Picture scroll of Shen Zhou imitating Huang Gongwang’s Fuchun Mountain Residence

[Shen Zhou imitating Huang Gongwang’s Fuchun Mountain Dwelling]

The painting of imitating Huang Gongwang’s Fuchun Mountain Dwelling “volume, made by Shen Zhou in the Ming Dynasty, paper edition, colored, 36.8 cm vertically and 855 cm horizontally
This self-question: “The Great Idiot Weng wrote this section of mountains and rivers, which was almost created by nature. He never wrote many works in his life. His works were completed after three years. His handwriting was gorgeous and unreal, and his self-awareness was also pitied. This volume was hidden by me. Because I asked him to write it on people, he did it for his son. He could not have it after his son, sell it to people, and the poor could not be straight to recover it. It was only because of thinking! That is to say, his thoughts were not forgotten, but because of the meaning and appearance, the things were far from distortion, and he was lost in the face of the paper. At the Mid-Autumn Day of Chenghua Ding Wei, Changzhou Shen Zhou knew.”
This picture is the work of Shen Zhou, facing Huang Gongwang’s “The Dwelling in Fuchun Mountain”. In the picture, the hills are undulating, the scenery is sparse and clear, the layout is open and close, the pen is square and round, and the hardness and softness are combined. Combining the hemp and alum texturing methods, the copy of the original work has reached the state of both shape and spirit, and the pen technique also reveals Shen Zhou’s own personal characteristics. Huang Gongwang’s “Dwelling in Fuchun Mountain” was burned and made into two sections, which were circulated in different directions. The former section is in the Zhejiang Provincial Museum and the latter section is in the Taipei Palace Museum. This temporary work of Shen Zhou basically retains the appearance of the original work before it was destroyed, so this work has not only its own artistic value, but also the important significance of reproducing Huang’s original work. There are inscriptions and postscripts by Yao Shou, Dong Qichang, Wu Kuan, Wen Peng, Zhou Tianqiu and Xie Songzhou on the tail paper.