Two-Yuan Who Were Born In Hanshang Forged An Artistic Peak Together

During the Qing Dynasty,Yuan Jiang and Yuan Yao were good at green-color landscape painting and were known as "Two-Yuan".Research has confirmed that Two-Yuan were from Jiangdu(now Yangzhou,Jiangsu),and they were father and son.They pursued painting as their profession,Yuan Jiang first learned from Qiu Ying and Later learned from Li Yin,Wang Yun,Yan Yi and other boundary painters,Yuan Yao’s green-color landscape paintings were in the same vein as Yuan Jiang’s.The existing clues indicate that they had artistic activities in Zhejiang,Fujian and other places,and were also invited by Shanxi salt merchants to Taiyuan and other places for long-term painting.Yuan Jiang also went to Jinling,Yantai and other places,and served the imperial court,but his reputation was not well-known at that time.On the basis of a comprehensive and systematic review of Two-Yuan’s green-color landscape paintings,the paper focuses on the themes,forms,and compositions of Two-Yuan’s green-color landscape paintings,and focuses on the analysis of several types of works such as garden sketching,poetic reproduction,and fairy mountain and palace.At the same time,it explores the huge landscape screen with panoramic composition and boundary elements in Two-Yuan’s green-color landscape paintings,revealing Two-Yuan’s development and contribution to traditional green-color landscape painting.The main part focuses on the artistic construction of Two-Yuan’s green-color landscape paintings,analyzing their artistic characteristics in space,language,imagery,aesthetics,and other aspects.It focuses on analyzing the characteristics of Two-Yuan’s green-color landscape paintings from the perspective of techniques,such as brush and ink,line drawing and texturing,color,and dyeing.It also explores the cultural elements of classical poetry in Two-Yuan’s green-color landscape paintings,and elaborates on the aesthetic elements such as gardens and fairy tales contained in the work,as well as the aesthetic connotations of Laozi and Zhuangzi’s ideas.Based on this,we will further explore the causes of the green-color landscape painting style of Two-Yuan’s,and elaborate on its causal relationship from the perspectives of the inheritance,variation,and revision of traditional cultural context,as well as the influence of the political,economic,and cultural environment at that time.The paper also conducted relevant expansion research on the transmission of the "Yuan’s painting school",sorting out painters and their landscape paintings similar to the Two-Yuan’s schools,such as Yuan Xue,Yuan Mo,Yuan Biao,Li Qing,Ni Can,Tan Gao,Fan Kun and analyzing the disadvantages of the "Yuan’s painting school" and its successors,and the relationship between the decline of salt merchants and the decline of the "Yuan’s painting school".The appendix section sorts Two-Yuan’s works that can be collected at present according to the chronological order of their creation,and provides a detailed organization of the form,material,size,collection location,and title content of the works.It also compiles Two-Yuan’s works that have not been dated.The "Yuan Style" created by Yuan Jiang and Yuan Yao has established a new trend in the landscape painting world with the "Four-Wang" as the mainstream,and the father and son jointly forged an artistic peak in the history of green-color landscape painting in the Qing Dynasty.The ups and downs of the "Yuan’s painting school" are a silhouette in the historical process of landscape painting,which not only reflects the context and pattern of the development of landscape painting in the Qing Dynasty,but also has certain inspiration and reference significance for the creation and research of contemporary green-color landscape painting.