Character introduction
Qiu Ying was originally from Taicang, Jiangsu, and later moved to Suzhou. He was born in about the eleventh year of Hongzhi in the Ming Dynasty (1498, note: some people think it is 1509), and died in the thirty-first year of Jiajing, Emperor Shizong of the Ming Dynasty (1552). The surviving paintings include "Spring Dawn in the Han Palace", "Taoyuan Wonderland", "Red Cliff", "Jade Cave Fairyland", "Taocun Thatched Cottage", "Jiange", "Songxi Painting", " "Peach Blossom Spring Picture", "Fairy Mountain Pavilion Picture", "Lianxi Fishing Hidden Picture", "Tongyin Qing Dialogue", "Autumn River Waiting to Ferry Picture", etc.
Qiu Ying is one of the most representative painters of the Ming Dynasty. Together with Shen Zhou, Wen Zhengming and Tang Yin, they are collectively known as the "Four Masters of Ming Dynasty" and "Four Masters of Wumen" by later generations, also known as the "Four Masters of Tianmen". ". The three masters of Shen, Wen and Tang not only succeeded with paintings, but also used poems and inscriptions to accompany them. In terms of painting style, Tang and Qiu were close to each other. Qiu Ying usually only inscribes titles on his paintings and writes as little text as possible in order not to destroy the beauty of the painting. Therefore, the history of painting evaluates him as an immortal who pursues the realm of art.
In his early years, Qiu Ying worked as a painter, a porcelain painter, and painted buildings. Later, he was praised by Wen Zhengming and became famous at that time. Later, Qiu Ying made a living by selling paintings. Zhou Chen appreciated his talent and taught him to paint. Qiu Ying copied the paintings of the Song Dynasty, which were almost real, such as "Along the River During the Qingming Festival". Qiu Ying's works have a wide range of themes, and he is good at depicting figures, landscapes, cars and boats, pavilions, etc. He is especially good at pictures of ladies and boundary paintings.
Not many of Qiu Ying's paintings have been circulated. Most of Qiu Ying's works that are handed down today are models for later generations, and they are all fake works commissioned by the public. His works include: "Golden Valley Garden Picture", "Spring Dawn in the Han Palace", "Youjun Washing Inkstones", "Zong Gong Picture", "Wen Ji Returns to the Han Picture", "Liutang Fishing Boat", "Taocun Thatched Cottage Picture" ", "The Picture of Shanglin", "The Picture of Watching the Waterfall", "The Picture of Plum Stones Playing the Qin", "The Picture of Waiting to Cross the Autumn River", "The Picture of Nine Songs", "The Picture of Zixu's Two Poems on the Forest", "The Picture of Fu on Red Cliff", " "Taoyuan Wonderland Picture", "Lu Yu Sencha Picture", "Gushan Gaoshi Picture", "Prince Offering Moving Bamboo Picture", "Cultivation Picture", "Biao Yin Jie Summer Picture", "Tongyin Qinghua Picture", "Zhao Mencius\Writing Sutras and Changing Tea Pictures" and so on. Biography
Qiu Ying is good at painting figures, landscapes, flowers and birds, pavilions and other subjects. His painting techniques are vivid, his ideas are ingenious, and his brushwork is elegant. He has superb skills and often imitates the manuscripts of famous artists of the Tang and Song Dynasties, such as "Lin Song Painting Album" and "Lin Xiao Zhao Gaozong Zhong Xing Rui Ying Tu". If the former volume is compared with the original, it is almost difficult to distinguish the authenticity. The painting method is mainly learned from Zhao Boju and the Southern Song Dynasty "courtyard style" painting, green landscape and character story painting. The image is precise, the workmanship is elegant and beautiful, the color is bright, subtle and subtle, the tone is elegant and beautiful, and it incorporates the themes and pen and ink taste advocated by literati paintings.
