Ten Famous Paintings in China Handwritten Newspaper

China's top ten famous paintings handed down from generation to generation are: The Goddess of Luo, A Thousand Miles Away, The Riverside at Qingming Festival, Fuchun Shan Jutu, Xiaochun in Han Palace, Hundred Horses, Walking Horse, Ladies in Tang Palace, Five Ox and Han Xizai Banquet.

"Top Ten Famous Paintings Handed Down from Ancient Times in China" is a monument of China's art history, a masterpiece of Chinese civilization, a flowing history and a silent movement. Carrying the unique artistic temperament of the ancient oriental nation; It records the long history of China stretching for 5,000 years and the magnificence of Wan Li's rivers and mountains in color.

Luohe map

Luo Shen by Gu Kaizhi in the Eastern Jin Dynasty

Luo Shen is a collection of the Palace Museum in Beijing. Silk, color, length 27. 1 cm, width 572.8 cm.

The original volume of "Fu Tu of Luoshen" was painted by Gu Kaizhi, a famous painter in the Eastern Jin Dynasty (copied in Song Dynasty). This painting is based on Cao Zhi's famous Ode to Luoshen, and it is a masterpiece handed down from generation to generation by Gu Kaizhi. This Song version retains some features of Gu Kaizhi's art to a certain extent, and we can also get a glimpse of his pen and ink expression from thousands of years. The whole volume is divided into three parts, which describes the sincere and innocent love story between Cao Zhi and Luo Shen in a tortuous and detailed way. The characters are properly arranged and naturally alternate, overlap and exchange in different time and space, but in the description of mountains and rivers, they all show a sense of space.

The whole painting is unpretentious, just like the painting of mountains, rivers, trees and stones in Silkworm Spinning in Spring. The so-called "there are more people than mountains, and water can't be flooded" embodies the characteristics of early landscape painting.

This picture scroll is worthy of being one of the treasures of China's classical painting in terms of content, artistic structure, figure modeling, environmental description and pen and ink expression.

By the river during Tomb-Sweeping Day.

The Riverside Scene at Qingming Festival by Zhang Zeduan in Northern Song Dynasty

Collection of Beijing Palace Museum. Silk color, 24.8 cm wide and 528.7 cm long. It is the only masterpiece that Zhang Zeduan, a painter in the Northern Song Dynasty, has ever seen.

The Northern Song Dynasty genre painting Riverside Scene at Qingming Festival. A masterpiece handed down from generation to generation, a first-class national treasure. The Riverside Scene at Qingming Festival is one of the most famous works in China's painting history. It is not only of superb artistic level, but also has many interesting stories circulating around it. This painting depicts the prosperity of Bianjing in the Qingming period. It is a witness to the prosperity of Bianjing in that year and a portrayal of the economic situation of the city in the Northern Song Dynasty. Through this painting, we learned about the city appearance of the Northern Song Dynasty and the life of people from all walks of life at that time. The Riverside Scene at Qingming Festival is of great historical value.

The Riverside Scene at Qingming Festival records the architecture and people's livelihood in the suburbs of Bianjing (now Kaifeng), the capital of Hui Zong era, and on both sides of Bianhe River in the city with exquisite brushwork. This painting depicts the bustling scene and natural scenery on both sides of Bianliang and Bianhe, the capital of the Northern Song Dynasty, during the Qingming period. In the form of a long scroll, the work uses the composition method of scattered perspective to bring complicated scenery into a unified and changeable picture. There are more than 500 people in the painting, with different clothes and expressions, interspersed with various activities, paying attention to drama, dense composition, changing rhythm and rhythm, and ingenious brushwork. The whole picture is divided into three sections.

The first paragraph, Bianjing rural spring:

In the sparse forest mist, there are several huts, grass bridges, running water, old trees and boats. Two porters are driving five donkeys loaded with charcoal. They are going to town. A willow forest, with faint green branches, makes people feel that although it is chilly in spring, it is already spring back to the earth. In the sedan chair on the road, a woman sat in it. The top of the sedan chair is decorated with willows and flowers, followed by riders and bearers, returning from a walk in the suburbs of Beijing to sweep the grave. The description of the environment and characters points out the specific time and customs of Tomb-Sweeping Day, which opens the curtain for the whole painting.

