山水画在五代时期的兴盛与荆、关、董、巨

五代的政治动荡与社会分裂恰好给中晚唐以来蓄积已久而寻求新发展的山水画提供了一定的特殊机缘。在相继崛起的山水画大家中 ,“荆关”以峻拔雄伟的高山大岭作为画面主体 ,并以精湛的画理阐述 ,成为北方画派的代表。而生长在江南的“董巨”师徒 ,以平淡天真的洲渚峰峦为描绘的主体 ,风格与“荆关”迥然而别 ,形成了南方画派。至此 ,山水画以其多情趣的审美感受达到了兴盛期的来临。

Landscape Painting Prosperity in Five Dynasties and Jing Hao, Guan Tong, Dong Yuan, Ju Ran

It was literally lucky for the China landscape painting which had been in long brewing and seeking new advance since Mid-late Tang Dynasty to see a special opportunity in the political turmoil and social split of Five Dynasties.Among the landscape painting aces appearing one after another, Jing Hao and Guan Tong, described the mystic high mountains as the main part of the painting, together with consummate illustrations of the art of painting, thus, they became the chief characters of Northern Painting School. And the mentor and novice, Dong Yuan and Ju Ran, who grew up in the south of the Changjiang River, labeled plain and naive is lets, ridges and peeks, as the main part, so their style was completely distinct from "Jing Guan", hence it was called Southern Painting School.