Xu tui, a frequent visitor to the secrets of the north and south of the Yangtze River, painstakingly copied the ancient works, pursued Dong Yuan and Ju Ran, and fell in love with Fan Kuan. He learned more about the landscape paintings of Wang Meng and Huang, as well as those of Shen Zhou and Dong Qichang. Many of his works handed down from ancient times, such as Thousand Rocks and Thousands of Waters, Mountain: Mangrove, Cliff Clouds and Qi, Tea in Shiquan, Dark Summer Eyes, Tang Poetry, etc., have won the secrets of various schools and are characterized by simplicity and beauty. Therefore, Wang Shimin praised him in "The Postscript of Painting at the West Foothill": "Ishiguro is good at painting, and his famous works in Tang, Song and Yuan Dynasties are well known, and his fame is shocking at home." Zhou Lianggong said in "Reading Pictures" that he "imitated the Song and Yuan Dynasties in all aspects, and the servants in Wu were mostly skilled in work, decorated strangely, and were foolish and good at the ancient times. Although I am old at distinguishing, I don't know that I am a close friend. I have met two ancient imitators, Zhao He. Jiang Xue is too restrained to be interested in self-satisfaction. Shigu is brilliant and young. He can write with the ancients and is the first person in a hundred years. " All these show that Wang learned from the concentration of the ancients and copied their specialties. At that time, Yun, one of the six painters in the early Qing Dynasty, also expressed great respect and praise to Wang, and wrote, "The high clouds are all involved in Wang Langjuan, and the eight Jiu Feng in Qingxi are in a mess." "You have painted stones like clouds for over a hundred years."
Wang lived in the Kangxi period. At that time, the Qing government adjusted its policies and took some measures to gradually restore and develop agriculture and commerce destroyed by the war in the early stage, and the society entered a relatively stable situation.
Michelle Ye, Emperor Kangxi, in order to further ease the contradiction between Manchu and Han nationalities, the ruling class and the people, wooed the literati class in the south of the Yangtze River. During the twenty-four years from the 23rd year to the 46th year of Kangxi (1664- 1707), he visited the southeast region six times. He started from Beijing, entered Jiangsu from Shandong, and splashed across the river to Suzhou, Nanjing and Hangzhou. In order to record this "Southern Tour Festival", Kangxi ordered ordinary people across the country to collect and select painting experts to draw the "Southern Tour Map". In the third year of Wang's southern tour, he was recommended by Song, the eighth son of Wang Shimin, Zuo Assistant Minister Wang, the poet Nalan Xingde, and Xu, the assistant minister of punishments. At the age of 60, he took his student Jin Yang to Beijing.
Before his southern tour, Wang wrote a sketch of volume 12 and gave it to him. Due to the light color of the paper, the content of grass is roughly similar to that of the original, but slightly different, and the size is slightly smaller than that of the original. Chen Zufan's "Mr. Grave Table" describes what Wang did in the process of painting: "When painting the southern tour map, the talents in the world are skillful, blending with ink, showing silk and silk, caring for each other and afraid to write. Only when Mr. Wang speaks. Mr. Wang dragged his straw coat, occupied the seat, and kept his eyes fixed for a long time. It was awarded to the craftsman. " The conceptual design of the whole map and the drawing of trees and stones should be independent, while people, animals and houses should be drawn by Jin Yang and other painters. The Southern Tour of Kangxi, with a total volume of 12, took three years to complete with the efforts of many painters such as Wang and others. After the painting was completed, Michelle Ye was very satisfied. He gave the king many rewards and gave him a palace. Wang resigned and returned to Changshu. When he left Beijing, the court painter wrote an inscription "Mr. Shihei returns to the mountain", and the poet wrote a poem to bid farewell.
The map of Kangxi's southern tour is now in the Palace Museum. Here, the contents of volumes 1, 3, 9, 10,1and 12 are summarized as follows. As you can see, the first volume, 67.8 cm long and 1.555 cm wide, depicts the scene of starting from Beijing on the eighth day of the first month of the twenty-eighth year of Kangxi. Drive from Yongdingmen, the outer city of Beijing, to Nanyuan, the suburb of Beijing, and the picture starts from Yongdingmen. Kangxi and his party have left the city, and the officials who saw me off stood on the bank of the moat. The mighty procession marched on the road. Michelle Ye sat on a white horse, surrounded by armed guards, with cars and elephants on the road. The outpost crossed a stone bridge and approached Nanyuan. The sacrificial ceremony on the roadside was bright and neat, and arranged all the way to Nanyuan Palace Gate, and the picture ended here.
The third volume, Silk Color, depicts Kangxi's southern tour of Shandong. The picture starts from the hilly area, and the ideal city appears in the mountains, that is, Jinan House. Kangxi is watching on the wall, followed by a group of people. The city gate is wide open, and the vanguard cavalry on the southern tour is starting from the city and marching among the rolling mountains. The mountains are magnificent and lush. The team crossed mountains, rivers and villages, and the mountain gradually rose and became steep. Tai 'an House and Mount Tai appeared in the picture, and Kangxi led his entourage to pay tribute to Mount Tai. After Mount Tai, the mountain tends to be gentle, and the picture ends in Mengyin County.
