Dong Xiyuan's Painting Style

Dong Xiyuan's landscape paintings give people the deepest impression of vivid charm, majestic and beautiful mountains and rivers, heroic and magnificent. He is good at grasping the overall sense of the picture, such as Gao He Shan Shui, Qiu Shan Yun, Liu Yun Fei Waterfall, Yun Quan, etc. At the same time, although the mountains and valleys are endless, there are many things to see. One integrated mass, giving people a magnificent; Shi Mei texture.

China's landscape paintings reached a peak in the Five Dynasties and the Northern Song Dynasty, such as Dong Yuan's Summer Mountain Map, Fan Kuan's Journey to the West Mountain Map and Guo's Early Spring Map. Although different levels, lofty and far-reaching, but with its majestic beauty, showing the great texture of the motherland, full of masculinity. At the same time, the ancients said that water and clouds are the breath of mountains. Without water and clouds, mountains are lifeless. It is Dong Xiyuan's understanding of the traditional three flavors that makes his landscape paintings have breathtaking and flowing vitality. Solid ravines, flowing springs and disappearing smoke clouds, together with picturesque figures, trees and cottages, build a rhythmic and vibrant nature, which is swimable, lovely and intoxicating. Another feature of Dong Xiyuan's landscape painting is its rich composition and impenetrability, but it is not conducive to horse racing. In order to highlight the majestic mountains and rivers, he superimposed them layer by layer, making his paintings indomitable, strong and preconceived, making viewers feel the momentum in front of the endless mountains and rivers and interpreting the wonderful truth of the magnificent mountains and rivers.

Mao Zedong praised the mountains and roads of the motherland in his poem "Sixteen-character Order": The sky is falling, stand on it. When appreciating Dong Xiyuan's "Yunchunshan Map" and "Gaohe Landscape Map", this kind of emotion arises spontaneously. Although Dong Xiyuan abandoned the way of leaving blank, he did not abandon the fine tradition of pen and ink. He used flowing springs and waterfalls, dreamy mist and clouds to immerse solidified rock gullies into flowing air. You can hear the sound of spring and the sound of clouds. The breathing movement of nature is so harmonious, elegant, beautiful and changeable. Dong Xiyuan, who loves life, also likes to decorate the picture with beautiful girls wearing straw hats and dresses, adding a modern atmosphere to the beautiful scenery of Qishan. Compared with the old monk's way of dressing up in ancient costumes and closing his eyes, it has a different taste. Therefore, looking at its landscape, there are both the magnificent beauty of Cui Wei and the sense of elegance and dexterity, which complement each other.

Landscape painting is characterized by flexible and rich expression techniques, both work and intention, and comprehensive techniques. He is good at chopping with big and small axes to show the power of mountains. It is also good to express the richness of mountains with long and short braids; You can also use watercress to write the texture of the rock ditch; Dong Xiyuan did not like indulging blindly, but emphasized exaggeration and beautification on the objective basis, and carried forward the tradition of literati painting represented by Zhao Ziang in Yuan Dynasty. His treatment of distant view, middle view and close view embodies this idea. The realistic place is realistic, and the freehand place is freehand, flexible and just right. Such as "Autumn Mountain Cloud", close-up scenery of Fenglin bamboo forest, hilly valley, delicate performance; In the distance, the clouds are scattered and the ink is dripping, but the whole picture is seamless, without the shortcomings of stubbornness and affectation. Painters also attach great importance to color setting and light and shadow expression. Their writing is not harsh, they don't cut corners, and they don't abuse pen and ink. They are skilled and rich in levels, and they have received the effect of not letting the ancients ten miles away. Zhao Ziang Ceng Yun: Paintings are precious and have ancient significance. If there is no ancient meaning, it is useless. Zhao's ancient meaning actually refers to learning traditional excellent skills and innovating on this basis. Zhao Yisheng's artistic practice is a good interpretation. Dong Xiyuan's painting practice has also explained this truth to us. His paintings are full of traditional elegance and aesthetic taste of the new era. We can see the creative purpose of taking line modeling and painting as surprises, and the traditional standard of emphasizing poetry in painting; We can also see the new concept of paying attention to light and shadow effect, bright and dark colors, and demanding full pictures: China traditional ink painting is elegant and beautiful in color, and the similarity and dissimilarity in modeling are also reflected in it.