Appreciating Famous Paintings from Various Schools Throughout History

Author: Zhang Boyuan / Country: Mainland China
Publisher:
Publishing Date: 2000-02-01
Features: Yan Liben's Illustration of in the Northern Qi Dynasty depicts history through images. Since Liu Xiang of the Western Han Dynasty first initiated the tradition of , the collation of ancient books has been highly valued in every dynasty. The Illustration of in the Northern Qi Dynasty is said to be a masterpiece by the Tang Dynasty painter Yan Liben. However, according to Huang Bosi of the Song Dynasty, the painting he saw had a mix of Chinese and foreign figures, and he believed it was undoubtedly the work of Yang Zihua. Yet, he also mentioned that there were multiple versions of the painting at the time. Currently, academic consensus holds that both the works attributed to Yang and Yan have long been lost, and what remains are imitations by Song Dynasty artists.
The Illustration of in the Northern Qi Dynasty is a silk scroll, heavily colored. It is a documentary-style painting with historical content, depicting a total of nineteen people. On the right side of the painting, one person is seated (Fan Xun), writing, with six attendants on either side. In the center, several scholars (such as Gao Qian and others) are depicted—some holding brushes, some conversing, and some attempting to flee. Including the attendants, there are six scholars in this section. On the left side of the painting are attendants, Xiguan officials, and horses. The attire, appearances, and utensils of the figures in the painting reflect the style of the Northern Wei and Northern Qi periods, showcasing the historical fusion of Han and ethnic minority cultures. According to the inscriptions by Huang Tingjian of the Northern Song Dynasty, the later half of the painting differs. The Xiguan officials and horses on the left were added later, while the original middle section was lost by the Southern Song Dynasty. Thus, the existing imitation of the Illustration of in the Northern Qi Dynasty is a composite work by later generations.
Li Cheng's View of Pine Forests and Distant Peaks is exquisitely refined. Li Cheng, a master of landscape painting, followed the tradition of Jing Hao and Guan Tong, often depicting northern landscapes in his works, such as snowy forests and misty waters. Viewers feel as if they are entering a serene yet challenging terrain. "Its atmosphere is sparse and desolate, with clear and vast forests" is its defining artistic characteristic. The Song Dynasty calligrapher Mi Fu highly praised Li Cheng's paintings, believing that despite learning from Jing and Guan, not a single stroke in his work resembled his teachers. Su Shi once wrote a poem: "Misty and ethereal, the immortal of Yingqiu, in watercolor, floating in the void, without end." (Poetry of Su Dongpo, Volume 12). The Famous Paintings of the Great Dynasty states: "When Li Cheng picks up his brush, he follows his own will, embracing the creation of nature, crafting scenes that are perfectly harmonious."
The View of Pine Forests and Distant Peaks is a silk scroll, ink and wash. It measures 141.8 cm in height and 45.8 cm in width. It is now housed in the Liaoning Museum and is sometimes referred to as Small Cold Forest. The foreground shows a mountain stream, its water not deep, with people crossing it while helping each other. The surrounding mountains are covered in lush trees, while in the distance, peaks rise, with temples and pavilions hidden in mist and clouds, their ridges interlocking like dogs' teeth. Although this painting is a later imitation, it still reflects the spirit and style of Li Cheng's landscape art. The rocks are primarily painted with the "mop texture" technique, emphasizing lines and shading. "The texture is sparse, yet the bones are firm." The tree trunks are drawn with fine lines, lightly colored, set against the darker tones of the rocks. The leaves are mostly painted using the "dot technique," with varying shades and densities, yet without the "crab-claw technique" (a characteristic of imitations). This painting differs from others like View of Clear Mountain and Cold Temple, which are also labeled as "cold forests." Strictly speaking, calling it Small Cold Forest is inaccurate.
Other works attributed to Li Cheng include View of Clear Mountain and Cold Temple, View of Snowy Mountains and Travelers, and View of Cliffs Covered in Snow.
Li Xizhai's Bamboo Painting is skillful and unrestrained. Bamboo has long been used in painting as a metaphor for expressing the artist's sentiments. During the Wei and Jin periods, there was a story: Wang Ziyuan (the fifth son of Wang Xizhi) temporarily stayed with a friend and planted bamboo in the friend's courtyard. Others found it strange and asked, "You'll only be staying for a few nights—why bother planting bamboo?" Wang Ziyuan replied, "How can I live without seeing bamboo for even one day?"
Li Kan (1245–1320), styled Zhongbin, was known as the "Xizhai Daoist." His sobriquet "Xizhai" was also used to refer to him as the "Xizhai Daoist." He was from Jiqiu (Beijing) and rose to the position of Minister of Personnel. He was skilled in painting bamboo and left behind the Xizhai Bamboo Manual. His Bamboo Painting, also known as Four Climates, measures 35.6 cm in height and 358.5 cm in width. It is only the later part of the full scroll. When Li Xizhai painted it, he was already 64 years old. He inscribed: "In the autumn of the Dingwei year of the Dade era, on the ninth day, Wang Xuanqing, the Daoist recorder, brought this paper to me, asking for my clumsy brushwork. I was too busy to do much. The following spring, on the first day of the first month, I finally completed it. The light was dim, my eyes were dim, and in daylight, I did not know what it was." The painting includes auspicious bamboo, catalpa trees, orchids, and large rocks, hence the name "Four Climates." His ink bamboo paintings generally followed the style of Wen Tong, but his brushwork was even more skilled and unrestrained. He did not focus on every stem and leaf but considered the overall composition and how it interacted with other elements. In addition to ink bamboo, Li Xizhai also pioneered the double-line and colored technique. The Yuan Dynasty painter Zhao Mengfu once wrote a poem praising him: "Li Hou was obsessed with bamboo in his life, with thousands of acres of Wei River in his mind. Laughing and calling the ink spirit for a true portrayal, no one could rival the rebirth of Yu Ke." He gave him the highest praise.