Dong Qichang Landscape Atlas

[Dong Qichang’s Landscape Atlas]

The Landscape Atlas, Ming Dynasty, Dong Qichang’s paintings, 10 open, gold paper, ink pen, each open 41 cm vertically and 29.9 cm horizontally
Each opening of this volume is stamped with “Dong Qichang”
The first open, self-title: “The sea of clouds swings my chest, and the pen can reach me at will. It’s like a snowboat. Why should I see Andao. Xuanzai.”
The second open, self-title: “You people’s tea and smoke, and every time you stay in the clouds and chaos. Looking at the porch and thinking, the spring lake is boundless. Xuanzai.”
The third open, self-title: “Outside the light gulls in the smoke, the clear mountains are painted in front of Yi. Why bother to keep saying, touch the white clouds. Xuanzai.”
The fourth open, Self-title: “The hills and lotus are the peaks, and the ripples and willows are the waves. This can be seen in the sky. The Xuanzai painting is combined with the title.”
The fifth opening, self title: “The near water is later than the blue, and the distant mountains are not yellow in autumn. The setting sun is cold on the ground, and the pine shadow falls on the clothes. Xuanzai.”
The sixth opening, self title: “The Nanshan Mountain and the autumn scenery are in conflict with each other. If you are free, you are not free now. Xuanzai.”
The seventh opening, Self-title: “The empty threshold is lined with clouds, and a leisurely sound of stones. If a thousand acres of bamboo are added, the Weichuan River will be sealed. Xuanzai.”
The eighth opening, self-title: “The smoke from the kitchen will cover the mist, and the pine pavilion can be seen faintly. There are quiet people in the pavilion, and the only one who defiles the famous scriptures. Xuanzai.”
The ninth opening, self-title: “The arbor is dangerous, and the clear spring is cold and slippery. In the fog of the former estate, there is a lot of thunder. Xuanzai.”
The tenth opening, Self-title: “The stone cave comes out of the cloud root and touches the skin from the cloud. Although the barrier is like flying, it is only for idle business. Xuanzai.”
The content of the 10-page picture in this volume is similar, with slope stones, trees, clouds, and distant mountains as the main constituent elements. The pen and ink are beautiful and steep, and the clouds are moist. Its painting methods mainly come from Dong Yuan and Mi’s Yunshan, and mostly use wet brush horizontal point, Pima chapping and Mi’s mountain method. For example, in the first and second openings, mountains and trees are mostly represented by horizontal points with wet brush, and clouds and fog in the mountains create a sense of hierarchy in the picture, which is the painting method of Michaelis Cloud Mountain. In the sixth and ninth openings, the mountain top and the slope stone are all represented by the texture of patchwork, which is obviously imitating the painting method of Dong Yuan. Each painting has Dong’s own poem, in which Gao Qingyi’s thoughts are perfectly expressed through his paintings. Poetry, calligraphy and painting are integrated with each other, which is quite infectious. From the perspective of painting style, it should be Dong Qichang’s early works.

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