Dun Zichan (1555-1636), personal name Xuan CSI, nicknamed Si Bai was born in Huahine near Shanghai, Jiangsu province. In 1588 passed the Imperial examination at the highest academic degree of "Jinshi", was promoted to the post of head of the Department of Ceremonies (Libu). However, Dun Zichen went down in history as the spiritual leader of the educated class of southern China during the late Ming dynasty, who created the whole theoretical and art school as a fine scholar and connoisseur, brought together a countless number of masterpieces in his collection. Suffice it to say that any work of literature, calligraphy, painting and craft skills, expert the authenticity of which was confirmed by Dun Cicana, instantly increased in price several times. He also became famous for his skill of calligraphy, especially in a low-key style of cursive writing ", Cinco". As a collector of old paintings of Dun diligently copied the works of famous masters of the Song dynasty and Yuan dynasties, adopting their style and traditions, but at the same time, synthesizing the experience of predecessors, especially the landscape artists of 10th-century Dong Yuan and Ju ran of, he himself became a prominent and distinctive painter. His florid strokes and lines, virtuoso technique style and different shades of mascara it is reminiscent of the technique of calligraphy, known in theory as the concept of "Shi" ("Pragmatism"). As a theoretician, an art critic and the author of several theoretical treatises on calligraphy and painting, Dun Cichan was the author of the hypothesis about a parallel existence in Chinese painting of two traditions: the Northern, with her usual quiet and academic, and the South, characterized by dynamism and Skoropadskiy. Undoubtedly, the work of this scientist and an artist had a huge influence on his contemporaries and on subsequent 300 years of evolution of Chinese art.
According to the inscription by author's hand in upper part of the picture, it is an imitation from memory, I have seen them is inspired by a masterpiece of Dong Yuan, using the technique of the real brush Gonwana Huang (1269-1354). However, the picture is not simple copying from the sample, because the composition and technique of execution suggests that Dun Cican only creatively reworked traditional material, creating in fact a completely original piece with its unique style and manner of writing. The artist's brush is very similar to the techniques of calligraphy, when every pan or tilt served to create by using black and white textures surround the perception of the landscape, with its inherent depth, vividness and colour. The ratio of different shades of black (ink) and white (paper) flowers in the centre of the composition the mountain contrasts emphasizes the ability to master a minimum of means to convey the solidity of nature and the transience of created a living landscape of mood.
