White fan with auspicious snow in Beijing

[The picture of auspicious snow in the capital]

The picture of auspicious snow in the capital is said to be a work of the Tang Dynasty. It is made of silk and colored, 42.7 cm in length and 45.2 cm in width
This picture has no style, and the title of Xiang Zijing is mounted on the right side: “General Li Sixun of Tang Yunhui painted a picture of auspicious snow in the capital, and the collection of Song Xuanhe’s imperial residence is also determined to be the first. Xiang Shengmo, a woodcutter of the ancient Xu Mountain, was won in front of the Plum Blossom Monk Pagoda, so he can play it secretly, and it is not easy to make a hundred gold coins.”
There are two sides of the mounted seal collection: “Pingshu Treasure” and “Pingquan Book House Owner Approval Seal”
The fan-painted snowscape pavilions are painted in green and green colors, and the painting method is ancient and clumsy. It obviously has the characteristics of the so-called “golden and blue landscape” of Li Sixun’s father and son. It is similar to the painting style of the other two pavilions in the Palace Museum collection, the “Palace Painting” volume and the “Ninety percent Summer Resort Painting” page, which are handed down to the Tang people, and both have been titled Li Sixun’s works. These three paintings have not been recorded before the Qing Dynasty, and lack of early collection marks and inscriptions as evidence of dating, and there is no recognized comparable works of the same kind in the Tang Dynasty. Therefore, we can not simply judge them as works of the Tang Dynasty based on their simple painting method of sketching and coloring and the pursuit of simple and crude style. Due to the lack of dating basis, there have been different views on the age of these three works in academic circles. In this case, it is a more scientific and effective method to judge the creation age of the work by the palace shape reflected by a large number of ancient buildings on the screen. Some scholars took the details of architectural decoration in the picture, such as the shapes of glazed tiles, lattice doors, wooden memorial archway and arch of wooden architecture, as strong physical evidence of “identifying ancient and modern objects in detail, and comparing local customs with business”. They believed that the architectural group represented by these three paintings was not Tang Dynasty but Song Dynasty, and then concluded that they were not works of Tang people, but “decorative paintings painted by local or folk artists outside Lin’an” in the Southern Song Dynasty.