中国五代十国时期（公元907--公元960年），天下局面战乱，但是并没有使绘画的创作陷入停顿。五代时，人物画的题材内容逐渐宽泛，宗教神话、历史故事、文人生活等都成为画家描绘的题材。很多画家注重人物神情和心理的描写，传神写照的能力又有提高。在技法风格上向两大方向发展：工笔设色用笔更加多变，色调比唐代有所丰富；水墨除了变形发展以外，还出现了水墨大写意的画法。山水画在此时的变化是最大的，从选材到技法，都有了一个飞跃，山水被作为环境艺术加以描绘。“荆关董巨”四大家的出现，成为中国山水画发展史的里程碑。荆浩和关仝代表的北方山水画派，开创了独特的构图形式，善于描写雄伟壮美的全景式山水。以董源、巨然为代表的江南山水画派，善于表现江南景色，体现风雨的变化。作为中国山水画重要技法之一的“皴法”，在此时得到了很大发展，墨法逐渐丰富，水墨和水墨着色的山水画已发展成熟。

 五代时期后梁画家荆浩开创了北宋北派画派，并著有经典的《笔法记》，对山水画作出了杰出的贡献，然而，荆浩，包括关仝、李成在内则没有一幅作品传下来。我们从实际的记载中和后人的有关摹本可以了解到，荆、关、李三人中，起决定性的作用的，是李成。

米芾曾云：“李成真见两本，伪是三百本。”可见李成的影响是巨大的。他画的水墨山水，善用淡墨的情韵，体现山水的灵秀，展现的是文秀的一路。米芾又谈到：“李成淡墨如梦雾中，石如山动。”李成创造了“卷云皴”，他的作品虽没有留下，但从师承李成的郭熙的画中可以看到它的表现形式。“卷云皴”是最早也是影响最深远的山水画皴法之一。

荆浩出生于河南济源。济源北倚太行，西望王屋两山，南临黄河，与古都洛阳相邻，历来文风颇盛。沁河由西北截太行而出，两岸峭壁如削，谷幽水长。荆浩故里位于今县城东北十五里的谷堆头村，现存荆浩墓遗址。

北方山水画派作品

 简介

荆浩字浩然，约生于唐大中四至十年（850－856）。早年“业儒，博通经史，善属文”，学识渊博。济源的风物景观多名人足迹，白居易有诗云：“济源山水好，老尹知之久。……孔山刀剑立，沁水龙蛇走；危磴上悬崖，澄转枋口。”唐开元道教宗师司马承桢曾于王屋山创建阳台宫。少年时的荆浩常来此宫，受司马承桢影响，在晚年所著《笔法记》中，将其与王维、张璪并列，赞曰：“白云尊师气象幽妙，俱得其元，动用逸常，深不可测。”荆浩还曾创作表现王屋山主峰的《天台图》，这些都与他早期生活经历有关。

唐乾符元年（874）前后，荆浩由家乡来到开封，得同乡裴休的关照，曾为唐末小官。裴休任宰相五年，唐大中十年（856）罢官，在开封遇到高僧圆绍，二人志同道合，圆绍就命他居住在开封夷门仓垣水南寺。后圆绍名声日显，又扩建成横跨夷门山的巨院，由唐僖宗亲自题赐院额曰“双林院”。荆浩曾为双林院这一重要禅院绘制壁画，足见他当时的画名。“尝于京师双林院画宝陀落伽山观自在菩萨一壁”、（《五代名画补遗》），但此画未能传留，根据他后来在水墨山水画上的创造精神，可以断定，那是一幅人物与山水结合的水墨画。

荆浩兼擅人物还有其他例证。现存他的《匡庐图》中，就有几个细小而动态极佳的点景人物。《宣和画谱》中，也记载他曾画有人物繁多的《山阴宴兰亭图》三幅、《楚襄王遇神女图》四幅。清代李佐贤《书画鉴影》著录了荆浩的《钟离访道图》：“山林墨笔，人物着色，兼工带写。”并记述画中钟离作举手问讯状，将士伫立状，对岸真人傍虎而行及童子回顾指示状等，描绘得十分生动。

