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- 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. The style stands in opposition to the Southern School (南宗画; nán zōng huà) of Chinese painting. 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. This style is considered to be founded by Jing Hao who was among the first distinctive masters of landscape. His styles were propagated by his pupil Guan Tong, who in turn influenced Northern Song painters such as Li Cheng and Fan Kuan. Li Cheng uses the dramatic high mountain composition of Jing Hao and Guan Tong. Later his style was enshrined within the artistic orthodoxy of Northern Song Dynasty. Guo Xi, patronized by Emperor Shenzong, had his name joined to name the Li-Guo school. The tradition the two men created is the classical, imperially sanctioned, official canon of Song Landscape painting. However, it is important to note that Li Cheng was also influenced by the southern Jiangnan Landscape style. Juran 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 Dong Qichang 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. (en)
- 북종화(北宗畵)는 동양화의 한 분파로, 남종화에 대비된다. 이 분류는 명나라 말기의 동기창(董其昌)과 막시룡(莫是龍)이 당나라 선종(禪宗)의 남북 분파에 착안하여 중국 회화를 남북 2종(南北二宗)으로 구분한 것에서 유래하였다. 청록산수화(靑綠山水畫)를 비롯하여 북송의 곽희파(郭熙派)와 남송의 마하파(馬夏派) 산수화가 북종화로 분류된다. 선불교의 북종(北宗)과 연관성 있는 생각으로 점오(漸悟)의 길을 걷는다. 화가가 품격 높은 그림을 이루려면 먼저 화기를 기초서부터 수련하여 점점 그 기술과 식견이 이루어져 세련됨을 기대해야 한다는 것이다. (ko)
- De noordelijke landschapsstijl was een stijl binnen de shan shui-schilderkunst die in de periode van de Vijf Dynastieën (907–960) in Noord-China tot ontwikkeling kwam. Hiertoe behoorde de Li-Guo-school, die in de vroege Song-periode tot de belangrijkste Chinese schildersstromingen behoorde. De noordelijke landschapsstijl kenmerkt zich door de hoog oprijzende bergen in krachtige zwarte lijnen. De daarentegen onderscheidt zich door vloeiende heuvellijnen in zacht aangezette penseelstreken. (nl)
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- běi zōng huà (en)
- nán zōng huà (en)
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- 북종화(北宗畵)는 동양화의 한 분파로, 남종화에 대비된다. 이 분류는 명나라 말기의 동기창(董其昌)과 막시룡(莫是龍)이 당나라 선종(禪宗)의 남북 분파에 착안하여 중국 회화를 남북 2종(南北二宗)으로 구분한 것에서 유래하였다. 청록산수화(靑綠山水畫)를 비롯하여 북송의 곽희파(郭熙派)와 남송의 마하파(馬夏派) 산수화가 북종화로 분류된다. 선불교의 북종(北宗)과 연관성 있는 생각으로 점오(漸悟)의 길을 걷는다. 화가가 품격 높은 그림을 이루려면 먼저 화기를 기초서부터 수련하여 점점 그 기술과 식견이 이루어져 세련됨을 기대해야 한다는 것이다. (ko)
- De noordelijke landschapsstijl was een stijl binnen de shan shui-schilderkunst die in de periode van de Vijf Dynastieën (907–960) in Noord-China tot ontwikkeling kwam. Hiertoe behoorde de Li-Guo-school, die in de vroege Song-periode tot de belangrijkste Chinese schildersstromingen behoorde. De noordelijke landschapsstijl kenmerkt zich door de hoog oprijzende bergen in krachtige zwarte lijnen. De daarentegen onderscheidt zich door vloeiende heuvellijnen in zacht aangezette penseelstreken. (nl)
- 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. The style stands in opposition to the Southern School (南宗画; nán zōng huà) of Chinese painting. (en)
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- 북종화 (ko)
- Northern landscape style (en)
- Noordelijke landschapsstijl (nl)
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