Dong Yuan's landscape paintings are far and deep, in the south. This setting technique is a great change for his predecessors, such as Li Sixun and Hao Jing. It gives the painter more freedom to express the thousands of miles of mountains and rivers before him. Dong Yuan's Summer Mountain Map is a typical representative of this composition, color setting method and style. The picture shows a landscape with overlapping mountains, trees, smoke and sand ridges, which is dotted with life scenes of one or two people, small bridges, pavilions, cattle and sheep grazing. At first glance, this painting gives people a sense of grandeur and tranquility. Dong Yuan took the extremely monotonous Pingsha Judy and overlapping hills as the description theme, and developed them into a giant with a length of more than 3 meters, which was rare before Dong Yuan. Can't help but say that it's not Dong Yuan's great pioneering work in landscape painting composition and scenery! What is even more rare is that the structure of this painting is very tight and compact, and there is no sense of looseness. In the lower part of this picture, the trees on the hillside are falling down together, and the top is covered with distant mountains, which are hidden from time to time. This composition itself constitutes a regular and changeable rhythm and rhythm, which makes the space between the sand moraine and the hills in the central area visually create a magnificent, quiet and peaceful feeling. What an attractive handwriting. Although the tree is short, it is tall because of the sense of space in the sand moraine; Although the mountains overlap, they are not stopped by the traction of distant mountains. In terms of artistic techniques, it is worth noting that Dong Yuan successfully led the hills piled up by spheres with countless straight sand dikes, and connected them with vertical short trunks in the combination of parallel horizontal lines and hemispheres, thus resulting in extremely dense and simple scenery, which seems dull and extraordinary.
Xiaoxiang Map is also a typical landscape picture scroll in the plain, but the scenery is concise and vast instead of overlapping and deep twists and turns like Summer Mountain Map, which is a plain water town scenery in the south. The picture unfolds, covered with sand moraines and reeds. In Ting 'an, a leisure city in the south of Shui Ze, several people are moving, just waiting to meet the distinguished guests on the boat heading for the shore. In the second half of the mountain, there are lush trees and clouds, and there are ten fishermen fishing with huge nets on the slope. There are still several fishing boats between Sha Ting and Zhu Wei, which adds some interest to the empty river. The scenery in this painting is flat and straightforward, with few twists and turns and little ups and downs, but Dong Yuan successfully used the limited opening and closing and the parallel line between the Shazhu River embankment and the slope island at the foot of the mountain to extend the scenery to the left and right, setting off the vast rivers and the mountain scenery on both sides.
In addition to the level, Ju Ran's landscape has lofty characteristics. Unlike Dong Yuan's paintings, which are characterized by the depth of the south, he is good at painting the real scenery in the mountains and has quite characteristics. Its scenery pays attention to structure, is good at fine management, fine but not scattered, and is uniform.
The main peak of "Qiu Shan Twain" is towering into the sky, far away from the painting. The two mountains in the middle embrace each other, with dense forests below and thatched rafters in the forest, and Chai Men is wide open. The path between the foothills of the forest and the mountains winds around Chai Men and bends into a deep valley. The hillside at the lower end is winding, the trees are drooping, the gravel is flowing, and the cattail grass is facing the wind. The subject and object characters in the painting are all sitting on a thatched cottage in such a crisp autumn mountain.
Zhao Gan's paintings are the direct biography of Dong Yuan and the southern scenery. The layout of his "The First Snow Map on the River" is not only flat, but also different from Dong Yuan's overall composition, extending from the sky to the ground. Its framing does not seek the vast river color, but selects the close and middle scenes in the river to show the tortuous river scenery and the activities of people and ships. This kind of scenery is unique. Although the scope of the scenery is limited to a narrow river and bank, the activities of characters, the changes of landforms and the staggered extension of river branches are all coordinated and natural, just like cutting a corner from a vast natural picture, and the poetry enjoyed by the audience is beyond words.
M father and son won the plain meaning of Dong Yuan. The Wonders of Xiaoxiang Volume was painted by Mi Youren according to the real scene. Although the picture is not as tortuous and meticulous as Dong Yuan's scenery, Mi Youren is bold and unconstrained. After only opening and closing a few times, an interest in the horizon overflows. When this picture unfolded, thick clouds rolled by, and the foot of the distant hillside was looming in the dusk. With the change of clouds and gas, the mountain shape gradually emerges, overlapping and undulating to the left and right, and the distant peaks finally appear in the clouds. The main mountains in the middle section are towering and undulating. The trees are dense, and the distance can be seen. The scenery in this section is very clear and shows the truth, but at the end of this section, the mountains are hidden in the distance ... The tail cloth is close to the mountains, trees and thatched houses, which is farther than the misty mountains. From the beginning to the end of the scroll, this picture is misty and clear, and it is far and near, and between shades, which reflects the vitality of nature and Mi Youren's good intentions in the scenery.
As for "Sunset Photo of Fishing Village" and "Far Pufan Returning to the Map", they used minimalist brushwork, especially large-scale rendering techniques, to cover a few scenery such as mountains, trees, people, ships and clouds in a faint fog, creating an unpredictable and distant and hazy landscape, which is similar to Dong Yuan's flat scenery technique.
In short, Pingjing is a major artistic feature of the Southern Landscape Painting School, and it is also the embodiment of the Southern Landscape Painting School's style.