隐居

荆浩在五代后梁时期，因政局多变，退隐不仕，开始了“隐于太行山之洪谷”的生涯，自号洪谷子。洪谷位于开封之北二百里左右的林县。林县唐时名林虑县，太行山脉于县西绵亘一百八十里，总称林虑山，由北向南依次叫黄华、天平、玉泉、洪谷、栖霞等山。山势雄伟壮丽，幽深奇瑰，历代多有隐逸者。北宋山水大家郭熙在《林泉高致》中指出：“太行枕华夏，而面目者林虑。”认为林虑乃太行山脉最美之处。

荆浩在这样幽美的环境中，躬耕自给，常画松树山水。他与外界交往甚少，但同邺都青莲寺却有较多联系，至少两次为该寺作画。邺都在今河北省临漳县北，位于林县之东，三国时为曹魏都城。当时邺都青莲寺沙门（住持和尚）大愚，曾乞画于荆浩，寄诗以达其意。诗曰：“六幅故牢建，知君恣笔踪。不求千涧水，止要两株松。树下留盘石，天边纵远峰。近岩幽湿处，惟藉墨烟浓。”可知他请荆浩画的是一幅松石图，以屹立于悬崖上的双松为主体，近处是水墨渲染的云烟，远处则群峰起伏。不久荆浩果然画成赠大愚，并写了一首答诗：“恣意纵横扫，峰峦次第成。笔尖寒树瘦，墨淡野云轻。岩石喷泉窄，山根到水平。禅房时一展，兼称苦空情。”显然对自己这幅水墨淋漓的作品相当满意，同时也反映出他退隐后的心境——“苦空情”。苦空为佛家语，认为世俗间一切皆苦皆空，这正是他厌恶乱世的情怀。

荆浩作品

在历代绘画史籍和著录书中，记有荆浩作品约共五十余幅，其中山水画占绝大部分，也有少量人物画。如《宣和画谱》所记的山阴宴兰亭图三幅、楚襄王遇神女图四幅，以及前面提到的观自在菩萨、钟离访道图，这九件作品都是以人物为主的。山水画据《图画见闻志》记述有四时山水、三峰、桃源、天台；《宣和画谱》记有夏山图四、蜀山图一、山水图一、瀑布图一、秋山楼观图二、秋山瑞霭图二、秋景渔父图三、白苹洲五亭图一；南宋《中兴馆阁储藏》记有江村早行图、江村忆故图；此外，在《襄阳志林》、《云烟过眼录》、《铁网珊瑚》、《珊瑚网》、《清河书画舫》、《图画精意识》、《平生壮观》、《式古堂书画汇考》、《石渠宝笈》、《庚子消夏记》等著录中，还记有渔乐图、秋山图、山庄图、峻峰图、秋山萧寺图、峭壁飞泉图、云壑图、疏林萧寺图、云生列岫图、溪山风雨图、楚山秋晚图、仙山图、长江万里图、庐山图、匡庐图等。比较特殊的是《珊瑚网》中记载荆浩有交泰图册页，可能是一幅画有三只羊的风俗画，寓意“三阳（羊）交泰”。

艺术特色

一、“有笔有墨，水晕墨章”

历代画史画论著作都爱引用荆浩这几句话：“吴道子画山水有笔而无墨，项容有墨而无笔。吾当采二子之所长，成一家之体。”他本人在《笔法记》中说：“随类赋彩，自古有能；如水晕墨章，兴我唐代。”这两段话确实概括了荆浩艺术的一大特色。六朝以来，山水画都是青绿设色，勾线填彩。从盛唐、中唐开始出现水墨山水画，属于开创者行列的有张璪、王维、王洽等人，然整个社会尚未形成风气。到五代，水墨山水画日益成熟，经荆浩进一步发展，上升为理论性的“有笔有墨”，并对水分运用也更加讲究。用笔与水墨相结合，更有助于表现大自然变化万千的气象，在绘画审美观上是一种拓展，在技法上也显然有助于消除那种刻板的笔迹。如前引答大愚诗中所说的“墨淡野云轻”，就是水墨微妙的艺术效果。

