Wang Jian’s Green Landscape Atlas

[Wang Jian’s Green Landscape Atlas]

The Green Landscape Atlas, written by Wang Jian in the Qing Dynasty, is 23 cm long and 198.7 cm horizontal
The green peaks and green mountains in the picture are rolling and rolling. The application color is thick and colorful, and the chapped color is clear. The colorful pictures diffuse the elegant and elegant atmosphere, which is refreshing
At the end of this scroll, Wang Jian wrote: “Yu Xiang saw Zhao Wenmin’s” Autumn Scenery of Que Hua “and the” Painting of the Clouds and the Far Mountains “, both of which are set in cyan and have no painting habits, at Dong Siweng’s Zhai. Now the two volumes do not know where to live. They are dreamy in time, and the idle windows are quiet. They follow the two painting techniques to make this picture. Although they dare not look at the ancients, they may not have a strange idea in the near future. Wang Jian was long in the summer of 1898.” Wang Jian has seen the works of Zhao Mengfu and Huang Gongwang, the great painters of the Yuan Dynasty, I am fascinated by the green color of the picture. This picture scroll was drawn by Wang Jian at the age of 61 (the 15th year of Shunzhi in the Qing Dynasty, 1658) using the green color method
Wang Jian has a high artistic talent. He is not only good at water and ink landscapes, but also adept at color painting, which is divided into two styles: green and light red. Wang Jian’s blue-green landscape has many titles, such as “imitating Zhao Lingrang”, “imitating Zhao Boju” and “imitating Zhao Mengfu”. Because of the distinctive blue-green coloring method of “three Zhao”, they have integrated the bookish style of literati painting into the blue-green painting method of the court body. Dong Qichang highly praised the creative technique of “Three Zhao”. Wang Jian was personally instructed by Dong in his early years, and was deeply inspired. After carefully practicing the green landscape, he finally achieved great success. Wang Jian’s so-called “imitation” is not simply imitating the brush and ink skills, composition and layout, but focuses on appreciating the “three Zhao”‘s creative ideas of removing the gaudy green landscape from the past and making it another elegant temperament, and then applying it to the painting to make its painting unique and elegant. Wang Shimin once said that he “takes beauty as his religion, but has both elegance and elegance”, which is really true.