Qiu Ying is good at figure painting, especially ladies and gentlemen. He attaches great importance to the depiction and depiction of historical themes. He absorbs the techniques of Ma Hezhi of the Southern Song Dynasty and those of the Yuan Dynasty. He has strong brushwork and is particularly good at copying and painting. The drawings are on yellow paper, and the writing is unreal. As for the hair, which is rich in gold, with red threads and threads, it is exquisite and elegant, worthy of the ancients. He is especially good at using brushwork of different thicknesses to express different objects, either round and smooth, or sudden and sharp, and is good at both long-term coloring and line drawing. The characters are accurately modeled, have strong generalization ability, beautiful images, and smooth lines. They are different from the stereotyped habits of the times. They went straight to the Song Dynasty and had a great influence on the later paintings of Youqiu, Yu Zhiding and Qing palace ladies. They became A model of the beauty of ladies of the era, later generations commented that his fine brushwork of ladies was exquisite, dynamic, elegant and elegant, making her an outstanding figure in the painting circles of the Ming Dynasty. His handed down works include "Ancient Bamboo Forest", "Spring Dawn in the Han Palace" (part of which is accompanied by this picture), "Service Picture", etc.
Qiu Ying’s landscape painters, Zhao Boju and Liu Songnian, developed the tradition of “courtyard painting” of the Southern Song Dynasty by Li Tang, Liu Songnian, Ma Yuan and Xia Gui, integrating the strengths of the previous generations, that is, maintaining neatness and elegance. The classical tradition is integrated with elegant and fresh taste, forming a new model of craftsmanship but not rigidity, grinding but not sweetness. There is also a kind of ink painting, which changes from the style of Li Tang. Sometimes it is painted with pavilions in the boundary, which is particularly detailed. He often makes pictures of people in the forest, including figures, birds and animals, mountains and forests, terraces, flags, chariots, and military figures. They are all carefully considered and recalled the famous writings of ancient sages. They can depict the desperate situation of things and the triumph of the art forest. Zhang Chou commented on it in "Qinghe Painting and Calligraphy Boat": Qiu Ying's paintings include "Wang Wei, a landscape artist, Li Cheng, a forestry artist, Wu Yuanyu, a figure artist, and Zhao Boju, a color artist. They combine the strengths of all the painters and combine them to achieve perfection." . Artistic achievements
Qiu Ying is one of the most representative painters of the Ming Dynasty. Together with Shen Zhou, Wen Zhengming and Tang Yin, they are called the "Four Masters of the Ming Dynasty" by later generations, also known as the "Four Masters of Tianmen". The three masters of Shen, Wen and Tang not only succeeded with paintings, but also used poems and inscriptions. In terms of painting style, Tang and Qiu were close to each other. Qiu Ying usually only wrote names and inscriptions on his paintings. Qiu Ying, named Shifu, also known as Shifu, was born in Taicang (now Taicang, Jiangsu Province) and moved to Wuxian County (now Suzhou, Jiangsu Province). He was born around the fourth year of Zhengde reign of Emperor Wuzong of Ming Dynasty (1509, also said to be born around the eleventh year of Hongzhi reign of Ming Dynasty, that is 1498), and died in the 31st year of Jiajing reign of Emperor Shizong of Ming Dynasty (1552).
He was born as a craftsman. In his early years, he was a painter and a painter of buildings, and later he became a painter. He started out as a lacquer worker and studied painting with Zhou Chen. He studied hard and succeeded. He was an expert in figure and landscape painting. Wen Zhengming praised him as a "special talent". Even Dong Qichang praised him as "the number one master in modern times in ten continents."
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When he was young, Qiu Ying got to know many contemporary famous artists because of his good painting. He was highly regarded by Wen Zhengming and Tang Yin. He also studied painting under Zhou Chen, and worked under the famous connoisseurs Xiang Yuanbian and Saturday Guan. The family saw a large number of ancient masterpieces and copied a large number of fine works. His creative attitude was very serious and meticulous, and each painting was meticulous and meticulous.
Qiu Ying's life was short, and he only lived 40 years. Many years old.
