沈周的成熟期（Shen Zhous maturity）.docVIP

沈周的成熟期（Shen Zhous maturity） Shen Zhous maturity In the 148, Shen Zhou was indeed a mature painter. This can be recorded by a few frames of important works in the clear or rough proof, on the map and Fourteen articles Dongshan prostitutes. The fourteen on the map or can be pushed as the representative. At the back of this picture, there are two pieces of his own poems, poems and paintings reflect the whole experience of the typical literati. Such works of combining poetry, painting and calligraphy can be understood, and Shen Zhou is well received for three reasons. The composition is precise and correct, and the picture is almost equal to the blank part. On the right is a tree, and the cabin hill slope; left a deep space, beyond the pale moon a ferry, empty. Some very powerful features: on the right side of the mine, the usual rough outline, warm cold interaction colors are full width, starting from the geometric pattern plate like slope, any objects have been neatly arranged. To make tile and warashina Wo eaves, three surface soil holding crops around the courtyard house longitudinal, transverse and oblique lines, willow banana and three strains of deciduous trees, shibagaki and curved slope, table, tableware, servants, back face of the owner and guests are not just mechanical being painted look at the picture, easy to found the pen and line texture. Here is Shen Zhous immortal guest local choppy crane at the dinner table in a corner of the sleeping. Again, move your eyes in space, and in one word cover the texture of the moon - the silver sky painted with ink, the shimmering light - captured just right. He arranged dense trees and willows in the direction of the slopes, but in order to make them look far away, they were reduced, but in fact they were in the front part of the painting. Is it near at hand? Or in the distance? How will the position between the painter and the painting become? This is probably not the special effect of the moonlight that we perceive in