yuán dài zuòzhělièbiǎo
chéng duān Cheng Duanli(yuán dài)shì niàn cháng Shi Nianchang(yuán dài)shì jué 'àn Shi Jiaoan(yuán dài)
huá shòu Hua Shou(yuán dài) yǒu Liu You(yuán dài)zhuāng Zhuang Su(yuán dài)
zhū shì jié Zhu Shijie(yuán dài) liàng Wu Liang(yuán dài) chōng Li Chong(yuán dài)
chén shì lóng Chen Shilong(yuán dài)guō jìng Guo Jujing(yuán dài) tiān jué Su Tianjue(yuán dài)
bǐng wén Hu Bingwen(yuán dài) péng fēi Li Pengfei(yuán dài) míng kuí Xu Mingkui(yuán dài)
wáng jié Wang Jie(yuán dài)léi (yuán dài)huáng Huang Ze(yuán dài)
chéng Wu Cheng(yuán dài) dào chún(yuán dài)chén shǎo wēi Chen Shaowei(yuán dài)
dào líng Xu Daoling(yuán dài)niú dào chún Niu Daochun(yuán dài) dào jiān Du Daojian(yuán dài)
dèng Deng Qi(yuán dài)lín zhì jiān(yuán dài)zhāng chéng(yuán dài)
zhì xuán Bizhixuan(yuán dài)wáng shǒu zhèng Wang Shouzheng(yuán dài)liú wéi yǒng Liu Weiyong(yuán dài)
zhū xiàng xiān Zhu Xiangxian(yuán dài)liú dào míng Liu Daoming(yuán dài)luó tíng zhèn Luo Tingzhen(yuán dài)
shì lóng Xu Shilong(yuán dài) dào qiān Li Daoqian(yuán dài)zhāng tiān Zhang Tianyu(yuán dài)
jīn yuè yán Jin Yueyan(yuán dài)zhāng huī Zhang Huiqi(yuán dài) fēi Fu Fei(yuán dài)
huá yáng Hua Yangfu(yuán dài)chén xìng dìng(yuán dài)céng jiān Zeng Jian(yuán dài)
wáng wéi Wang Weiyi(yuán dài)niú dào chún Niu Daochun(yuán dài)wáng zhì jǐn Wang Zhijin(yuán dài)
xiāo tíng zhī(yuán dài)lín yuán(yuán dài)chén chōng Chen Chongsu(yuán dài)
chén zhì Chen Zhixu(yuán dài)wèi Wei Qi(yuán dài)dài zōng Dai Qizong(yuán dài)
yuán Xu Yuanyi(yuán dài) zhāo wén Lu Zhaowen(yuán dài)zhào dào Zhao Daoyi(yuán dài)
zhāng xiá Zhang Xia(yuán dài)miáo shàn shí(yuán dài)liú bīn Liu Dabin(yuán dài)
chǔ cái(yuán dài)liú zhì xuán(yuán dài)qín zhì 'ān(yuán dài)
huáng gōng wàng Huang Gongwang
yuán dài  (1269niánjiǔyuè12rì1354niánshíyīyuè10rì)
xìng:
míng: jiān
zì: jiǔ
wǎngbǐhào: chī ; fēng ; chī dào rén ; fēng dào rén
chūshēngdì: píng jiāng cháng shú

shīcí《【 zhōng zuì zhōng tiān · sōng lóu wán shàn   

yuèdòuhuáng gōng wàng Huang Gongwangzài诗海dezuòpǐn!!!
黄公望
   jiǔhào chīyòu hào fēngshì píng jiāng cháng shújīn shǔ jiāng shěng), běn shì míng jiān yòu guò yǒng jiā huáng shìsuì chūnjīn zhè jiāng yáng xiàn)。 tiān gāoyìng shén tóng zhì yuán zhōng zhè lián fǎng shǐ yǎn wéi shū shì yán yòu zhōng yóu jīng shīwéi shǐ tái chá yuàn yuàn quán háo xià chūsuì shì sōng jiāngwǎng lái qián táng zhōngwǎn shāo quán ér guī chūngōng shīyòu chī dào rén 》。 yóu shàn huàzōng dǒng yuán rányùn luò chū rén biǎo chéng jiāwéi yuán huà jiā zhī zhù yòuxiě shān shuǐ jué》。 yòu tōng yīn cháng duǎn luò chéng


Huang Gongwang (1269–1354), birth name Lu Jian (Chinese陸堅pinyinLù Jiān), was Chinese painter, poet, and writer during the late Song dynasty in ChangshuJiangsu. He was the oldest of the "Four Masters of the Yuan dynasty".

At the age of 10, the Song fell to the Mongol founders of the Yuan Dynasty and he, like many other Chinese scholars of the time, found his path to officialdom and a good career severely limited. "He was first an unranked ling-shih at a Surveillance Office in the Chiang-che Branch Secretariat (Province), probably engaged in some sort of land tax supervision. Later he served as a secretary in the metropolitan Censorate where he was unfortunately involved in the slander case of a minister, Chang Lu. He seems to have spent quite some time in jail before retreating into Taoism [as did many others of the age--another was the famous painter Ni Zan], completely disillusioned." He spent his last years in the Fu-ch'un mountains near Hangzhou devoting himself to Taoism, where around 1350 he completed one of his most famous, and arguably greatest, works, Dwelling in the Fuchun Mountains.

In art he rejected the landscape conventions of his era's Academy, but is now regarded as one of the great literati painters. Art historian James Cahill identified Huang Gongwang as the artist who "most decisively altered the course of landscape painting, creating models that would have a profound effect on landscapists of later centuries." One of Huang Gongwang's strongest influences was his technique of using very dry brush strokes together with light ink washes (when colour is applied to a specific area using a soft-haired brush with wide strokes that blend them together into a unified wash) to build up his landscape paintings. He also wrote a treatise on landscape painting, Secrets of Landscape Painting (寫山水訣Xiě Shānshuǐ Jué).

As was typical for Chinese scholar-officials of his era, he also wrote poetry and had some talent for music.

References

  1. ^ Sherman E. Lee and Wai-Kam Ho. Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368). The Cleveland Museum of Art, 1968, p. 80.
  2. ^ James Cahill, "The Yuan Dynasty" in Three Thousand Years of Chinese Painting, ed. by Yang Xin, Richard M. Barnhart, et. al. Yale University Press, 1997, p. 167.
  • Masterpieces of Chinese Art (pages 87–90), by Rhonda and Jeffrey Cooper, Todtri Productions, 1997. ISBN 1-57717-060-1
  • James Cahill, "The Yuan Dynasty" in Three Thousand Years of Chinese Painting, ed. by Yang Xin, Richard M. Barnhart, et al. Yale University Press, 1997.
  • Sherman E. Lee and Wai-Kam Ho. Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368). The Cleveland Museum of Art, 1968.

External links


    

pínglún (0)