| Revision as of 09:23, 31 May 2007 editFeanorStar7 (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers302,404 editsmNo edit summary← Previous edit | Revision as of 11:27, 19 October 2007 edit undoJetman (talk | contribs)Pending changes reviewers11,544 editsm fiNext edit → | ||
| Line 20: | Line 20: | ||
| ] | ] | ||
| ] | |||
| ] | ] | ||
Revision as of 11:27, 19 October 2007
Dŏng Yuán (董源) (c. 934-c. 962) was a Chinese painter.
He was born in Zhongling. Dong Yuan was active in the Southern Tang Kingdom of the Five Dynasties and Ten Kingdoms Period. He was from Nanjing in the Jiangsu province, 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 Ju Ran were the founders of the southern school of landscape painting, and with Jing Hao and Guan Tong of the northern school 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 Li Sixun and Wang Wei. However, he added to the number of techniques, including more sophisticated perspective, use of pointillism and crosshatching to build up vivid effect.
The Xiao and Xiang Rivers
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 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.
Categories: