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This style, in retrospect, focuses around the development of a distinct tradition of landscape painting in China. At the beginning of this brief period there was no clear image of how landscape painting would be realised. At its end there existed an idea of a national style.
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would find it useful to contrast the
Jiangnan style and the Northern Landscape style in order to support his theories. However, his writings ignore the heavy influence both played on the formation of the artistic tradition in the Song and the subsequent dynasties.
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travelled to the Song court around 975. Li Cheng's combination of the northern and southern styles is as if it were a microcosm symbolic of the physical reunification of China under the Song dynasty. Later
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However, it is important to note that Li Cheng was also influenced by the southern
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who was among the first distinctive masters of landscape. His styles were propagated by his pupil
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Barnhart, "Three
Thousand Years of Chinese Painting", 99.
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Barnhart, "Three
Thousand Years of Chinese Painting", 93.
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97:This style is considered to be founded by
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