Picture scroll of Qian Xuan waiting to cross the autumn river

[The picture volume of the autumn river waiting for crossing]

The picture volume of the autumn river waiting for crossing, yuan, money, paper, color, 26.8 cm vertically and 108.4 cm horizontally
The signature “Wu Xingqian selected Shun to draw and title.” The seal was “Shun Ju Seal” (in white), “Shun Ju” (in Zhu), and “Qian Xuan Zhi Seal” (in white)
The four characters of the Emperor Qianlong’s inscription “The autumn river is waiting to be crossed” are introduced and sealed with the seal of “The Emperor’s Book” (Zhu Wen). This picture has a five-character rhythmic poem written by the Emperor Qianlong in running script, and 17 inscriptions or poems by Chen Gong, Hu Weiren, Zhu Yong and Hu Dun are on the back paper. He has been recorded in “Collection of Calligraphy and Painting in Shigutang”, “Grand View”, “Jiangcun Sales in Summer”, “Jiangcun Calligraphy and Painting”, “Moyuan Collection”, “Shiqu Treasure Collection Continuation”, “Nourishing Hall”, etc. The introduction, the painting center, the front and back water separation, and the tail paper have nearly 80 square meters of identification, collection and printing, such as Gaoshiqi, Anqi, and Qingneifu
This picture depicts the scenery of lakes and mountains in the south of the Yangtze River. At first, a cottage with several couplets is surrounded by luxuriant trees. The water in front of the house is stagnant, the peaks behind the house are high, and the mist is light in the distance. The atmosphere is quiet and peaceful, like a fairyland. In the center of the painting is a large expanse of open water, with a vast expanse of water and a faint and rolling autumn mountains. There are green and red trees on the soil slope on the left bank of the river. One person is waiting to cross the river alone. The autumn water looks through, and the passenger ship that will cross him has just left the opposite bank. At the end of the volume, there is a seven-character quatrain: “The mountains are misty and green, and the Yangtze River is soaking through an autumn day. Outside the setting sun and the cold smoke of Maoci, there are many pedestrians waiting to cross the boat.” This volume uses a combination of poetry, calligraphy and painting to enrich the painting with poetry, creating a new style of painting in the Yuan Dynasty
The outline of mountains, rocks and trees is outlined with ink lines, and then painted with green and heavy colors, almost without chapping brush. The painting method is close to Zhan Ziqian’s “Spring Tour”, which clearly has the charm of “retro”, and the artistic conception is vast.