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{{Short description|Chinese artist (932–962)}}
'''Dŏng Yuán''' (董源) (c.] - c.]) was a ] ].
{{hatnote|Not to be confused with the various places named ].}}
{{Infobox artist
| name = Dong Yuan
| image = Dong Yuan rivers detail.jpg
| image_size = 250px
| caption = Detail from ''Xiao and Xiang Rivers'', permanent collection at the ]. This painting is often considered to be one of Dong Yuan's greatest masterpieces, and it "illustrates the revolutionary impressionism" he had achieved by "means of broken ink washes and the elimination of the outline."<ref>{{cite book|title=The Arts of China|author=Sullivan, Michael |authorlink=Michael Sullivan (art historian) |publisher=]|year=1999|isbn=0-520-21877-9|page=183}}</ref>
| birth_name =
| birth_date = c. 932
| birth_place = ]
| death_date = c. 962
| death_place =
| nationality = ]
| known_for = ]
| training =
| movement = ], Jiangnan style
| notable_works =
| patrons =
| awards =
}}
{{family name hatnote|]|lang=Chinese}}


'''Dong Yuan''' ({{zh|c=董源|p=Dǒng Yuán|w='''Tung Yüan'''}}, ]: dung3 ngion4; c. 934 – c. 962) was a Chinese ].
⚫ He was born in ]. Dong Yuan was active in the ] Kingdom of the ]. He was from ] in the ] province, which was a center for culture and the arts.


⚫ He was born in Zhongling (钟陵; present-day ], ] Province).<ref name="CiHai">Cihai: Page 599.</ref> Dong Yuan was active in the ] Kingdom of the ]. He was from ], which was a center for culture and the arts.
⚫ He was known for both figure and ] paintings, and exemplified the elegant style which would become the standard for brush painting in China for the next 9 centuries. He and his pupil ] were the founders of the southern school of landscape painting, and with ] and ] of the northern school they constituted the four seminal painters of that time.


⚫ He was known for both figure and ] paintings, and exemplified the elegant style which would become the standard for brush painting in China for the next nine centuries. He and his pupil ] ({{lang|zh|巨然}}) were the founders of the Southern style of landscape painting, known as the Jiangnan Landscape style. Together with ] and ] of the Northern style they constituted the four seminal painters of that time.
⚫ As with many artists in China, his profession was as an official where he studied the existing styles of ] and ]. However, he added to the number of techniques, including more sophisticated perspective, use of ] and ] to build up vivid effect.


⚫ As with many artists in China, his profession was as an official, here he studied the existing styles of Li Sixun and ]. However, he added to these masters' techniques; he included more sophisticated perspective.
==''The Xiao and Xiang Rivers''==


==Works==
]
''The Xiao and Xiang Rivers'', one of his best-known paintings, demonstrates these techniques, and his sense of composition. The clouds break the background mountains into a central pyramid composition and a secondary pyramid, by softening the mountain line, he makes the immobile effect more pronounced. The ''Xiao and Xiang Rivers'' or ''Scenes along the Xiao and Xiang Rivers'', a painting on silk (49.80&nbsp;cm by 141.30&nbsp;cm),<ref>{{cite web|url=http://huntington.wmc.ohio-state.edu/public/index.cfm?fuseaction=showThisDetail&ObjectID=30019158|archive-url=https://web.archive.org/web/20060906084030/http://huntington.wmc.ohio-state.edu/public/index.cfm?fuseaction=showThisDetail&ObjectID=30019158|url-status=dead|archive-date=2006-09-06|title=The Huntington Archive|publisher=]}}</ref> is one of his best-known masterpieces. It demonstrates his exquisite techniques, and his sense of composition. The clouds break the background mountains into a central pyramid composition and a secondary pyramid, by softening the mountain line, he makes the immobile effect more pronounced.


