-(Northern Song Dynasty) Fan Kuan

-Silk ink landscape painting

-206.3 cm * 103.3 cm

-Now in possession: National Palace Museum in Taipei.

Fan Kuanshan painted landscapes. He copied the paintings of Li Cheng and Hao Jing successively. But it has not achieved much. Fan Kuan deeply realized through his own experience that copying other people's paintings, even if they look very similar, can never surpass the original. Therefore, he stressed that if you really want to draw a good landscape painting, you have to go deep into the natural mountains and rivers to carefully observe and experience. His landscape paintings are known as "the bones of mountains, which are vivid and have mountains", and "painting the bones of mountains is more soul-drawing". It successfully depicts the characteristics of "great mountain thickness" in Beiguanshan area. Because of his generosity and openness, he used the name "Kuan"

Status: Together with Dong Yuan and Li Cheng, they are also called "three outstanding men in the Northern Song Dynasty"

He created the method of storing ink and raindrops (sesame seeds) to express the landscape of northern rocks.

Ink accumulation method is to add ink layer by layer. This ink method generally starts with light ink, and after the first ink is slightly dry, it is painted for the second and third times, and then rubbed and dyed repeatedly. Generally, the painted objects have a heavy three-dimensional sense and texture.

"Raindrop", the rain hits the glass and straightens it hard, which is also called "sesame". Technically, we use raindrops to draw rocks and trees. Let's look at the feeling of sudden raindrops hitting the wall. Fine handwriting, different levels. It depicts the feeling of towering mountains in the north.

The first thing you see is the majestic peaks, which occupy most of the picture. There are bushes on the top of the mountain, and the stream flows down from the waist into the stream at the foot of the mountain. There are many boulders at the foot of the mountain, showing a path between the mountains. A group of caravans are drawn on the path, which is the protagonist of this painting, adding a sense of pleasure to the picture, making it suitable for both sports and sports.

The composition is majestic, with the huge main peak in the upper part as the main body of the whole picture and the combination of various landscapes in the lower part. If we use a line to divide the upper and lower structures, we will find that the horizontal line at the golden section can horizontally divide the picture into two parts. The upper part of the rock should be a distant view, and the lower part is a close view. But when we look at this blessing painting, we feel that the distant view is really in the lower part, and the huge main peak in the upper part is closer to us visually. Why do you feel this way?

Let's take a look at this main peak. His mountain is full and big, but in the center of the mountain, the ink is the lightest. Why do you want to shape it like this? This kind of modeling is to highlight the sense of volume, which makes the mountain of the main peak obviously closer to the viewer than other mountains. This is also an important reason why the whole mountain is close to the audience. It's really the bone of the mountain, which is in harmony with the mountain.

From a distance, it is magnificent, and from a close view, it is meticulous and subtle. Use this towering composition to highlight the steepness of the mountain peak. It gives us the feeling that the mountain has fallen. It depicts the majestic feeling of this mountain. Tall and majestic performance incisively and vividly.

Fan Kuan used a typical "empty cloud method", also known as "leaving clouds", to express clouds in his "Journey to the West Mountain". In fact, it is to use the gaps between rocks to imply the existence of clouds. The rocks and trees are real, and the clouds and smoke are empty. This combination of reality and reality highlights the artistic conception of the mountain. It also highlights the sense of space before and after.

Painters in the Northern Song Dynasty rarely wrote inscriptions and seals, lacking the painter's own confirmation. 1958, the deputy curator of Taipei Museum found Fan Kuan's signature in the leaves beside the caravan, which verified that this work is an original. This also brings new activities to watch! Find a name!