Chart axis of the house in the empty mountain

[The axis of the map of the house in the empty mountain]

The axis of the map of the house in the empty mountain, Qing Dynasty, the map of the house in the empty mountain, paper version, light color, 98.7 cm vertically and 53.3 cm horizontally
This self-titled seven-character poem reads: “A hermit is living in an empty mountain, and the window is open all day long, and the water is flowing. There is no appointment to cross the stream, and the sound of the spring on the stream is like rain. The Han Dynasty painting in April of Guihai was sent to Mr. Yu Feng, the Taoist Priest of the Jade Peak. His brother, Mr. Zha Shi Biao.” The two seals of “Shi Biao” and “Er Zhan” were sealed. Collection seal: “A Scenery Book House”, “Wu Hu Zhen Pan Jingshu Collection Seal”, “Sun Bangrui Collection Seal”, “Secret Collection of Meijing Book House”, “Memorable Unique”, “Bingxu Xiaoqian”. Wu Hufan, Ge Youyi and other inscriptions mounted on the edge
“Guihai” is the 22nd year of Kangxi in the Qing Dynasty (1683).
As a painter of the Ming Dynasty, Zha Shibiao holds a negative outlook on life. He made friends with many hermits in the pleasant scenery. This picture is an elaborate painting given to his friend Taoist Priest Yufeng when he was 68 years old. The composition pays attention to the unity of the convergence and dispersion of objects in the far, middle and near scenes. The near and middle scenes are “scattered” due to the performance of miscellaneous trees, small bridges, canoes, isolated pavilions and other fine objects. The thick mountains in the distant view gather into stone walls, and its integrity condenses the scattered near and middle scenes; The scattered near and middle scenes break the flatness and rigidity of the distant view and enliven the picture. The shape of the mountain stone is first outlined in a straight line, then the side front is used to make a clear and clear vertical chapped wipe, and then the light and simple ochre and other colors are haloed. The leaves can be expressed in various ways, either by long and short lines or by a pen point. Their flexible and changeable forms make the trees that are originally scenic spots an indispensable part of the whole painting.