A treasure-appraisal maniac

The scroll, which is more than ten meters long, is not only magnificent, but also has a perfect composition.

The scroll is well-designed, colorful, and delicate in brushstrokes. It successfully uses scatter-point perspective to divide the theme into six sections. Each section uses the stretching mountain as the main expression object, which is natural and coherent.

Either connected by long bridges or connected by running water, each section of the landscape is relatively independent but also interrelated, cleverly connected into one, flexibly embodying the artistic effect of "scenery moving with each step" and unifying the impressions from different viewpoints. , cleverly organizes the space.

The composition of "Thousands of Miles of Rivers and Mountains" adopts the perspective of flatness and distance.

In addition, the interweaving use of various composition methods such as lofty, far-reaching and horizontal distance makes the picture ups and downs, full of strong rhythm and fascinating.

The picture is majestic and spectacular, with mountains and rivers thousands of miles away, vastness and boundlessness, and it can be said that it matches its name and reality.

In the painting, there are thousands of mountains and valleys, dotted with stars, large and small, competing for dominance and beauty, overlapping each other, and all immersed in the river.

In the mountains, waterfalls drop down from high cliffs, and winding paths lead to secluded areas. Houses are dotted among them, with green willows and red flowers, long pines and bamboos, and the scenery is beautiful.

The Yedu Fishing Village, Waterside Pavilions and Shuimo Long Bridge among the mountains and rivers all depend on the terrain and complement the mountains, rivers and lakes.

Or you can see the mountains and hills stacked on top of each other; or you can see the stretches of Tingzhu and the towering peaks; or you can see the vast rivers in the distance, where the water and the sky meet, the long bridges like belts, and the mountains and hills; or you can see the low slopes in the distance, and the Danling Mountains in the distance. Set up; or the beautiful rocks are so beautiful that the reflections are endless.

On the mountain ridges, there are bamboo fenced huts, manors and temples, and connected roads, all of which are feasible, visible, travelable, and habitable.

There are countless people like ants in it, and the majestic and majestic mountains and rivers are displayed like no one before.

The details of this painting are extremely detailed, but what has the greatest impact on later generations of culture is its unique and superb technique.

Although the painting has lost some of its color over the millennia, its execution is still legible and highlights the rich decorative effect of mineral stone colours.

The painting method of mountains and rocks is to first outline the outline with thick and light lines, and then add soft and soft lines of different lengths. The top of the mountain is like a lotus leaf, and the lines are neither rigid nor hard. After that, light ink is used to add ocher or Cyan blue rendering is usually done on the back stone of the two stones, which is then over-dyed with ocher. The top of the stone is dyed with juice green, and then over-dyed with azurite or stone green. The lower part of the mountain stone retains the ocher color.

The blue and green of the rocks are often different from the front to the back, contrasting with each other, and the color is thicker so it is easy to peel off.

The junction of water and sky is dyed with ocher, making the picture blurry.

Yet one body.

Distant mountains are mainly in ocher color, without green and other colors to show the distance of space.

The willow leaves are painted with stone green, and the sky is mixed with ocher ink, which is darker at the top and lighter at the bottom, highlighting the changes in the perspective of the sky space.

The water color is all dyed with juice green, and the mineral and plant colors are blended to maximize the expressiveness of Chinese painting colors.

In terms of coloring and brushwork, he inherited the "green landscape" painting method since the Sui and Tang Dynasties, which is mainly based on mineral pigments such as azurite and stone green. The coloring has a certain degree of decoration and is appropriately exaggerated.

The painter seeks changes in the relatively simple blue-green tones. Although green is the main color, he pays attention to the changes in techniques when applying colors. The colors are either rich or light, with ocher as a lining in between, making the picture clear-cut and colorful. The brilliance of gemstones is stunning.

Azurite and stone green are mineral colors and highly covering. After being dyed layer by layer, the object is dignified and solemn, with a strong sense of layering. It is integrated with the whole picture, gorgeous and not ordinary.

Although it does not outline the golden lines like a golden landscape, it is full of grandeur. Wang Ximeng inherited the tradition, and his paintings are meticulous and fully reflect the neatness and rigor of the academic painting style of the Northern Song Dynasty.

This picture can be described as exquisite in brushwork and ink. Although the figures are as small as ants, their postures are clear; the birds are soaring with just a tap. Microwave water patterns are drawn one by one, and fishing boats and pleasure boats are swaying among them, adding a sense of movement to the picture. Looking at the whole painting, it still retains its majestic realm and grand momentum.

The outline of the image is also integrated with other techniques, such as the boneless method for tree trunks, boundary painting for houses, freehand brushwork for distant mountains, and method and dot dyeing for hillside, which enriches the expressive ability of green landscapes.

When describing the objects, the brush is very delicate and meticulous. The vast river water is outlined with ripples with fine brushes. The flowers and leaves on the trees are all drawn out with color and ink. The figures as small as beans have different costumes. But at the same time, there are also choices and refinements. For example, the characters do not hook up their clothes, and the emphasis is on dynamic expression, making them appear lively. The numerous bridges, boats, houses, and waterside pavilions are all different in shape and location, and there is no sense of complexity.

Among the known figure paintings in Chinese culture, the only one that can be compared with this "A Thousand Miles of Rivers and Mountains" is probably the Chinese national treasure "Along the River During the Qingming Festival", but the two paintings are completely different in style.

The value of "Along the River During the Qingming Festival" lies in its numerous characters, exquisite details, grand layout, and extremely clear story colors.

While "Thousand Miles of Rivers and Mountains" has these characteristics, it also highlights the three-dimensional effect. Even if the color is washed away and the color is dim, it can still give people an immersive and intuitive feeling. This is the soul of this painting. It is the embodiment of its own value. The scroll, which is more than ten meters long, is not only magnificent, but also has a perfect composition.