有关荆浩用笔的特点，历来记载分析不一。有的说他“皴用小斧劈，树石勾勒，笔如篆籀”（李佐贤语）；有的说他“将右丞（王维）之芝麻皴少为伸张，改为小披麻”（布颜图语）；还有的说“其山与树皆以秃笔细写，形如古篆隶，苍古之甚”（孙承泽语）。这些说法表明荆浩在用笔方面融入了篆隶书法的骨力，在皴法上还处于探索之中，面貌不一。宋代周密的《云烟过眼录》记述他见到荆浩渔乐图两幅，上有题书《渔父辞》数首，类似唐代柳公权的书风。前人的记载值得参考。

荆浩之前的山水画，很少见到表现雄伟壮阔的大山大水及全景式布局。由于太行山气势磅礴，使他的审美眼光发生重要变化，认识到“山水之象，气势相生”。由于他放眼于广阔空间的雄伟气势，终于创立了“开图千里”的新格局。

北宋沈括《图画歌》写道：“画中最妙言山水，摩诘峰峦两面起。李成笔夺造化工，荆浩开图论千里。范宽石澜烟林深，枯木关同极难比。江南董源僧巨然，淡墨轻岚为一体。……”荆浩放眼于广阔空间的雄伟气象，这一变化反映了当时人们对大自然审美认识的深化。他把在现实中观察到的不同部位、形貌的山峦水流，分别定名为：峰、顶、峦、岭、岫、崖、岩、谷、峪、溪、涧等，并指出从总体上把握自然山水的规律：“其上峰峦虽异，其下冈岭相连，掩映林泉，依稀远近。”正是在从上下、远近、虚实、宾主以及各种物象的全方位审视中，形成了“山水之象，气势相生”的整体观念，在创作中往往是危峰突兀，重岩叠嶂，林泉掩映，气势浩大。

收藏过荆浩作品的宋人米芾，把荆画特点归纳为“善为云中山顶，四面峻厚”；又说“山顶好作密林，水际作突兀大石”。由此可以想见气韵雄壮的格局。清人顾复在《平生壮观》中记述荆作云壑图“峰岚重复，势若破碎，而一山浑成，无断绝之形”。这里说的是善于处理整体与局部的关系，细部刻画的真实具体，并未影响浑然一体的山势。他还指出荆浩所作多为“寻丈之笔”，以致“后之大图不能出范围焉”。但是荆浩也能作小幅，如册页云生列岫图就被评为“咫尺而得千顷之势，水墨浓淡生秀绝伦”。

荆浩好作秋冬之景，历代著录中有《秋山楼观图》、《秋山瑞霭图》、《秋景渔父图》、《秋山萧寺图》、《楚山秋晚图》等。元代黄公望称赞《楚山秋晚图》“骨体琼绝，思致高深”，并赋诗一首：“天高气肃万峰青，荏苒云烟满户庭。径僻忽惊黄叶下，树荒犹听午鸡鸣。山翁有约谈真诀，野客无心任醉醒。最是一窗秋色好，当年洪谷旧知名。”从诗中可以想见画面天高气爽，峰青树荒，云烟满户，有山翁相语，野客漫饮，午鸡啼鸣，一切围绕着渲染一个“秋”字。这是一个秋色寥廓而又富于生活气息的境界。由此可见，荆浩的大山大水之境，充满丰富的细节，既有强烈的震撼力，又耐人细细品味。

 北方山水画派的几位画家是各有特点；关仝的“峭拔”、李成的“旷远”范宽的“雄杰”、历来被称为“三家山水”，他们都因为各具个性而自成一体，而三家又都来源于荆浩，表现雄伟峻厚、风骨峭拔的突兀巨壑，用硬性的“钉头皴”、“雨点皴”、“条子皴”描绘出北方石质坚凝的山体，是他们共同的特色。所以，他们共同组成了五代至北宋初山水画中的“北方流派”，与以柔性线条描绘平缓温润的江南山水的“南方画派”有着本质区别。

北方画派以荆浩、关仝、李成、范宽为代表。南方画派以董源、巨然为代表。关仝是荆浩的弟子，他画山水常常表现出陕甘一带山川的特点。北宋米芾说他“工关河之势，峰峦少秀气”。关仝的在意境上甚至超过了荆浩。有了自己的一套风格，被称为“关家山水”。他的画风很纯朴，被誉为“笔愈简而气愈壮，景愈少而意愈长”。关仝喜欢描绘秋高气爽的山林，身居山中的村人和隐士的生活，画面细致微妙，非常逼真，像身临其中，具有强烈的艺术感染力。他与荆浩并称为“荆关”。北宋人将他与李成、范宽并列为“三家鼎峙”，具有很大影响。关仝传世作品有《山豀待渡图》及《关山行旅图》等。