He was a painter at first, and he was interested in painting buildings. Zhou Chen discovered that he had a special talent and took him as his disciple. He was praised by Wen Zhengming and he was famous for copying famous pens of the Tang and Song Dynasties. He is diligent and can imitate the real thing. He is good at painting figures, especially ladies. He is also good at ink painting and line drawing. He can use a variety of brushwork to express different objects, either round and flowing, or powerful and bright. "Records of Paintings of the Ming Dynasty" said: "The hair is green and gold, the silk is red and the thread is plain, it is exquisite and elegant, and it is not ashamed of the ancients. "The landscapes painted are mostly green, delicate and bright, but with a strong character. Dong Qichang said that "Zhao Boju's successors, Wen (Zheng Ming) and Shen (Zhou), have not yet done their best." Occasionally, he paints flowers and birds, which are also beautiful and graceful. In his later years, he visited the collector Xiang Yuanbian's house and copied famous works from the past. Together with Shen Zhou, Wen Zhengming and Tang Yin, he was known as one of the "Four Masters of Ming Dynasty". His masterpieces include "Tongyin Qinghua Picture". The scrolls are included in "Three Hundred Famous Paintings in the Forbidden City"; the scrolls of "Youjun Book Fan Picture" and "Mleeping Qin Under the Willows" are now in the Shanghai Museum; the "Characters and Stories Atlas" and "Lianxi Fishing Hidden Picture" and other scrolls are in the collection The Palace Museum; the scrolls of "Making Clothes" and "Songxi Flute" are in the Nanjing Museum; "Along the River During the Qingming Festival" is in the Liaoning Provincial Museum; the scroll of "Taoyuan Wonderland" is in the Tianjin Art Museum; "Making Tea and Painting" The volume of "Picture of Flute on Qingxi" is in the collection of Sichuan University Museum; "Picture of Autumn River Waiting for Crossing" and "Picture of Fairy Mountain Pavilion" are in the National Palace Museum of Taipei. The old man Shi said in his "Reading of Paintings" that he had seen Li Gonglin's white sketch of "The Immortals Gao Hui Tu", which was titled "Qiu Zhu".
Qiu Ying, a painter named Zhou Chen, worked on landscapes and figures. She was a woman, but Greed was not able to catch her. The agent copied the drawings on yellow paper, and the writing was realistic. As for the hair, the hair is green and the silk is plain, it is exquisite and elegant, and it is worthy of the ancients. View, flags, chariots, and military appearance are all imagined and carefully considered by ancient sages. They can be described as depicting a desperate situation and a grand event in the art world. Dong Qichang inscribed his picture of Immortal Game: "Qiu Shi's father is Zhao Boju, who is Wen, and Shen Yi." Not doing enough. "Xun is not overly praised. Yougongnu, with her vivid expression, is the city of meticulous brushwork in the Ming Dynasty. In the fifteenth year of Zhengde (1520), he and Wen Zhengming jointly imitated the Li Gonglin Lotus Society painting and collected it in the Palace Museum.
Qiu Ying worked as a painter in his early years and painted buildings. Later, he was praised by Wen Zhengming and became famous. Later, Qiu Ying made a living by selling paintings. Zhou Chen appreciated his talent and taught him to paint. Qiu Ying copied the paintings of the Song Dynasty. It can almost look real, such as "Along the River During the Qingming Festival". Qiu Ying's works cover a wide range of subjects, and he is good at depicting figures, landscapes, cars and boats, pavilions, etc. He is especially good at paintings of ladies.
Qiu Ying was good at painting when he was young. Qiu Ying's friend Peng Nian recorded: "Shizhou Shao not only saw and admired Heng Weng (Wen Zhengming)", but also studied painting under Zhou Chen, and worked in famous connoisseurs. Xiang Yuanbian and Zhou Guanjia have seen a large number of ancient masterpieces and copied them to create a large number of fine works. His creative attitude is very serious and meticulous, and each painting is a rigorous and meticulous work of art
"Golden Valley Garden"
"Fishing Boat in Liutang"
"Taocun Thatched Cottage Picture"
"Shanglin Picture"
"Watching Waterfall Picture" < /p>
"Picture of Plum and Stone Playing the Qin" by Qiu Ying
"Picture of Autumn River Waiting to Ferry"
"Picture of Nine Songs"
"Zixu Zhilin" "Two Fu Tu"
"Red Cliff Fu Tu"
"Peach Garden Wonderland Tu"
"Lu Yu's Fried Tea Tu"
"Gushan "Picture of Gao Shi"
"Picture of Prince Presenting Moving Bamboo"
"Picture of Guo Ziyi's Birthday Worship"
"Picture of Repairing Harvest"
"Picture of Banana "Yinjie Summer Picture"
"Tongyin Qinghua Picture"
"Taoyuan Artistic Conception Picture" etc.
