Ch: qinglu shanshui. Lit. "blue-and-green landscape." A style of Chinese landscape painting heavily colored with mineral pigments, especially blue azurite *gunjō 群青 and green malachite *rokushō 緑青 which pays much attention to realistic detail rather than seeking to create an atmospheric impression. The style, associated first with the Tang court painter, Li Sixun (Jp: Ri Shikun 李思訓, 653-718) and his son Li Zhaodao (Jp: Ri Shōdō 李昭道, act. early 8th century), is considered the dominant form of Tang dynasty landscape. The earliest extant examples are the wall paintings in the tomb of Prince Ide (Jp: Itoku 懿徳, 682-701) in Shaanxi 陝西. Blue-and-green landscape painting was revived periodically by Chinese artists working in archaic styles. Notable practitioners include the late Southern Song painter Zhao Boju (Jp: Chō Hakku 趙伯駒, ca.1120-ca.62) and the Yuan dynasty literatus Qian Xuan (Jp: Sen Sen 銭選, ca.1235-1301) who sought a calculated evocation of the past in resuscitating the style.
During the Heian period in Japan, the colored seiryoku sansui formed the basis of what came to be called *yamato-e やまと絵. The concept of a native Japanese yamato style of painting, despite this continental origin, took hold in part because it served to distinguish a tradition of highly colored painting apart from the late styles and themes of ink-painting which became so influential from the 12th to 15th century in Japan.