 Jing Hao was born in the middle of Tang Dynasty from four to ten years (850-856). In his early years, "Confucianists, well-versed classics and history, good literature", knowledgeable. There are many famous people's footprints in Jiyuan's scenery and scenery. Bai Juyi has a poem: "Jiyuan has a good landscape, and Lao Yin has known for a long time." Kong Shan swords stand, Qinshui dragons and snakes walk; Dangerous cliffs, clear turn Huakou. Sima Chengzhen, the Taoist priest of Kaiyuan in Tang Dynasty, built a balcony palace in Wangwushan. When he was a teenager, Jing Hao often came to this palace. Influenced by Sima Chengzhen, he juxtaposed it with Wang Wei and Zhang Bi in his later years'Bifa Ji. He praised Bai Yun's respectful teacher's beautiful weather, which had its origin, and his usage of leisureliness was unpredictable. Jing Hao has also created the Tiantai Map which shows the main peak of Wangwu Mountain, all of which are related to his early life experience.

Around the first year of Tang Qianfu (874), Jing Hao came to Kaifeng from his hometown and was cared for by his fellow countryman Pei Xiu. He was a minor official in the late Tang Dynasty. Pei Xiu served as Prime Minister for five years. During the ten years of Tang Dynasty (856), he went out of office. He met Yuanshao, a senior monk in Kaifeng. The two men were like one another. Yuanshao ordered him to live in Shuinan Temple in Cangyuan, Yimen, Kaifeng. Houyuanshao's fame became more and more obvious, and it was expanded into a huge courtyard across Yimen Mountain. Tang Qizong personally inscribed the courtyard as Shuanglin Courtyard. Jing Hao once painted murals for Shuanglin Yuan, an important Buddhist temple, which showed his paintings at that time. "Taste the painting of Baotuo Laojia Mountain in Shuanglin Academy of Beijing Normal University", ("Supplement to Five Dynasties Paintings"), but this painting failed to survive. According to his later creative spirit in ink landscape painting, it can be concluded that it is a combination of characters and landscape ink painting.

There are other examples of Jing Hao who is good at both characters. In his Kuanglu Tu, there are several small and dynamic characters. In Xuanhe Painting Spectrum, it is also recorded that he has painted three pictures of Shanyin Banquet Lanting and four pictures of King Xiangwang Meeting Goddess. In the Qing Dynasty, Li Zuoxian's Calligraphy and Painting Review recorded Jinghao's "The Road Map of Zhong Li's Visit": "Mountain and Forest Ink, Character Coloring, Part-time Work Tape Writing." It also describes Zhong Lizuo's hand-raising inquiry, the standing of a scholar, the walking of a real man on the other side of the tiger, and the boy's retrospective indicators, which are vividly depicted.

Seclusion

Jinghao began his career of "hidden in the flood valley of the Taihang Mountains" in the later Liang Dynasty because of the changeable political situation. Honggu is located in Linxian County about 200 miles north of Kaifeng. Linyu County was a famous county in Tang Dynasty. The Taihang Mountains lie 180 miles west of the county. They are called Linyu Mountain. They are Huanghua, Tianping, Yuquan, Honggu, Qixia and other mountains in turn from north to south. The mountains are magnificent, deep and magnificent, and there are many hermits in the past dynasties. Guo Xi, a great landscaper in the Northern Song Dynasty, pointed out in Lin Quan Gaozhi that "Taihang pillows Huaxia while Lin Yu is the face of it." Linyu is considered to be the most beautiful place in the Taihang Mountains.