Hong Kong Changfeng 2009 Spring Auction, Qiu Ying. "Wen Ji Returns to the Han Dynasty" was sold for US$112 million. This work was collected by Mr. Wang Jiqian, a famous collector in the United States. It is a rare masterpiece among Qiu Ying's works collected by the public. After fierce bidding, it was finally acquired by a Hong Kong collector. In 2012, Sotheby's Auction Company in New York held a special auction of ancient Chinese calligraphy and paintings, and launched a private collection of Qiu Ying's "The Gathering of the West Garden" for US$500 million. The auction started, and after 310 rounds of bidding, it was finally sold at a sky-high price of US$950 million (approximately RMB 6 billion), setting a new world record for the auction of Qiu Ying's paintings.
Beijing Hanhai held a spring auction at the Kerry Center Hotel in Beijing from June 5 to 7, 2010. Qiu Ying's "Warm Green Floating Mountains" was sold for 728 million yuan. As a treasure of Qiu Ying's green landscape, this work was circulated in an orderly manner and clearly documented. It was collected from overseas and returned to China. Once it appeared, it attracted the attention of the Tibetan community. At the auction site, Qiu Ying's "Warm Green Floating Mountains" started with a price of 350 million yuan. After several rounds of high price increases of tens of millions, it quickly rose to 500 million yuan. At this time, the competition was mainly concentrated on two or three collectors in the venue. The bidding was tight and there was no give-in, and the eyes of the audience moved back and forth along with the collectors' placards. Finally, after dozens of rounds of bidding, Qiu Ying's "Warm Green Pictures of Floating Mountains" settled on 728 million yuan. According to industry insiders, if Qiu Ying's "Red Cliff" volume is put up for auction again, its estimated value will exceed 1 billion, and the final transaction price may reach 3 billion yuan. Art paintings
Qiu Ying is good at figure painting, especially working with ladies. He attaches great importance to the characterization and depiction of historical themes. He absorbs the techniques of Ma Hezhi of the Southern Song Dynasty and the Yuan Dynasty. He has strong penmanship and is particularly good at copying, pinking pictures on yellow paper, and putting pen to paper. Realistic. As for the hair, which is rich in gold, with red threads and threads, it is exquisite and elegant, worthy of the ancients. He is especially good at using brushwork of different thicknesses to express different objects, either round and smooth, or sudden and sharp, and is good at both long-term coloring and line drawing. The characters are accurate in shape, have strong generalization ability, beautiful images, and smooth lines. They are different from the stereotyped habits of the times. They went straight to the Song Dynasty and had a great influence on the later paintings of Youqiu, Yu Zhiding and Qing palace ladies. They became A model of the beauty of ladies of the era, later generations commented that the ladies in his fine brushwork are delicate in depiction, full of energy, elegant and elegant, making him an outstanding figure in the Ming Dynasty. Outstanding works include "Character Story Picture", "Han Palace Spring Dawn Picture" volume, "Service Picture", etc.
Qiu Ying's landscape paintings mostly learned from Zhao Boju and Liu Songnian, developed the "courtyard painting" tradition of Li Tang, Liu Songnian, Ma Yuan and Xia Gui in the Southern Song Dynasty, comprehensively integrated the strengths of the previous generations, that is, maintaining neatness, elegance and beauty The classical tradition is integrated with elegant and fresh taste, forming a new model of craftsmanship but not rigidity, grinding but not sweetness. There is also a kind of ink painting, which changes from the style of Li Tang. Sometimes it is painted with pavilions in the boundary, which is particularly detailed. He often makes pictures of people in the forest, including figures, birds and animals, mountains and forests, terraces, flags, chariots, and military figures. They are all carefully considered and recalled the famous writings of ancient sages. They can depict the desperate situation of things and the triumph of the art forest. Zhang Chou commented on it in "Qinghe Painting and Calligraphy Boat": Qiu Ying's paintings include "Wang Wei, a landscape artist, Li Cheng, a forestry artist, Wu Yuanyu, a figure artist, and Zhao Boju, a color artist. They combine the strengths of all the painters and combine them to achieve perfection." .