In the middle section, the busy Bianhe Wharf:

Bianhe River is the hub of national grain transportation in the Northern Song Dynasty, and it is also the main road of commercial traffic. As can be seen from the picture, the population is dense and there are many grain ships. Some people are resting in the teahouse, some are telling fortune, and some are eating in the restaurant. There is also the "Wang's Paper Horse Shop", which is a grave sweeper selling sacrifices. Ships in the river come and go, end to end, pulled by trackers or rowed by boatmen. Some are full of goods, going upstream, and some are nervously berthing to unload. Across the Bianhe River is a large wooden arch bridge with exquisite structure and beautiful shape. Such as flying rainbow, hence the name Hongqiao. There is a big ship waiting to cross the bridge. The boatman is supported by bamboo poles; Hook the bridge with a long pole; Lead the boat with hemp rope; Several people are busy lowering the mast so that the ship can pass. People in the neighboring ship are also pointing, as if shouting something. Both inside and outside the ship are busy crossing the bridge for this ship. People on the bridge are also sweating over the tense ferry scene. This is the well-known Hongqiao pier, which is full of traffic and bustling, and is really the intersection of land and water transportation.

In the second half, busy city streets:

Centered on the tall towers, there are rows of houses on both sides, including teahouses, restaurants, foot shops, meat shops, temples, public halls and so on. Silk, jewelry, spices, incense, paper horses and so on all have specialized businesses. In addition, there are medical clinics, car repair, fortune telling, shaving and plastic surgery, and all walks of life have everything. Large-scale shops are also tied up with "colorful buildings and happy doors", and banners are hung to attract business, and pedestrians in the market are jostling with each other. There are businessmen who do business and people who look at street scenes. There are monks walking around with baskets on their backs, tourists asking for directions from other places, street children who have heard of books, children of rich people who drink heavily in restaurants, disabled elderly people begging on the edge of cities, men, women and children, scholars, farmers, workers and businessmen, and so on. Means of transportation: sedan chair, camel, ox cart, rickshaw, flatbed, flatbed, all kinds of things. Show people's eyes in colorful ways.

A total of more than five meters long picture scroll, a total of more than 550 people of all colors, including cattle, horses, mules, donkeys and other livestock, 50 or 60 horses, more than 20 cars and sedan chairs, and more than 20 ships. Houses, bridges, towers, etc. They also have their own characteristics, reflecting the characteristics of architecture in the Song Dynasty. The Riverside Scene at Qingming Festival by Zhang Zeduan is a realistic genre painting depicting a corner of Bianjing in the Northern Song Dynasty, which has high historical value and artistic level.

Fuchun mountain residence

Fuchun Shan Jutu in Huangyuan Wang Gong

Fuchun Shan Jutu, the paper and ink are 33cm long and 636.9cm wide. This painting began in the seventh year of Zheng Zheng (1347) and was completed in the tenth year of Zheng Zheng. This painting was burned in the Shunzhi period of the Qing Dynasty and broke into two pieces. The first half of the painting was mounted separately and renamed "Yushan Map", which is now in the Zhejiang Provincial Museum. Known as the "treasure of the town hall" of Zhejiang Museum.

It is the masterpiece of Huang, a master of painting in Yuan Dynasty and a leading figure in his later years. It is also the pinnacle of China's ancient ink landscape painting, and his artistic achievements in traditional landscape painting in China are unparalleled.

In the seventh year of Yuan Dynasty (AD 1348), Huang began to create this masterpiece of landscape painting, which took many years to complete. In the form of long scrolls, it depicts the beautiful scenery in early autumn on both sides of Fuchun River, with green peaks, graceful turquoise, smoky trees in Yunshan and Sha Ting cottages. The layout is dense and changeable, with clear pen and ink and simple artistic conception, the vast and continuous southern mountains and rivers are vividly displayed, reaching the realm of "rich mountains and rivers, lush vegetation and flowers".