In such a beautiful environment, Jing Hao works hard for himself and often paints pine landscapes. He had little contact with the outside world, but had much contact with the Qinglian Temple in Yedu. He painted for the temple at least twice. Yedu is situated in the north of Linzhang County, Hebei Province, to the east of Linxian County. It was the capital of Cao Wei in the Three Kingdoms. At that time, Shamen (Abbot monk) Dayu of Youdu Qinglian Temple, once begged to paint in Jinghao and sent poems to achieve his purpose. The poem says, "Six paintings are built firmly, and you know the trace of the king's pen. Do not ask for a thousand streams of water, but two pines. Leave a stone beneath the tree, a vertical and distant peak on the horizon. Close to the rocks and moist places, only by smoke. He asked Jinghao to draw a picture of pine stones, with Shuangsong standing on the cliff as the main body, clouds and smoke rendered by ink and wash near, and peaks fluctuated in the distance. Before long, Jing Hao painted Da Yu as a gift and wrote an answer poem: "Wantonly sweep across the mountains and peaks in turn. The pen point is thin, the ink is light and the wild clouds are light. Rock fountains are narrow and mountain roots are horizontal. Zen room exhibition, also known as the bitter empty situation. Obviously, he is quite satisfied with his ink-washed work, and at the same time reflects his mood after his retirement - "bitter emptiness". Kukong is a Buddhist language. He thinks that everything in the world is empty, which is his feeling of disgust with troubled times.

Jing Hao's Works

In the historical books and descriptions of paintings of past dynasties, there are about fifty works of Jinghao, of which landscape paintings account for the vast majority and a small number of figure paintings. For example, three pictures of Lanting in Shanyin Banquet, four pictures of King Xiangwang encountering goddess and four pictures of Bodhisattva and Daoist visits by Zhong Li mentioned above are all based on characters. According to the Records of Pictures, there are four seasons of landscape, three peaks, Taoyuan and Tiantai in landscape paintings; Xuanhe Pictures Records includes Xia Shan Tu IV, Shu Shan Tu I, Landscape Tu I, Waterfall Tu I, Autumn Hill View II, Autumn Landscape Rui Tu II, Autumn Fisherman Tu III, Bai Ping Chau Wuting Tu I; Zhongxing Guange Storage in Southern Song Dynasty includes Jiangcun Village. In addition, fishing music is also recorded in the records of Xiangyang Zhilin, Yunyan Passing Eye Record, Iron-mesh Coral, Coral Net, Qinghe Calligraphy and Painting Fang, Picture Exquisite Consciousness, Life Magnificance, Style Ancient Hall Calligraphy and Painting Collection, Shiqu Baodu and Gengzi Xiaoxia Ji. Tu, Qiushan map, mountain villa map, Junfeng map, Qiushan Xiaosi map, cliff Feiquan map, Yunqi map, Shulin Xiaosi map, Yunsheng Liuxiu map, Xishan wind and rain map, Chushan autumn evening map, Xianshan map, Yangtze River Wanli map, Lushan map, Kuanglu map, etc. What is more special is that Jinghao has a picture album page of Jiaotai in Coral Net. It may be a custom painting with three sheep, which implies "Sanyang (sheep) Jiaotai".

artistic characteristics

1. "With pen and ink, ink halo"

In the works of painting history and painting theory of past dynasties, Jing Hao is fond of quoting these words: "Wu Daozi paints mountains and waters with brush but without ink, and Xiang Rong with ink but without brush. I should take the advantages of my two sons and form a family. He himself said in the Book of Bi Fa Ji: "Painting according to the category has been possible since ancient times; for example, ink halo, revitalizing my Tang Dynasty." These two passages really sum up a major feature of Jinghao's art. Since the Six Dynasties, landscape paintings have been made of green and blue, with lines filled in. From the flourishing Tang Dynasty to the mid-Tang Dynasty, ink and wash landscape paintings appeared. Zhang Bi, Wang Wei and Wang Qian were among the pioneers, but the whole society has not yet formed a general mood. By the Five Dynasties, ink landscape painting was becoming more and more mature. With the further development of Jinghao, it became a theoretical "brush with ink" and paid more attention to the use of water. The combination of pen and ink is more conducive to the expression of nature's changing atmosphere. It is an expansion in the aesthetic view of painting, and obviously helps to eliminate the stereotyped handwriting in the technique. As previously quoted in Dayu's poems, "light ink and wild clouds" is the subtle artistic effect of ink and wash.