The inlet by breaking the landscape into groups makes the serenity of the foreground more pronounced, instead of simply being a border to the composition, it is a space of its own, into which the boat on the far right intrudes, even though it is tiny compared to the mountains. Left of center, he uses his unusual brush stroke techniques, later copied in countless paintings, to give a strong sense of foliage to the trees, which contrasts with the rounded waves of stone that make up the mountains themselves. This gives the painting a more distinct middle ground, and makes the mountains have an aura and distance which gives them greater grandeur and personality. He also used "face like" patterns in the mountain on the right. The inlet by breaking the landscape into groups makes the serenity of the foreground more pronounced, instead of simply being a border to the composition, it is a space of its own, into which the boat on the far right intrudes, even though it is tiny compared to the mountains. Left of center, he uses his unusual brush stroke techniques, later copied in countless paintings, to give a strong sense of foliage to the trees, which contrasts with the rounded waves of stone that make up the mountains themselves. This gives the painting a more distinct middle ground, and makes the mountains have an aura and distance which gives them greater grandeur and personality. He also used "face like" patterns in the mountain on the right. A painting attributed to Dong Yuan,<ref>{{cite web | title=Southern Tang dynasty (937–76) | website=The Metropolitan Museum of Art | date=2 September 1999 | url=https://www.metmuseum.org/art/collection/search/39542 | access-date=9 November 2023 | archive-date=9 November 2023 | archive-url=https://web.archive.org/web/20231109193155/https://www.metmuseum.org/art/collection/search/39542 | url-status=live }}</ref> ''The Riverbank'', is housed in the ], and was a gift from New York financier ],<ref name=twsJanJ13e1>{{cite news
|author= JUDITH H. DOBRZYNSKI
|title= Landscapes Were Never The Same
|newspaper= The New York Times
|quote= Southern Tang Dynasty scholar Dong Yuan created the illusion of depth and distance ... the Metropolitan Museum of Art ... ''The Riverbank,'' ...it had been bought for the Met by the financier Oscar L. Tang.
|date= May 25, 1997
|url= https://www.nytimes.com/1997/05/25/weekinreview/landscapes-were-never-the-same.html
|accessdate= 2010-01-10
}}</ref> though some scholars believe it may be a modern forgery by ].<ref>{{Cite web|url=http://www.thecityreview.com/symposium.html|title=Chinagate: Symposium at the Metropolitan Museum on Chinese Paintings Dec. 11, 1999|access-date=2014-10-18|archive-date=2016-03-04|archive-url=https://web.archive.org/web/20160304202622/http://www.thecityreview.com/symposium.html|url-status=live}}</ref>


==Gallery==
⚫ ]
{{Gallery
⚫ ]
| title =
⚫ ]
| width = 200
]
| height = 180
|File:Xiao and Xiang rivers.jpg|''Xiao and Xiang Rivers'' (潇湘图). Part of a handscroll, ink and color on silk, ], Beijing.
|File:Dong Yuan. Wintry Groves and Layered Banks ca. 950 (181,5x116,5cm) Kurokava Inst. Hyogo.jpg|''Wintry Groves and Layered Banks'', ca. 950. Hanging Scroll, ink and color on silk, Kurokawa Institute, Japan.
|File:Dong Yuan Mountain Hall.jpg|''Dongtian Mountain Hall'' (洞天山堂图). ], Taipei.
|File:Along_the_Riverbank_by_Dong_Yuan_before_962_AD.png|''Along the Riverbank'' or ''The Riverbank'' at the ].
}}


==See also==
]
*]
]
*]
*]
*]
*]
*]
*]

== Notes ==
{{Reflist}}

==References==
*Ci hai bian ji wei yuan hui ({{lang|zh-Hans|辞海编辑委员会}}). Ci hai ({{lang|zh|辞海}}). Shanghai: Shanghai ci shu chu ban she ({{lang|zh|上海辞书出版社}}), 1979.

==External links==
* at China Online Museum
*, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Dong Yuan (see index)
*

{{commons category|Dong Yuan}}

{{Authority control}}

{{DEFAULTSORT:Dong Yuan}}
⚫ ]
⚫ ]
]
]
]
]
]
⚫ ]

Latest revision as of 15:09, 23 May 2024

Chinese artist (932–962) Not to be confused with the various places named Dongyuan.
Dong Yuan
Detail from Xiao and Xiang Rivers, permanent collection at the Palace Museum. This painting is often considered to be one of Dong Yuan's greatest masterpieces, and it "illustrates the revolutionary impressionism" he had achieved by "means of broken ink washes and the elimination of the outline."
Bornc. 932
Nanjing
Diedc. 962
NationalityChinese
Known forPainting
MovementSouthern Tang, Jiangnan style
In this Chinese name, the family name is Dong.

