Famous landscape paintings in Song Dynasty

Famous landscape paintings in the Song Dynasty: a thousand miles of mountains and rivers, a trip to the Western Hills, Shiping, Maolin Far Cave, Qingshan Temple, Snow Mountain Cold Forest, Snow Mountain Temple, Jiangshan Pavilion, Xishan Pavilion, Early Spring, Valley, Guanshan Chun Xue, Mountain Village, etc.

During the Northern Song Dynasty, landscape painting was very prosperous. Among them, Li Cheng and Fan Kuan are the representatives of landscape painters in the early Northern Song Dynasty. They inherited Hao Jing's tradition of paying attention to ink and wash, mainly showing the magnificent natural landscape in the north. Together with Guan Tong of the Five Dynasties, he was regarded as a master of "three outstanding men set the scene and a hundred generations marked the course". Their works are of epoch-making significance. His successors include Wang Shiyuan, Wang Duan, Yan Wengui, Xu Daoning, Gao Keming, Guo, Jonathan Lee and Qiu Nahe. In addition to the landscape paintings of the northern landscape department, there are Guo Zhongshu, who is good at boundary painting, He Zhao, who is good at expressing small landscapes of lakes and mountains, Wang Ximeng, who inherited the green landscape painting method since the Tang Dynasty, and Mi Fei, a representative figure of the southern landscape painting, who created "Mi's Yunshan". They all have their own unique contributions to the development of China landscape painting.

Landscape painting in the Northern Song Dynasty tends to be natural, paying attention to "truth" and "reality" and advocating the realistic style of landscape painting. More use of silk, not only the outline is meticulous, the description is rigorous, but also the picture is rendered layer by layer with ink and wash, showing a dignified and quiet beauty. It shows an unprecedented delicate, rich and realistic painting style.

The golden age of China's fine arts was in the Song Dynasty, and the landscape paintings of Song people were the brightest pearl on the art pagoda of the whole Song Dynasty. When combing the landscape paintings in Song Dynasty, we will find that the painting style of landscape paintings in Song Dynasty is diverse and special: every once in a while, a new painting style will appear, which is very different from the previous traditional painting style. It seems that the masters of landscape painting in the Song Dynasty have given up the opportunity to learn from their nearest masters, and instead strive to pursue the painting styles of earlier masters. They all saw new possibilities in the works of the painters they were pursuing, but when their painting styles matured, they found that they were far from the masters in their hearts.

Fan Kuan bypassed the aesthetic thought pursued by Li Cheng, and Guo bypassed Fan Kuan to find Li Cheng as his spiritual mentor, surpassing Guo to pursue Fan Kuan's footsteps. This way, which is similar to "atavism", seems to have been realized in the theory of landscape painting at that time. The theory of landscape space since the Tang Dynasty was not effective until the early years of the Northern Song Dynasty. Scholar 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 this poetic landscape work to the peak. It seems that change can happen overnight. In fact, it requires a lot of spiritual tempering and struggle of the painter to achieve it. Only the painter knows the hard work in the middle. The active thought in the field of landscape painting in Song Dynasty brought great prosperity to the art of landscape painting in Song Dynasty, and also caused great trouble for today's scholars to clarify the development of landscape painting in Song Dynasty.