北宋时期,中国全景山水画创作继五代荆、关、董、巨风范之后,进入鼎盛时期。中国山水画史上的重要人物和重要作品也多产生于这个时代,煌煌巨制彰显了个人的性灵与旨趣,体现了各自不同的审美追求。这种风格的迥异,说明宋人对山水审美意识的进一步强化,标志着在这个时代山水画已进入了成熟期,北宋中后期的郭熙是继五代以来全景山水画创作的集大成者,他把五代以来相对成熟的山水画推向了极致。郭熙备受宋神宗恩遇,其画风成为了北宋时代山水画的主流趣味,他的画欧阳修的文章、蔡襄的书法共同构成了这 During the Northern Song Dynasty, the landscape painting of China’s panorama went on its heyday following the successive generations of Jing, Guan, Dong and Giant Feng. The important figures and important works in the history of Chinese landscape painting also came into being more and more in this era. The magnificent system of Huanghuang and Huangzhou demonstrated personal nature and interest, reflecting their different aesthetic pursuits. This style is very different, indicating that the Song Dynasty to further strengthen the aesthetic awareness of landscapes, marking the landscape in this era has entered a mature period, the late Northern Song Dynasty Guo Xi is the fifth generation since the panorama landscape painting master, he put five generations Relatively mature landscape painting to the extreme. Guo Xi was well received by Song Shenzong and his style became the mainstream of landscape painting in the Northern Song Dynasty. His painting Ouyang Xiu’s essay and Cai Xiang’s calligraphy constituted the