The ninth volume, silk color, is 67.8 cm long and 2227.5 cm wide. In the picture, Michelle Ye and his party have set out from Hangzhou, Zhejiang Province, crossed Qiantang River, passed Xiaoshan County, and arrived at Dayu's tomb in Shaoxing. The picture starts from Qiantang River, and the river is calm. Surrounded by many boats, Michelle Ye's dragon boat reached the other side. Because the water is deep, the goods on board are carried by civilian workers or transported to the shore by car, and there are a large number of horses. Further on, there is a city gate. The colorful gate is Xiguan, and Guanli is a small town, Xixing Post. The villagers kept traveling all the way. A river leads directly to Xiaoshan County, and there is an urn with two doors in the city. The river passes through the city through the water gate, and the market in the city is neat and lively. There are boats in the river outside the city and farmers on the shore. After passing through Ke Qiao Town, it gradually reached Shaoxing Prefecture, and the city became more prosperous. The streets, ancient pagodas, schools, Fushan, Wangyue Pavilion and Zhendong Pavilion are described in detail. Out of Shaoxing mansion, there are countless fields and buildings, that is, to Dayu Temple and Dayu Tomb, Kangxi stood under the canopy, surrounded by heavily guarded guards, and hundreds of officials knelt to meet him. The tail of the scroll is a rolling mountain.
Volume 10, silk color, length 67.8 cm, width 2559.5 cm. Describe the scene of Michelle Ye and his party returning to Jurong, Jiangsu Province from northern Zhejiang to jiangning house (now Nanjing). The picture starts from Jurong County, from Lilingguan in Dapingzhuang to Tongji Gate in Jiangning, with lakes and mountains along the way. As soon as he entered Tongji Gate, there were dozens of colorful sheds on the street where the emperor passed. Jiangning is a prosperous place in the south of the Yangtze River, with developed commerce, vertical and horizontal streets and rows of houses. Qinhuai River crossed the screen, and then a tinker appeared. Kangxi sat in the stands for a military parade. Passing Jiming Mountain, Zhongshan Mountain and Wutai Mountain is the end of the lake. There are many fishing boats on the lake, which is vast and open.
Volume 11, silk color, length 67.8f bean rice, width 23 13.5cm. This volume started in Hongzhi, jiangning house, and passed through Shuiximen and Hanximen. In the picture, the famous Qinhuai River appeared, in which ships came and went, and officials following Kangxi were boarding. Further on, the mountains appeared, and at the end, a huge rock broke into the center of the river. This is the natural danger Yanziji. Facing the magnificent Yangtze River, the river is tumbling rapidly, and the dragon boat Kangxi took went down the river. Sometimes there is scenery in the south of the Yangtze River, and sometimes there is scenery in the north of the Yangtze River. The river is getting wider and wider, and the picture ends with misty distant mountains.
Twelve volumes, silk color. This volume depicts the return of Kangxi and his party from their southern tour. Depart from the Hall of Supreme Harmony and the Taihe Gate of the Forbidden City, cross the Jinshui Bridge to the south, and leave the Wumen Gate. There are five elephants on each side outside the meridian gate, and the etiquette is thin and neat, and they are arranged all the way to the end gate. The end door has five holes and the city gate is wide open. Outside the door is the first bodyguard that Kangxi came back from patrol. They mounted their horses, lined up in two rows, distanced themselves, and walked slowly through Zhengyangmen and Daqingmen. There are cars and elephants outside Tiananmen Square, on the left and right respectively. In the south of the archway of Zhengyangmenwai Street, Emperor Kangxi rode the shoulder straps picked up by eight people, under the guidance of a canopy and under the escort of armed knights, slowly returned to the palace. Behind Kangxi was a large group of people and goods, and other people in the street hid together. The doors and windows of shops and houses are closed, and the gate at the corner is closed, and the imperial guards guard the crowd. At the end of the team are four Chinese characters, which are composed of scholars, farmers, workers and businessmen.
The map of Kangxi's southern tour is a large-scale national volume with the theme of Kangxi's southern tour. Each picture scroll has the image of Kangxi, and the picture is gradually unfolded with the emperor as the center. When describing it, the author faithfully shows the places and events that the emperor went through during his southern tour, on the other hand, it also reflects a large number of local customs, local features and economic and cultural scenes at that time, and reflects the social life and people's productive labor at that time from the side. This painting inherits the historical tradition of long-scroll genre painting in China, absorbs the essence of excellent works such as The Riverside Scene at Qingming Festival, and makes a breakthrough in the unity of form and content. Its appearance is the first of many works, such as "Qianlong's Southern Tour" and "Gusu Shengshi Tu".