

The painting of multiple panels is different from that of a single panel, which requires the artist to have a comprehensive overall consideration before painting, i.e., to think about and arrange the "management position", paying attention to the big effect of the whole picture, but also taking into account the relative independence of each panel after it has been divided. Yuan Jiang and Yuan Yao were able to handle these issues with ease, and they had a great deal of skill in the composition of their large works. This is probably due to their artistic practice of arranging halls in Shanxi salt merchants.

Yuan Jiang and Yuan Yao, although they are both famous for landscape and pavilion paintings, but they can also make flowers, birds, insects and fish paintings, from the "two Yuan" works handed down, this kind of subject matter of the paintings, painting style is more unrestrained, casual, but the number is much less than the landscape and pavilion paintings, it can be seen that the two of them are not often made flowers, birds, insects and fish paintings, but only occasionally. They were not always painting flowers, birds, insects and fish, but only occasionally.

In addition, Yuan Jiang's works, from the point of view of style, there is a difference between fine brush and thick brush. Most of his works belong to the neat and meticulous all the way, but there are also a small number of brush is more relaxed (compared with his fine brush painting) works, this kind of painting is mainly ink and wash, or light application of color, a different look, Henan Provincial Museum of the "Cold Mountains and Ten Thousand Waters" axis belongs to this kind of. The brushwork in this painting is dynamic and lively, especially in the painting of the woods, emphasizing their lushness and complexity, and the brushstrokes are very indulgent, rather than sticking to the specific and precise portrayal of the shape of each tree, which is quite different from Yuan Jiang's usual painting style.

Yuan Jiang painted a large album of 12 pages of Landscape in the eighth year of the Qianlong reign (1743), which is the later of Yuan Jiang's works signed with a yearly mark, and his painting style is more relaxed. It seems that most of Yuan Jiang's landscape paintings with loose brushwork are from his later years, from which we can also see the process of change in his painting style. The difference in painting style between Yuan Jiang and Yuan Yao is not very obvious. Without a signature, it is difficult to tell whose handwriting was used. Generally speaking, Yuan Jiang's paintings are slightly tighter and Yuan Yao's slightly looser.

Yuan Jiang, Yuan Yao all the way to the landscape and pavilion boundary painting, in the Kangxi to Qianlong period of time in the local area of the popularity of nearly a hundred years, but, with their death, this kind of painting or this style of painting, has been declining, although there are still a few followers, but has not become a climate, so that eventually disappeared in the painting world. The prosperity of Yangzhou's painting scene is closely related to the economic prosperity of Yangzhou, to the many salt merchants who lived there, and to the prosperity of Yangzhou's gardens. The admirers and purchasers of Yuan Jiang's and Yuan Yao's paintings were the salt merchants who operated the salt industry in Yangzhou at that time. Salt merchants in Yangzhou mainly from Shanxi in the north and Anhui in the south, Anhui salt merchants like "Yangzhou Eight Monsters" all the way to the flowers, bamboo and stone paintings, while Shanxi salt merchants are in love with Yuan Jiang, Yuan Yao's landscapes and pavilions of the boundary paintings. Salt merchants in different regions, due to differences in cultural background or cultural heritage, have different aesthetic and appreciation of interest, this difference in interest, creating a pluralistic look and pattern of Yangzhou painting. However, with the gradual retreat of the Shanxi salt merchants from Yangzhou, replaced by the activity of the Anhui salt merchants, the painting styles of Yuan Jiang and Yuan Yao showed signs of decline almost in tandem with this, illustrating the ****existing relationship between artists, works of art, and art patrons. Yuan Yao once painted a painting called "Farewell to Guangling" to send off He Junzhao, a salt merchant from Shanxi who operated a salt business in Yangzhou. Although the farewell was only for one person, the departure of He Junzhao, a Shanxi salt merchant, seems to have a symbolic significance, which foretells that Yuan Jiang and Yuan Yao, as well as their painting styles, will never be the same again.