Axis of Li Yinshan Pavilion

[Li Yin Landscape Pavilion Map Axis]

Landscape Pavilion Map Axis, Qing Dynasty, Li Yin painting, silk, color, 143.5 cm vertical, 51.5 cm horizontal
The title of this picture is: “The painting of Li Yin on the autumn moon of Gengshen”, with the seal of “Chen Yin”
Li Yin’s painter, who imitated the two Song Dynasty, inherited the realistic spirit of architectural paintings of the Song Dynasty. “The giant beams and columns are built in one building, and the carpenters are old, and they are not satisfied with the space between them”. His style of painting had a considerable influence at that time. Mr. Xie Zhiliu believed that “Yuan Jiang came from Li Yin”, while Xie Kun commented on Yuan’s family: “It is less ancient than Li Yin, but more elegant”
Li Yin’s contribution to boundary painting is also due to his creation of a new style that organically combines landscapes and pavilions. Han Ang’s “continued compilation of the treasure book of painting and painting” said that his “painting style of the Tang and Song Dynasties is very different”, and the “Reading the Collection of Paintings” of the Qing Dynasty also said that he was “good at imitating the landscape of the Northern Song Dynasty, often unreal”. Li Yin introduced the landscape techniques of Li Cheng and Guo Xi in the Northern Song Dynasty and Li Tang and Ma Yuan in the Southern Song Dynasty into the boundary painting as the background. Although the landscape only plays a role in contrast, it often occupies a considerable proportion in the picture, which further frees the boundary painting from the mechanical and monotonous effect of the early architectural effect drawings, and makes the magnificent buildings more artistic expression and appeal.