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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. A painting attributed to Dong Yuan,
239:, a painting on silk (49.80 cm by 141.30 cm), is one of his best-known masterpieces. It demonstrates his exquisite 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.
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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
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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
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Southern Tang
Dynasty scholar Dong Yuan created the illusion of depth and distance ... the Metropolitan Museum of Art ...
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As with many artists in China, his profession was as an official, here he studied the existing styles of Li Sixun and
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601:"Riverbank", painting in the collection of the Metropolitan Museum, New York
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Landscapes Clear and
Radiant: The Art of Wang Hui (1632-1717)
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237:Scenes along the Xiao and Xiang Rivers
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500:JUDITH H. DOBRZYNSKI (May 25, 1997).
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378:History of Chinese art
318:National Palace Museum
314:Dongtian Mountain Hall
641:Painters from Jiangxi
453:Ohio State University
280:Xiao and Xiang Rivers
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636:People from Nanchang
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410:(1999).
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221:Wang Wei
210:Jing Hao
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563:辞海编辑委员会
339:at the
263:Gallery
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