Wang Meng Xia Shan Gao Yin Map Axis

[Wang Meng’s high hidden map axis of the summer mountain]

The high hidden map axis of the summer mountain, made by Wang Meng in the Yuan Dynasty, is made of silk, colored, 149 cm vertically and 63.5 cm horizontally
This picture is heavy mountains and steep mountains, with waterfalls hanging alone. There are two areas in the lower house. In the right side of the house, the Gao Shi sits on the couch with a feather fan. The boy serves the left and right with a tray. Outside the house, a boy is adjusting cranes. There are dense grass and trees in front of the court, and the mountains and streams flow. The small bridge on the recumbent stream connects the two houses. A woman is working in the left room, and the dogs lie still in the court, presenting a quiet and quiet mood. On the path in the forest, a man in official uniform came with the imperial edict, like an envoy who recruited a high scholar, or an official who worshipped the imperial edict and offered sacrifices to the mountain. The mountain road in the middle is tortuous, the stream is gurgling, and the view house is hidden among the pine trees. The upper mountains are piled up, and the waterfall falls. On the top right, the title reads: “Xia Shan is high and hidden. On April 17, the 25th year of Zhizheng, Wang Meng, a native of Huanghe Mountain, painted the residence of Wu Men for Yan Ming’s soldiers.” According to the 25th year of Zhizheng, 1365 years old, Wang Meng was 57 years old. This is the peak of his creation. During this period, he painted a large number of works with the theme of seclusion, which is the most representative one
This picture is made by Yan Ming. In the Yuan Dynasty, there were many people who took “Yan Ming” as the character. After investigation, it was speculated that Zhang Dezhao, who was the governor of Huating County during the reign of Emperor Zhizheng, was probably the subject of this painting. This picture was painted at the residence of the Wu Clan, or for two people traveling together in Suzhou
The Painting of High Hidden Summer Mountains represents the typical style of the mature period of Wang Meng’s painting style. It not only imitates the landscape painting style of Dong Yuan and Juran of the Five Dynasties, but also creates new ideas. Wang Meng’s landscape painting is based on the absorption of the brush techniques of the previous generation of painters, taking nature as the teacher, and integrating. In his early years, he copied the works of famous artists of the previous generation. The Palace Museum has a set of albums created by him in his early years, including works in the style of Dong Juyi School and works in the style of Li Cheng and Guo Xi in the Northern Song Dynasty, which fully demonstrates that Wang Meng’s painting style is a new style of landscape painting with original significance formed by integrating various artistic styles. “The Painting of High Hidden Mountains in Summer” uses the technique of part-time writing. The mountains are cracked with untwisting, and the thick ink points the moss, which is beautiful, moist, bright and clean; The trees are properly hooked and dyed, and the leaves are painted with the combination of the method of accumulating ink and the method of hooking the leaves, which are finely carved, and the ink is pure and thick; The composition is dense and stacked, but the arrangement is methodical. It is very methodical to move forward and backward and bow and yield to each other. The whole picture is magnificent, beautiful and lovely. Through the control of ink color and water content, the painter makes the picture clear, highlighting the unique charm of the southern landscape. The careful composition and the combination of lofty and far-reaching picture layout create a quiet, livable and tourable atmosphere. This picture is an outstanding work in the history of Chinese painting art.