Qiu Ying once painted "Guo Ziyi's birthday greeting picture". This painting is on silk, with meticulous brushwork and heavy colors. It is a picture of Guo Ziyi's birthday greeting. The scene is grand and there are many characters. It is extremely rare in the paintings of the Ming Dynasty. In the painting, there are mountains and forest terraces. , courtyard houses, characters pommel horses, mountains, rocks, flowers and plants, are complex and exquisite, especially the characters have smooth lines and vivid and lifelike expressions. Although this work has not been seen before, the silk material, pigment, style, and layout of the characters and scenes are in line with Ming Dynasty paintings. Characteristics, consistent with Qiu Ying's style.
Qiu Ying has few circulated works, of which only 23 exist in the Shanghai Museum. The most representative masterpiece, "Jiange Tu", was copied by Qiu Ying during his later years when he lived in collector Xiang Yuanbian. The painting is as real as the first stroke of the pen. In the picture, the mountains are extremely dangerous, the cliffs are as sharp as splits, and the momentum is unrestrained. People and horses are walking along the mountainside, hiding or appearing, which vividly depicts the difficulty of traveling on the Shu road. The Palace Museum in Beijing has a rich collection. The most representative volume of "Figures and Landscapes" is a meticulous and heavy-color painting of figures and ladies. ***Ten pages, each page describes ancient historical figures and myths and legends. Among them, "Bamboo Garden Appreciating Ancients", the characters' clothing patterns are slightly warlike (trembling), imitating the Zhou Dynasty Wenju method. In "Zilu Asks the Question", "Pipa Play", and "Ming Fei's Departure from the Fortress", the lines of the clothes are also used as orchid leaf drawings, and the layout, structure, trees and rocks and other painting methods are all imitated by Ma He. The two pictures of "The Royal Concubine's Dawn Makeup" and "Blowing the Flute to Attract the Phoenix" depict ladies in Tang Dynasty make-up, with beautiful images and fine and smooth iron lines on their clothes. The painting techniques were developed from the traditions of the Five Dynasties and Song Dynasties. However, there are very few authentic copies of flower-and-bird paintings handed down from generation to generation. A loose double-hook orchid leaf collected by the Forbidden City is almost the only copy. Other domestic museums also have some collections of works, such as "Peachland Wonderland" in the Tianjin Museum. The beautiful and tranquil mountain scenery is embellished with figures, which adds to the beauty of the setting. Along the River During the Qingming Festival
"Along the River During the Qingming Festival" by Qiu Ying of the Ming Dynasty uses green and heavy-color fine brushwork to depict the lively urban life and folk customs of Suzhou in the Ming Dynasty. The painting is 9.87 meters long and 0.3 meters high. The figures in the painting exceed 2000 pieces. Tianping Mountain, the canal, and the ancient city wall, the landmark buildings in Suzhou at that time are all clearly identifiable, and the whole picture is full of bright mountains and clear waters.
Qiu’s version of “Along the River During the Qingming Festival” has been circulated in an orderly manner. Although its artistic appreciation and research value cannot be compared with Zhang Zeduan’s Song version of “Along the River During the Qingming Festival”, it ranks among the best copies of “Along the River During the Qingming Festival” in the past. Excellent product. According to expert analysis, Qiu Ying probably referred to Zhang Zeduan's composition form when he created "Along the River During the Qingming Festival", but the details of the teahouse, restaurant, framing shop, and washing and dyeing shop reflect the unique life sentiments of the Jiangnan water town, including The artist's own style.
When the puppet Manchurian Puyi fled in 1945, the Communist Party of China abandoned many cultural relics including "Along the River During the Qingming Festival" at Shenyang Airport. In 1950, three of ***'s "Along the River During the Qingming Festival" were sent to the Northeast Museum, the predecessor of the Liaoning Provincial Museum. In addition to the authentic work of "Along the River During the Qingming Festival" by Zhang Zeduan, connoisseur Yang Renkai also discovered Qiuben's "Along the River During the Qingming Festival" 》.
