Dong Qichang, Dong Fan and his reference axis

[Dong Qichang Dong Fan Heshan Picture Axis]

Dong Fan Heshan Picture Axis, Ming Dynasty, Dong Qichang’s painting, paper, ink, 156.5 cm vertically and 42 cm horizontally
This self-knowledge: “In the south of the river, there are multiple seasons of everyone’s tracks, and in Yandu, there are more than those in the Northern Song Dynasty. Yu Renshen saw a lot when he entered the Spring and Ming Dynasties again. It started with the participation of Dong Beiyuan and Fan Huayuan, which seemed to have lost its original step, but there must be evaluators in the sea. Guiyou Xia Wu. Xuanzai wrote his own title.” The seal was “Dong Qichang seal” and “Xuanzai seal”
“Guiyou” is the sixth year of Chongzhen’s reign in the Ming Dynasty (1633), when Dong was 79 years old. When Dong Qichang was in Beijing, he had no intention of going to court, but amused himself with painting and calligraphy. A year earlier, Dong obtained Dong Yuan’s “Summer Mountain Map” (now in Shanghai Museum)
This picture has towering peaks, lush vegetation, and water pavilion houses in the valley. The author adopts Fan Kuan’s high and distant composition of front big mountains and heavy mountains, with rich levels and magnificent momentum. The texturing method of mountains combines the “idea texturing” method of Dong Yuan and Fan Kuan, and adds Huang Gongwang’s brushwork slightly. The brushwork is thick and dignified. The trees are mostly drawn from Dong Yuan’s “The Painting of Summer Mountains”, and are also modeled by Ni Zan. Although the author knows himself as “participating in Dong and Fan”, from the perspective of the work itself, in addition to the influence of Dong and Fan, it more reflects the author’s painting origin based on Yuan people and his landscape painting in his later years, which integrates various schools of thought.