With a long and narrow frame, the Picture of Seclusion in Qingbian shows the magnificent and strange scene of the frontier mountain from the foot of the mountain to the top of the mountain. In the upper part of the picture, the dangerous peaks are majestic and magnificent, showing an unattainable and steep trend. The mountains in the middle section fluctuate and change, and the mountain winds up. There are dense trees in the mountains, and several huts are faintly visible in the depths of the mountains. There is a hermit sitting in the house with his knees on the bed. In the lower part of the picture, there is a quiet stream at the foot of the mountain, and a man is dragging his stick in the Woods. The structure of the whole picture is complex and substantial, but through the arrangement of streams, pools, flowing springs, clouds and haze, a kind of smart charm is revealed in the dense.
The title of the painting is "The seclusion map of Qingbian painted by Wang Shuming, a native of Huangheshan in April, 2006". In the 26th year of Zheng Zheng (A.D. 1366), the author was 59 years old. There are poems inscribed by Emperor Gaozong of the Qing Dynasty in the picture frame, as well as inscriptions by Zhu Zumou, Deng, Luo Zhenyu, Jincheng, Chen, Zhang Xueliang, Mao Guangsheng and He. There are four seals in the four corners: Zhao, Wei, Zhao Shengyin and Zhenbaizhai.
The characteristics of the pen used in the picture of seclusion in Qing dynasty are fast, heavy, urgent and smooth, and there are subtle changes in front, all of which form a serious and urgent state. The application of line texture lies in revealing the expression of the painter's feelings, or the old pen covers the old brush, or the brush is dark, life focuses on the pen end, and escape also focuses on the pen end. Another notable feature of "Qing bian seclusion map" is that it uses a brush as a melody. This kind of brushwork is a variant of "A Horse", which shows the landscape in the south of the Yangtze River and the painter's anxiety. Wang Meng inherited Zhao Mengfu's brush of "painting with books" in "The Picture of Seclusion in the Qing Dynasty", and the outline of the tree determines that these images are both rigid and flexible, beautiful and elegant.
In brushwork, Pima Tuan, Cirrus Yun Tuan, Jie Suocun and Niu Maocun are used together to show objects with different textures. First scrape the surface with thin ink, then use thick ink, then use wet pen, and then use Jiao Mo to make the layers clear and add a sense of wetness to rocks and trees. There are many changes when the mountains are dotted, showing the dense and lush trees on the mountains. There is not much rendering in the whole picture, which fully presents the depth of space.
With exquisite pen and ink skills, complex space division and dense artistic conception, the recluse map of the Qing Dynasty has become the most representative classic of Wang Meng's landscape paintings handed down from generation to generation. This strong feature of Wang Meng's landscape painting has had a far-reaching impact on Ming and Qing Dynasties and even modern landscape painting. There are mainly Shen Zhou in Ming Dynasty, Dong Qichang and Shi Tao in Qing Dynasty. Dong Qichang praised Wang Shuming as "the best in the world".
Wang Meng (1308— 1385), born in Huzhou, Zhejiang Province, was named Huang Heshan firewood and Xiangguang lay man. Zhao Mengfu's grandson. His works are good at poetry and calligraphy, and he is good at painting landscapes. Zhao Mengfu's methods and grandfathers have their own characteristics, taking Dong Yuan and Ju Ran as examples. The scenery is dense, the layout is full of mountains and rivers, and it makes good use of understanding the thirst and thirst, showing the lush and boundless atmosphere of the forest. Beyond mountains and rivers, you can also be a man. It had a great influence on landscape painting in Ming and Qing Dynasties, second only to Huang, and later generations were also called "Yuan Sijia" with Huang, Zhenwu and Ni Zan. 285 volumes of Ming History were circulated.
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