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Reading Stele Nest Stone by Li Cheng (919–967). The northern landscape style (Chinese: 北宗画; pinyin: běi zōng huà) was a manner of Chinese landscape painting centered on a loose group of artists who worked and lived in Northern China during the Five Dynasties period that occupied the time between the collapse of the Tang dynasty and the rise of the Song.
Guo was a representative painter of landscape painting in the Northern Song dynasty, has been well known for depicting mountains, rivers and forests in winter. This piece shows a scene of deep and serene mountain valley covered with snow and several old trees struggling to survive on precipitous cliffs.
Travelers among Mountains and Streams, a large hanging scroll, is Fan Kuan's best known work, possibly his only surviving one, [4] and a seminal painting of the Northern Song school. It establishes an ideal in monumental landscape painting to which later painters were to return time and again for inspiration. [ 5 ]
The shan shui style painting—"shan" meaning mountain, and "shui" meaning river—became prominent features in Chinese landscape art. The emphasis laid upon landscape painting in the Song period was grounded in Chinese philosophy; Taoism stressed that humans were but tiny specks amongst vast and greater cosmos, while Neo-Confucianist writers ...
Old Trees, Level Distance (Traditional Chinese: 樹色平遠圖; Pinyin: Shù sè píng yuǎn tú) is a Song dynasty handscroll on silk painting by Guo Xi.Completed in 1080, it is also a considered a prominent example of the "Northern Song" style of Chinese landscapes to which this piece has often been studied alongside that of Early Spring, current housed in the National Palace Museum.
Later this style would come to be known as the Northern Landscape style; it strongly influenced the tradition of Northern Song painters. As a theorist, he is the person most responsible for codifying the theories underlying the work of later painters, and his treatises on painting and aesthetics continued to serve as textbooks for Northern Song ...
However, while this sort of landscape, with certain features and elements, is the standard stereotypical Southern School painting, the genre actually varied quite widely, as the literati painters themselves, in rejecting the formal strictures of the Northern School, sought the freedom to experiment with subjects and styles.
Many nobles sought out Li Cheng's services, but he never accepted. An official named Sun Anzhi desired a painting from Li Cheng so ardently, he offered Li a prestigious government post, but Li Cheng refused. Sun then paid an acquaintance of Li Cheng to steal a painting, earning the artist's lifelong enmity. [3]