The characteristics of Jinghao's pen have been recorded and analyzed in different ways. Some said that he "chopped with a small axe, sketched the trees and stones, and wrote like seal" (Li Zuoxian's words); others said that he "changed the sesame grain of Youpi (Wang Wei) into small cloth" (Bouyan Tu language); and others said that "the mountains and trees are all written in bald strokes, like ancient seal scripts, very ancient" (Sun Chengze language). These statements show that Jing Hao has integrated the bone of seal and Li calligraphy in the use of pens, and is still in the process of exploration in the method of inscription, with different features. The Song Dynasty's meticulous Eye Record of Clouds and Smokes tells us that he saw two pictures of Jinghao's fishing music. There are several inscriptions of Fisherman's Ci, which are similar to Liu Gongquan's style of writing in Tang Dynasty. The records of predecessors are worth referencing.

Before Jinghao's landscape paintings, it was rare to see the magnificent and magnificent landscape and panoramic layout. Because of the great momentum of the Taihang Mountains, his aesthetic vision has undergone important changes, and he realized that "the image of mountains and rivers, momentum and vigor are mutually reinforcing". Because he looked at the magnificent momentum of the vast space, he finally created a new pattern of "opening up thousands of miles".

Shen Kuo of the Northern Song Dynasty wrote in Picture Song: "The most wonderful words in the painting are mountains and rivers, which rise on both sides of the Mahefeng Mountains." Li Chengbi seized the chemical industry, and Jinghao opened up the theory of graph thousands of miles. Fan Kuan's rocky forest is deep and the dead wooden pass is extremely difficult to compare. Dong Yuan monk in the south of the Yangtze River is a giant monk, with light ink and light Lan as one. Jinghao looked at the magnificent meteorology of the vast space, which reflected the deepening of people's aesthetic understanding of nature at that time. He named the mountain currents in different parts and shapes observed in reality as: peaks, peaks, mountains, ridges, headlands, cliffs, rocks, valleys, valleys, streams and streams, and pointed out that the law of natural mountains and waters should be grasped as a whole: "Although the peaks are different, the lower hills are connected, reflecting the forest springs, which are far and near." It is in the comprehensive examination of upper and lower, far and near, virtual and real, guest and host, and various images that the overall concept of "landscape image, momentum mutually generates" has been formed. In the creation, the dangerous peaks are often abrupt, rocks overlap with mountains, forests and springs cover up, and the momentum is huge.

Mi Fu, a Song poet who has collected Jinghao's works, summed up the characteristics of Jinghao's paintings as "good for the top of Yunzhongshan Mountain, steep on all sides". He also said that "the top of a mountain is good for dense forests, and the water is a sudden big stone". From this we can imagine the magnificent pattern. Gu Fu of the Qing Dynasty described Jing Zuoyun's picture of the clouds and valleys in his magnificent life as "the repetition of the peaks and valleys, the situation is fragmented, and the mountain is complete, without interruption". What we are talking about here is that we are good at dealing with the relationship between the whole and the part. The real and concrete details of the description do not affect the mountain situation of the integration. He also pointed out that Jing Hao's works were mostly "the pursuit of Zhang Zhang", so that "the future maps can not be out of scope". But Jing Hao can also make small pictures, such as the headland map of Yunsheng on the album page, which is rated as "the potential of thousands of hectares within a short distance, and the rich and weak ink is excellent".

Jing Hao is good at making autumn and winter scenery. In the records of past dynasties, there are "View of Autumn Hill Tower", "Autumn Hill Rui Lan Picture", "Autumn View Fisherman Picture", "Autumn Hill Xiaosi Picture", "Chushan Autumn Evening Picture" and so on. Huang Gongwang of the Yuan Dynasty praised the "autumn evening picture of Chushan Mountain" for its unique bones and profound thoughts, and wrote a poem: "The sky is high and the mountains are green, the clouds are full of families. Out of the way, under the Yellow leaves, the trees still listen to the crowing of the chickens at noon. Shanweng has the real recipe for interviewing, and the savage has no intention of waking up drunk. The most beautiful window is autumn, which was well-known in Honggu. From the poem, we can imagine that the sky is high and fresh, the peaks are green, the trees are barren, the clouds are full of smoke, there are mountain stories, the wild guests are drinking, the chickens are crowing, all around the rendering of a "autumn" word. This is a realm of autumn and full of life. It can be seen that Jinghao's landscape is full of rich details, which not only has strong shock, but also endures people's delicate taste.