The scroll is well-designed, colorful, and delicate in brushstrokes. It successfully uses scatter-point perspective to divide the theme into six sections. Each section uses the stretching mountain as the main expression object, which is natural and coherent.

Either connected by long bridges or connected by running water, each section of the landscape is relatively independent but also interrelated, cleverly connected into one, flexibly embodying the artistic effect of "scenery moving with each step" and unifying the impressions from different viewpoints. , cleverly organizes the space.

The composition of "Thousands of Miles of Rivers and Mountains" adopts the perspective of flatness and distance.

In addition, the interweaving use of various composition methods such as lofty, far-reaching and horizontal distance makes the picture ups and downs, full of strong rhythm and fascinating.

The picture is majestic and spectacular, with mountains and rivers thousands of miles away, vastness and boundlessness, and it can be said that it matches its name and reality.

In the painting, there are thousands of mountains and valleys, dotted with stars, large and small, competing for dominance and beauty, overlapping each other, and all immersed in the river. ??

In the mountains, waterfalls drop down from high cliffs, and winding paths lead to secluded areas. Houses are dotted among them, with green willows and red flowers, long pines and bamboos, and the scenery is beautiful.

The Yedu Fishing Village, Waterside Pavilions and Shuimo Long Bridge among the mountains and rivers all depend on the terrain and complement the mountains, rivers and lakes.

Or you can see the mountains and hills stacked on top of each other; or you can see the stretches of Tingzhu and the towering peaks; or you can see the vast rivers in the distance, where the water and the sky meet, the long bridges like belts, and the mountains and hills; or you can see the low slopes in the distance, and the Danling Mountains in the distance. Set up; or the beautiful rocks are so beautiful that the reflections are endless.

On the mountain ridges, there are bamboo fenced huts, manors and temples, and connected roads, all of which are feasible, visible, travelable, and habitable.

There are countless people like ants in it, and the majestic and majestic mountains and rivers are displayed like no one before.

The details of this painting are extremely detailed, but what has the greatest impact on later generations of culture is its unique and superb technique.

Although the painting has lost some of its color over the millennia, its execution is still legible and highlights the rich decorative effect of mineral stone colours.

The painting method of mountains and rocks is to first outline the outline with thick and light lines, and then add soft and soft lines of different lengths. The top of the mountain is like a lotus leaf, and the lines are neither rigid nor hard. After that, light ink is used to add ocher or Cyan blue rendering is usually done on the back stone of the two stones, which is then over-dyed with ocher. The top of the stone is dyed with juice green, and then over-dyed with azurite or stone green. The lower part of the mountain stone retains the ocher color.

The blue and green of the rocks are often different from the front to the back, contrasting with each other, and the color is thicker so it is easy to peel off.

The junction of water and sky is dyed with ocher, making the picture blurry.

Yet one body.

Distant mountains are mainly in ocher color, without green and other colors to show the distance of space.

The willow leaves are painted with stone green, and the sky is mixed with ocher ink, which is darker at the top and lighter at the bottom, highlighting the changes in the perspective of the sky space.

The water color is all dyed with juice green, and the mineral and plant colors are blended to maximize the expressiveness of Chinese painting colors.

In terms of coloring and brushwork, he inherited the "green landscape" painting method since the Sui and Tang Dynasties, which is mainly based on mineral pigments such as azurite and stone green. The coloring has a certain degree of decoration and is appropriately exaggerated.

The painter seeks changes in the relatively simple blue-green tones. Although green is the main color, he pays attention to the changes in techniques when applying colors. The colors are either rich or light, with ocher as a lining in between, making the picture clear-cut and colorful. The brilliance of gemstones is stunning.

Azurite and stone green are mineral colors and highly covering. After being dyed layer by layer, the object is dignified and solemn, with a strong sense of layering. It is integrated with the whole picture, gorgeous and not ordinary.

Although it does not outline the golden lines like a golden landscape, it is full of grandeur. Wang Ximeng inherited the tradition, and his paintings are meticulous and fully reflect the neatness and rigor of the academic painting style of the Northern Song Dynasty.

This picture can be described as exquisite in brushwork and ink. Although the figures are as small as ants, their postures are clear; the birds are soaring with just a tap. Microwave water patterns are drawn one by one, and fishing boats and pleasure boats are swaying among them, adding a sense of movement to the picture. Looking at the whole painting, it still retains its majestic realm and grand momentum.

The outline of the image is also integrated with other techniques, such as the boneless method for tree trunks, boundary painting for houses, freehand brushwork for distant mountains, and method and dot dyeing for hillside, which enriches the expressive ability of green landscapes.

When describing the objects, the brush is very delicate and meticulous. The vast river water is outlined with ripples with fine brushes. The flowers and leaves on the trees are all drawn out with color and ink. The figures as small as beans have different costumes. But at the same time, there are also choices and refinements. For example, the characters do not hook up their clothes, and the emphasis is on dynamic expression, making them appear lively. The numerous bridges, boats, houses, and waterside pavilions are all different in shape and location, and there is no sense of complexity.

Among the known figure paintings in Chinese culture, the only one that can be compared with this "A Thousand Miles of Rivers and Mountains" is probably the Chinese national treasure "Along the River During the Qingming Festival", but the two paintings are completely different in style.

The value of "Along the River During the Qingming Festival" lies in its numerous characters, exquisite details, grand layout, and extremely clear story colors.

While "Thousand Miles of Rivers and Mountains" has these characteristics, it also highlights the three-dimensional effect. Even if the color is washed away and the color is dim, it can still give people an immersive and intuitive feeling. This is the soul of this painting. It is the embodiment of its own value.