The axis, ink pen and paper book of "Mountain Pavilion Listening to Rain" now in Shenyang Palace Museum are three feet one inch high and one foot wide. It was included in the second volume of the Complete Works of Shi Tao's Painting and Calligraphy by Tianjin People's Fine Arts Publishing House, and also included in the Selected Works of Shi Tao and China published by People's Fine Arts Publishing House in 2003, which became the essence of Shi Tao's works.
There is a poem on it: "The double dry pavilions are green and bright, and the stone beds are cool and clear. The south wind blows down the wine in the lounge and lies listening to the rustling rain. " Department: "Qing Xiang Didazi wrote it in a pavilion." Calligraphy is regular script, too square and powerful, unlike Shi Tao's calligraphy style in his later years. The setting of rocks, willows, pines and houses is too square and dull. A house is similar to a boundary painting.
There is something wrong with the place names involved in the postscript of this painting. "Didazi" is a new name for Shi Tao to leave Buddhism after the completion of Didazi Tang. A pavilion is in Chang Gan Temple in Jinling (Hongzhi), which is the small pavilion where Shi Tao lived in Jinling. Shi Tao left here on 1687. After "Didazi" was used at the end of 1696, there was a record of going to Jinling for more than ten days (1702), but there was no record of going to the branch library again. In Shi Tao's handed down works, there is no news that he returned to a branch library after 1687. In order to commemorate his career in Jinling in his later years, Shi Tao was awarded the title of "Summer Man" in Yangzhou. But the "one pavilion" in the postscript of this painting is obviously a place, not a font size.
Judging from Shi Tao's thought, a pavilion has special significance in the development of his thought. As a place to live, the kiosk is small and cramped, as small as a bird's nest and too small to reach out to friends. Shi Tao came from Xuancheng and lived in this small pavilion, so he was dissatisfied. He said: "Golden land and Zhu Lin are always idle, and a solitary branch is really redundant." Such a splendid place, all I can enjoy is a place standing on a cone! Mei Qing therefore advised him. But then he seemed to like a pavilion and solemnly signed it in his calligraphy and painting works: "In a pavilion". As a space, a pavilion is insignificant, but it is in this embarrassing pavilion that he launched a very interesting philosophical thinking, even linked with the core ideas of Zen, and he gained a life force here. From the frustration of "no fame, no hair" to the masturbation of "where is the peak?", he realized the mystery of Zen. What would it feel like to relive the past life in that embarrassing little room with a broken bed and a broken stove, as the postscript of this painting says, but this painting doesn't. There is only a plain and casual outline here! This work is by no means written by Shi Tao.
Moreover, the name of "Old Man Qing Xiang" in Zhu's work is a small square seal. Shi Tao has an oval Zhu Wenyin, The Old Man in Qing Xiang, which was probably used by Shi Tao in the late Jinling period and often used in his later works. "Qing Xiang Old Man" Xiao Fangyin is the only one of Shi Tao's signature works.