This famous painting has been handed down for hundreds of years and experienced many vicissitudes. Judging from the inscription on the painting. This painting was originally made for the useless Zen master. More than one hundred years later, it was acquired by the famous painter Shen Zhou. During the Wanli period of the Ming Dynasty, it was owned by the great painter Dong Qichang. But it soon changed hands and was hidden by Wu Zhijue of Yixing. Wu passed it on to his son. Wu Hongyu specially built Fuchunxuan and hid it at home. Wu Hongyu regards this painting as a treasure. On his deathbed, he wanted to imitate the example of Emperor Taizong's martyrdom with Preface to Lanting, and asked people to throw the painting into the fire and burn it as a martyr. Fortunately, his nephew Wu used his quick wits to snatch Fuchun from the fire with another scroll to avoid "burning himself". But the front part of the painting has been burned and divided into two parts.

After the back section (long section) of this painting was scattered from the Wu family, it was collected by many people and flowed into the Qing palace in the eleventh year of Qing Qianlong. Interestingly, Emperor Qianlong, who is famous for his elegance, actually didn't know this treasure and decided that it was a fake, but he praised another volume of Fuchun Shan Jutu copied by others, with both inscriptions and seals. Fortunately, the original volume was "whole wall", and it was transported to Taiwan Province Province the night before liberation and collected by the National Palace Museum in Taipei.

The front part (short part) of this painting is called "Remaining Mountain Map", which finally reached the hand of the painter Wu Hufan. Sha Menghai, who was working in Bo Zhe at that time, was not calm when he learned the news. He believes that this national treasure is circulated among the people, and it is not easy to preserve because of the limitations of conditions. Only the national collection is the perfect solution. Therefore, I went to Shanghai many times to discuss with Wu Hufan. Know what is right. Wu De's famous paintings were not transferred intentionally. However, Mr. Sha did not lose heart. He kept going back and forth between Shanghai and Hangzhou, inviting famous artists such as Qian Jingtang and Xie to handle it. Wu Hufan was moved by Sha Lao's sincere heart and finally agreed to give up what one favours.

Han Gong Chun Xiao

Ming Chou Ying's "Spring Dawn in Han Palace"

It is now in the National Palace Museum in Taipei.

"Spring Dawn in Han Palace" is China's first long scroll of colorful ladies. Silk book has a strong color, with a large scale of 37.2cm×2038.5cm. As a decorative painting, it belongs to a giant system. Xiao Chun in Han Palace is a traditional theme of China's figure painting, which mainly depicts Princess Bin's life in the palace.

Taicang (now Taicang, Jiangsu Province) was born, and later moved to Wuxian (now Suzhou, Jiangsu Province), where he became his father. Born in the 11th year of Hongzhi in Ming Dynasty (1498), he died in the 30th year of Jiajing, Sejong in Ming Dynasty (1552). The existing paintings include Jade Cave Fairy Source Map, Taocun Caotang Map, Jiange Map and Songxi Lun Map.

Chou Ying is one of the representative painters of the Ming Dynasty, and he is also called "Ming Sijia" with Shen Zhou, Wen Zhiming and Tang Yin, and "the Four Masters of Tianmen". Shen, Wen and Tang not only won by painting, but also by poem inscription. As far as painting style is concerned, Tang and autumn are close, and usually only inscriptions are made in paintings. Chou Ying is famous for her "painting of ladies", and Chunxiao in Han Palace is an outstanding representative of Chou Ying's painting of ladies. This painting is beautiful and elegant. The painter uses extremely gorgeous pen and ink to express the daily life of the concubines in the palace with the magnificence of the royal garden, which is very descriptive and expressive. It is not only a masterpiece of Chou Ying's life, but also unique in China's colorful ladies' paintings.

Chou Ying is good at figure painting, especially lady painting. He attached great importance to the description and depiction of historical themes, absorbed the brushwork of Ma and Yuan people in the Southern Song Dynasty, and had a strong brushwork. He is especially good at copying, drawing yellow paper with powder and writing. As for being rich and rich, it is exquisite and elegant, worthy of the ancients. He is especially good at expressing different objects with different strokes, either smooth or long and good at painting. The figures are accurate in modeling, strong in generalization, beautiful in image and smooth in lines. They are different from the old lettering habits and go straight to the Song Dynasty. They had a great influence on the later ladies' paintings in Youqiu, Yu and Qing Dynasty, and became a model of the beauty of ladies' paintings in the times. Later generations commented on his neat brushwork, delicate description, high spirits, exquisiteness and elegance, which made him outstanding in the Ming Dynasty. Excellent works include Story Map of People, Spring Dawn Map of Han Palace, Service Map, etc.

Baijuntu

Qing Lang Shining's Hundred Horses Map

Hundred Horses, the manuscript is paper, with a longitudinal length of 102 cm and a transverse length of 8 13 cm. It is now in the National Palace Museum in Taipei.

Italian Lang Shining 17 15 traveled across the ocean to preach in China, and was called into the palace by Emperor Kangxi, who attached great importance to the skills of western learning, and began his career as a court painter for more than 50 years. In painting creation, Lang Shining fused Chinese and Western techniques to form a fine and realistic effect and created a new painting style, so he was highly valued by Kangxi, Yongzheng and Qianlong. Hundred Horses is one of his masterpieces.

The Qing Dynasty was the peak of China's court painting, and the legendary Italian painter Lang Shining was the leader of the court painting in the Qing Dynasty. It was under the influence of his combination of Chinese and western painting techniques that the unique style of court painting in Qing Dynasty was formed. Lang is good at drawing horses, and Hundred Horses is the masterpiece of more than 100 horse works in his life. This painting depicts a hundred horses in different postures grazing and resting. The whole volume is rich in color, complex in composition, unique in style and interesting.

Lang Shining, born in 1688, died in 1766, Milan, Italy. Originally known as Giuseppe Gastirio. When I was young, I studied painting in Europe and painted icons for churches. In the fifty-fourth year of Emperor Kangxi of Qing Dynasty (17 15), he came to China to preach as a Catholic Jesuit monk. After arriving in Beijing, he entered Ruyi Pavilion in the first year of Yongzheng (1723) and became a court painter. He combines Chinese and western painting techniques well, and pays attention to the three-dimensional effect, perspective and light and shade, realistic rationality and accurate structure in western painting. Because I can draw and am proficient in architecture, I participated in the construction of Yuanmingyuan. He is good at drawing portraits, animals, flowers, fruits and feathers, especially horses. Most of his works are written in western paintings on silk paper, with a slight reference to China and France, with realism as the work and form as the main concern. He taught European painting varieties and methods to court painters in China, and made positive contributions to the exchange of Chinese and Western culture and art, which was favored by the royal family. He was buried outside Fuchengmen, Beijing. Existing works include Ju Rui Tu, Song Xianying Zhi Tu, Hundred Horses Tu, Li Hong and the Statue of the Empress, Pacifying the War in the Western Regions and so on.

Stepping map

Dunn Li Ben's "Walking Map"

Bujitu in Beijing Palace Museum. Silk Book is a colorful scroll with a length of 38.5 cm and a width of 129.6 cm, which was painted by Yan, a famous painter in the Tang Dynasty. This is a work of great historical and artistic value.

Bujitu, with the theme of the historical event that Songzan Gambu, the Tibetan leader, married Princess Wencheng in the 15th year of Zhenguan (64 1), depicts the scene that Emperor Taizong received Lu Dongzan, the Tibetan envoy who came to marry Princess Wencheng.

In the right half of this painting, Emperor Taizong sits on the steps, surrounded by ladies-in-waiting. On the left are three former courtesy officers, one is Lu Dongzan and the other is an interpreter. The image of Emperor Taizong is the focus of the whole picture. The author took great pains to describe it vividly and carefully. Emperor Taizong in the painting is handsome, with deep eyes and solemn expression, which fully shows the demeanor and majesty of the Ming emperor in the prosperous Tang Dynasty. In order to better highlight the supreme demeanor of Taizong, the author skillfully uses contrast techniques to set off the performance. First, the ladies-in-waiting are petite and immature. Their posture of holding a fan or lifting a net, standing sideways or upright, or leaning or walking reflects the grandeur, depth and steadiness of Emperor Taizong, which is a contrast. Secondly, Lu Dongzan's sincere humility and courtesy set off Tang Taizong's peaceful and amiable attitude, which is a positive contrast. The picture has no background, the structure is from right to left, from near to sparse, the focus is prominent and the levels are distinct.

From the perspective of painting art, the author is quite proficient in expression. The outline of the object with clothing pattern is smooth and smooth, with toughness, slippery but not slippery, stagnant but not stagnant; The expressions and manners of the main characters are vivid, and the depiction can convey the charm better; Part of the image is smudged, such as the wrinkles of the boots written by the characters, which is very stereoscopic; The whole volume is thick and pure in color, with a large area of red and green blocks staggered, full of rhythm and distinct visual effects. This picture is said to be a copy of the Song Dynasty, but it is more accurate and still retains the authenticity of the original. There is a story of Zhang Youzhi's seal script in the early Song Dynasty, and there are also two lines inscribed by Li Daozhi and Li Deyu in the Tang Dynasty when they "reloaded their backpacks".

Figure of ladies in Tang Palace

The Picture of Maids in the Tang Dynasty, which was announced.

As the most glorious era of feudal society, the Tang Dynasty was also the prosperous stage of ladies' painting. China ancient beauty statue "beauty, sadness, illness". Ladies' paintings in Tang Dynasty are famous for their dignity, beauty and elegance. The Picture of a Beautiful Woman in the Tang Palace shows the image of a beautiful woman in the Tang Dynasty. As long as she turns her head and smiles, there are hundreds of spells. Among them, Zhang Xuan's You Chuntu, The Wife of the State of Guo, The Picture of Tao Ren, The Picture of Zhou Fang Wearing Flowers and Waving Fans, The Picture of Sharing Fun in the Late Tang Dynasty, etc. Their aristocratic women's life sentiment became the main artistic feature of ladies' paintings in Tang Dynasty.

Natalie and Zhou Fang are the most famous female painters in the Tang Dynasty. They are famous for their painters all over the world. In the prosperous Tang Dynasty, Zhang Xuan's aristocratic figure painting is the most notorious, which not only shows the appearance and modality of women in the upper class, but also subtly depicts the desolate mood of "golden well with yellow leaves". Zhou Fang was born in a noble family and painted many ladies-in-waiting. His style is laid-back, rich appearance, simple clothes and soft colors make him unique.

Penta-Bull map

Cloud's "Five Cattle Map"

The map of five cows is a collection of the Palace Museum in Beijing. Hemp paper, length 20.8 cm, width 139.8 cm, no stamps. The writer is Han Kun, a famous prime minister of the Tang Dynasty.

Han Wei (723-787), a native of Chang 'an (now Xi 'an, Shaanxi), was the son of Shao Shi. At that time, Han Gan was famous for drawing horses, and Han Kun was famous for drawing cows. Later, he was called "Er Han Niu Ma". This picture of five cows is the most vivid one painted by Han Kun. Five sturdy oxen were "personified" by the prime minister of the dynasty, conveying the spiritual message of paying attention to reality and working hard.

After the book was published, collectors included Zhao Gou, Zhao Boang, Zhao Mengfu, Gan Long and other celebrities. In the Ming Dynasty, it changed hands several times. After the Qing soldiers entered the customs, their whereabouts were unknown. It was not until the Qianlong period that they were collected from the people and treasured in the palace. 1900, Eight-Nation Alliance ransacked the Forbidden City, and the "Five Cattle Map" was robbed abroad, and was never heard from again. In 1950s, a patriot living in Hong Kong discovered it.

1950 At the beginning of this year, Premier Zhou Enlai received a letter from this patriot, saying that the picture of five cows by Han Han in the Tang Dynasty was to be shown in Hong Kong, and the owner of the painting asked for HK$ 654.38+million, which he could not afford. He hoped that the central government would contribute to recover the national treasure as soon as possible. Premier Zhou immediately gave instructions to ask the Ministry of Culture to identify the authenticity and buy it back at all costs, and instructed to send reliable personnel to escort and ensure the safety of cultural relics. After receiving the instructions, the Ministry of Culture immediately organized experts to go to Hong Kong to verify that the "Five Cattle Map" is indeed an original. After many negotiations, the transaction was finally made at HK$ 60,000.

"Five Cattle Map" returned to the Forbidden City, and the picture was riddled with holes and broken. So it took several years for the official museum to organize experts to repair it. Let today's people have the honor to see this "five cows map". His pen is exquisite, vivid and fascinating. Its preciousness also lies in the fact that most of the people who survived in ancient China were flowers and birds, and those who painted with cows were so vivid that "Five Cattle Map" can be called an orphan.

Hanyantu

"Han Xizai's Night Banquet" by Gu in the Five Dynasties

Han Xizai's "The Night Banquet" is a treasure of Beijing Palace Museum. The silk book is 28.7 cm long and 335 cm wide. It was written by Gu, a great painter of the Five Dynasties, and depicts the scene of a Han Xizai family feasting in a long scroll. The pen is thin and round, with rich colors, handsome and lifelike characters, which are famous at home and abroad. It is the most outstanding masterpiece of figure painting in the Five Dynasties.

Han Xizai's banquet is three meters long and divided into five parts, each separated by a screen. The first paragraph depicts Han Xizai playing the lute with the guests at the banquet, which vividly shows Han Xizai and the guests' concentration. The second paragraph depicts Han Xizai personally beating drums for dancers. All the guests looked at Han Xizai's drums with admiration, and seemed to be intoxicated by the wonderful drums. The third paragraph describes the rest scene in the middle of the banquet. Han Xizai is sitting on the bed, washing his hands and talking to some women. The fourth paragraph describes Han Xizai sitting listening to wind music. Han Xizai sat cross-legged in a chair, as if talking to a woman, and five other women were preparing to play. Although they sit in a row, they have their own movements and are not rigid. The fifth paragraph depicts the scene where all the guests in Han Xizai are talking with the singer.

This picture scroll is not only a picture depicting private life, but more importantly, it reflects the customs of that particular era. Thanks to the author's careful observation, he never misses a detail, vividly portraying Han Xizai's life scene, and all the characters in the picture are lifelike. In this masterpiece, there are more than forty characters with different expressions, which appear repeatedly like montage, with outstanding personality and natural expressions. Han xizai's Night Banquet vividly reflects the life scene of the ruling class at that time from one aspect of life. With amazing observation and profound understanding of the protagonist's fate and thoughts, the painter created this masterpiece that deserves our eternal recollection.

It is said that this picture scroll was made by the court painter Gu Feng on the orders of Li Yu. Han Xizai, the main character in this picture, is from Beihai in the Five Dynasties. He is a scholar in the late Tang Dynasty, famous for his calligraphy and painting. Father was punished for something, so Han Xizai fled to Jiangnan and went to Nantang. At the beginning, Li Jing, the leader of the Southern Tang Dynasty, was highly prized. After Li Yu succeeded to the throne, the later Zhou Dynasty in the north threatened the security of the Southern Tang Dynasty. On the one hand, Li Yu made peace with the humiliation of the Northern Zhou Dynasty, on the other hand, he tried every means to suspect and frame officials from the North, and the struggle within the entire Southern Tang ruling group became increasingly fierce and precarious. In this environment, Han Xizai, an official living in higher vocational colleges, deliberately disguised himself as a corrupt and muddled person in life to protect himself, so that Li Houzhu would not doubt that he was a man with political ambitions. But Li Yu still didn't trust him, so he sent Gu and Zhou Wenju from the Academy of Painting to his house to spy on Han Xizai's activities and ordered them to draw what they saw truthfully for him. Han Xizai, who is still smarter than a fool, certainly understands their purpose. Han Xizai deliberately gave a hearty performance in the form of not asking about current events, singing and dancing, and letting life slip by the wayside. With keen insight and amazing memory, Gu recited the process of Han Xizai's banquet at home, and immediately began to paint after returning. After seeing this painting, Li Yu spared Han Xizai and others for the time being, but a masterpiece handed down from generation to generation was handed down.

numerous hills and streams

Wang Ximeng's "A Thousand Miles of Rivers and Mountains" in Northern Song Dynasty

A Thousand Miles of Rivers and Mountains is a collection of the Palace Museum in Beijing. Silk, colored, 5 1.5cm long and 1 19 1.5cm wide, is a turquoise landscape painting in the Northern Song Dynasty. Author: Wang Ximeng. Wang Ximeng, 18 years old, a student of the Northern Song Dynasty Painting Academy. Later, he was called into the banned China Library. He was personally taught by Evonne in Song Huizong. Six months later, he created a map of thousands of miles across the country. He was a brilliant young painter who unfortunately died young.

This painting depicts rolling mountains and vast rivers and lakes. Surrounded by mountains and rivers, it is dotted with fishing villages and wild markets, pavilions, thatched cottages in Mao 'an, and long bridges with water mills, interspersed with people's activities such as fishing, sailing, walking, scratching their feet and playing. The image is fine and detailed. Although the characters are as small as beans, they have a clear attitude. Although birds are docile, they have the potential to soar. The method of rock carving combines the advantages of the south and the north, and combines hemp and axe cutting. Coloring inherits the blue-green painting method since the Tang Dynasty, and strives for change in the simple and unified blue-green tone. With ochre as the foil, the colors of azurite and azurite are more vivid and dazzling in contrast. The whole picture is magnificent, magnificent and full of rich flavor of life. It depicts the natural landscape like brocade and embroidery, which is particularly beautiful and magnificent. It is a realistic and ideal landscape painting, and a rare masterpiece in China traditional landscape painting. Cai Jing's inscription on the back of the scroll proves that the painting is genuine.

The map of a thousand miles of rivers and mountains shows mountains, deep valleys, flat slopes of peaks, streams and fountains, wild cities in water towns, fishing boats and yachts, small bridges and waterwheels, thatched pavilions, and people's activities such as fishing, sightseeing, traveling and crossing the river. It completely inherits the expression of green mountains and green waters since Sui and Tang Dynasties, and highlights the dense green effect of stone, bluestone and green, making the picture bright and rich. Water, sky, trees and stones are all rendered in the colors of pink and ochre. Sketch the outline, occasionally draw the trunk without bones, and touch the hillside, which enriches the expressive force of green landscape. The activities of the characters are lifelike. Full of the author's longing for a better life.

A Thousand Miles of Rivers and Mountains is a large green hand scroll. On the screen, the river is mighty and the sky is vast, which should be the southern water color; The mountains are undulating, slightly less plain, with towering dangerous peaks and rugged cliffs, but it is a mountain view in the north. The composition makes full use of the combination of "Pingyuan", "lofty" and "profound", showing the wonders of nature: mountains, hills and valleys, waterfalls and rapids, groves and bamboo forests, and human creations: pavilions, waterside pavilions, temples, pavilions and small bridges, village water mills, etc. And countless people who go their own way. The whole painting is exquisite in workmanship, and the water surface is covered with the head pattern of the hook wind, without slack. Everything is in proportion, angle and reasonable layout. On the other hand, the rocks are colored with turquoise, that is, after cutting, the bottom is paved with ochre first, and then the stones are painted with turquoise green, which is layered on top of each other. Stone sapphire green is a mineral pigment with strong hiding power. After layers of superposition, the texture is dignified, and it blends with the dark green and dark green tones of the whole painting, bright but not kitsch. Although it is not as golden as the golden landscape, it still feels magnificent, which is why this painting is more mature than the green landscape in the Tang Dynasty.