Dong Yuan (Chinese: 董源; pinyin: Dǒng Yuán; Wade–Giles: Tung Yüan, Gan: dung3 ngion4; c. 934 – c. 962) was a Chinese painter.

He was born in Zhongling (钟陵; present-day Jinxian County, Jiangxi Province). Dong Yuan was active in the Southern Tang Kingdom of the Five Dynasties and Ten Kingdoms period. He was from Nanjing, which was a center for culture and the arts.

He was known for both figure and landscape paintings, and exemplified the elegant style which would become the standard for brush painting in China for the next nine centuries. He and his pupil Juran (巨然) were the founders of the Southern style of landscape painting, known as the Jiangnan Landscape style. Together with Jing Hao and Guan Tong of the Northern style they constituted the four seminal painters of that time.

As with many artists in China, his profession was as an official, here he studied the existing styles of Li Sixun and Wang Wei. However, he added to these masters' techniques; he included more sophisticated perspective.

Works

The Xiao and Xiang Rivers or Scenes along the Xiao and Xiang Rivers, a painting on silk (49.80 cm by 141.30 cm), is one of his best-known masterpieces. It demonstrates his exquisite techniques, and his sense of composition. The clouds break the background mountains into a central pyramid composition and a secondary pyramid, by softening the mountain line, he makes the immobile effect more pronounced.

The inlet by breaking the landscape into groups makes the serenity of the foreground more pronounced, instead of simply being a border to the composition, it is a space of its own, into which the boat on the far right intrudes, even though it is tiny compared to the mountains. Left of center, he uses his unusual brush stroke techniques, later copied in countless paintings, to give a strong sense of foliage to the trees, which contrasts with the rounded waves of stone that make up the mountains themselves. This gives the painting a more distinct middle ground, and makes the mountains have an aura and distance which gives them greater grandeur and personality. He also used "face like" patterns in the mountain on the right. A painting attributed to Dong Yuan, The Riverbank, is housed in the Metropolitan Museum of Art, and was a gift from New York financier Oscar Tang, though some scholars believe it may be a modern forgery by Zhang Daqian.

Gallery

  • Xiao and Xiang Rivers (潇湘图). Part of a handscroll, ink and color on silk, Palace Museum, Beijing. Xiao and Xiang Rivers (潇湘图). Part of a handscroll, ink and color on silk, Palace Museum, Beijing.
  • Wintry Groves and Layered Banks, ca. 950. Hanging Scroll, ink and color on silk, Kurokawa Institute, Japan. Wintry Groves and Layered Banks, ca. 950. Hanging Scroll, ink and color on silk, Kurokawa Institute, Japan.
  • Dongtian Mountain Hall (洞天山堂图). National Palace Museum, Taipei. Dongtian Mountain Hall (洞天山堂图). National Palace Museum, Taipei.
  • Along the Riverbank or The Riverbank at the Metropolitan Museum of Art. Along the Riverbank or The Riverbank at the Metropolitan Museum of Art.

See also

Notes

  1. Sullivan, Michael (1999). The Arts of China. University of California Press. p. 183. ISBN 0-520-21877-9.
  2. Cihai: Page 599.
  3. "The Huntington Archive". Ohio State University. Archived from the original on 2006-09-06.
  4. "Southern Tang dynasty (937–76)". The Metropolitan Museum of Art. 2 September 1999. Archived from the original on 9 November 2023. Retrieved 9 November 2023.
  5. JUDITH H. DOBRZYNSKI (May 25, 1997). "Landscapes Were Never The Same". The New York Times. Retrieved 2010-01-10. Southern Tang Dynasty scholar Dong Yuan created the illusion of depth and distance ... the Metropolitan Museum of Art ... The Riverbank, ...it had been bought for the Met by the financier Oscar L. Tang.
  6. "Chinagate: Symposium at the Metropolitan Museum on Chinese Paintings Dec. 11, 1999". Archived from the original on 2016-03-04. Retrieved 2014-10-18.

References

  • Ci hai bian ji wei yuan hui (辞海编辑委员会). Ci hai (辞海). Shanghai: Shanghai ci shu chu ban she (上海辞书出版社), 1979.

External links

Categories: