The Picture of Wanhe and Song Feng is the work of Li Tang in the Northern Song Dynasty Painting Academy. This painting is on the far mountain next to the main peak, and it is entitled "With Yang Bi". Chen Jia was in the sixth year of Song Xuanhe (1 124), and Li Tang has entered an advanced age. Nevertheless, the rock in this painting is still a thunderous male force. Clouds are inserted in the picture. Hills and cliffs, like an axe that has just been cut, give rocky mountains a particularly hard feeling.
It's a picture of a pine tree in the south of the Yangtze River, overlapping alum heads; In the deep valley, the clear spring runs, and the bank of the stream is shaded by shade; Along the winding ridge, there are dense pine forests, and the "Feng"-shaped pine trees sway with the wind, as if to let the viewers feel the moist cool breeze coming on their faces. Clouds gather in the ravine and slowly rise; There is a water mill under the mountain waterfall and a wooden bridge on the stream, leaving fireworks in this paradise.
In the upper left corner of the painting, the book is in the shape of a stone pillar on a distant mountain: "With the pen of Yang". This painting, together with The Picture of Early Spring and A Journey to the Western Hills, has always been called the three masterpieces of Song painting, and both paintings have the names of their authors. Almost all the paintings before the Song Dynasty had no money. Inscription on paintings began in the early Northern Song Dynasty, but it was still not common. These three paintings can be said to be the first to open the atmosphere. However, it is meaningful to look at its signature carefully: although the picture of early spring falls in the blank, the words are too small to be recognized without careful observation; On the other hand, The Journey to the West only wrote the word "Fan Kuan" among the grass, which was discovered by researchers with a magnifying glass 900 years later; And "The Map of Wanhe and Song Feng" left the money on the stone pillar, which was seen from a distance or mistaken for a pen. Regardless of the author's motivation, one thing is clear, that is, the author doesn't want his name to be obvious to the viewer. In the history of painting in China, this is the beginning of Chinese characters entering the picture, and in a broad sense, it is the prelude of China's calligraphy entering the painting field, from which the history of books and paintings complement each other and merge into one. The inscription in the Song Dynasty is just a name or a picture name, year number, season, etc. In the Yuan Dynasty, literati gradually became the protagonists of painting, so they began to write poems or inscriptions on paintings, so that viewers could understand the painter's painting intentions and have associations. But the inscription is still the second in the painting. In the Ming and Qing dynasties, they seemed to pay more attention to the writing skills, or they used words to make up for it because they felt that the painting was not enough, or they reserved blank space to write large paragraphs and draw again. Sometimes calligraphy seems to be better than painting. In short, books and paintings began to be evenly divided and integrated, and it became a matter of course that painters were good at calligraphy and poetry.