"Copying Zhang Zeduan's brushwork from the Song Dynasty", this painting was recorded in "Shiqu Baoji". Like Zhang Zeduan, Qiu Ying also expressed the lively and bustling market life and folk customs in his "Along the River During the Qingming Festival" with grand scenes. The picture truly describes the different scenes of the suburbs, the city, and the palace during the Qingming Festival. There are desolate suburbs and bustling downtowns; there are thatched cottages in the countryside, quiet field roads, and elegant and gorgeous palaces; there are scenes of dignitaries enjoying themselves in the palace, and there are scenes of farmers working hard in the fields. . There are a total of 2012 characters in the picture, as well as numerous cars, boats, animals, etc. Among them, the characters are not tall enough, but their identities and expressions are vividly expressed. Although this painting is a copy, the structure of the house and the costumes of the characters clearly show the characteristics of the Ming Dynasty. It truly shows us the economic, political, cultural, military, folk customs and other social conditions in the Jiangnan area during the Ming Dynasty. It provides us with reliable information for studying the history of the Ming Dynasty. The painting itself is also an extremely rare masterpiece of genre painting.
According to expert analysis, Qiu Ying probably referred to Zhang Zeduan's composition form when creating "Along the River During the Qingming Festival", but the details of the teahouse, restaurant, framing shop, and washing and dyeing shop are unique to the Jiangnan water town. The sentiment of life, including the artist's own style. Although the artistic appreciation and research value of Qiu's version of "Along the River During the Qingming Festival" cannot be compared with the Song version of "Along the River During the Qingming Festival" by Zhang Zeduan, it is among the best copies of "Along the River During the Qingming Festival" in the past. Artistic style
Qiu Ying is good at painting figures, landscapes, flowers and birds, and pavilions, especially copying. He is highly skilled in painting and imitating many of the manuscripts of famous artists of the Tang and Song Dynasties, such as "Painting Album of Song Dynasty People" and "Lin Xiao Zhao Gaozong Zhong Xing Rui Ying Tu". If the former volume is compared with the original work, it is almost difficult to distinguish the authenticity. The painting method is mainly learned from Zhao Boju and the "courtyard style" painting of the Southern Song Dynasty, which is green landscape and character story painting. The image is precise, the workmanship is elegant and beautiful, the colors are bright, subtle and subtle, the tone is elegant and beautiful, and it incorporates the themes and pen and ink taste advocated by literati paintings.
Qiu Ying is good at figure painting, especially ladies and gentlemen. He attaches great importance to the depiction and depiction of historical themes. He absorbs the techniques of Ma Hezhi of the Southern Song Dynasty and the Yuan Dynasty. He has strong penmanship and is particularly good at copying. As for the hair, which is rich in gold, with red threads and threads, it is exquisite and elegant, worthy of the ancients. He is especially good at using brushwork of different thicknesses to express different objects, either round and smooth, or sudden and sharp, and is good at both long-term coloring and line drawing. The figures are accurate in shape, have strong generalization ability, are beautiful in image, and have smooth lines, which are directly related to the Song Dynasty. They have a great influence on the later paintings of Youqiu, Yu Zhiding and Qing palace ladies. They have become a model of the beauty of ladies in the era. Later generations commented on their meticulous brushwork. The ladies are delicately depicted, full of energy and elegance, making them outstanding figure painters in the Ming Dynasty. Outstanding works include "Character Story Picture", "Han Palace Spring Dawn Picture" volume, "Service Picture", etc.
Qiu Ying has few circulated works, of which only 23 exist in the Shanghai Museum. The most representative masterpiece, "Jiange Tu", was copied by Qiu Ying from the past when he lived in collector Xiang Yuanbian in his later years. The writing is real. The mountains are extremely dangerous, the cliffs are as sharp as splits, and the momentum is unrestrained. People and horses walk along the mountainside, hiding or appearing, which vividly depicts the difficulty of traveling on the Shu road. The Palace Museum in Beijing has a rich collection. The most representative volume of "Figures and Landscapes" is a meticulous and heavy-color painting of figures and ladies. ***Ten pages, each page describes ancient historical figures and myths and legends.
Among them, "Bamboo Garden Appreciating Ancient Times", the characters' clothing patterns are slightly warlike (trembling), imitating Zhou Wenju's method. In "Zilu Asks the Question", "Pipa Play", and "Ming Fei's Departure from the Fortress", the lines of the clothes are also used as orchid leaf drawings, and the layout, structure, trees and rocks and other painting methods are all imitated by Ma He. The two pictures of "The Imperial Concubine's Dawn Makeup" and "Blowing the Flute to Attract the Phoenix" depict ladies in Tang Dynasty make-up, with beautiful images and fine and smooth iron lines on their clothes. The painting techniques were developed from the traditions of the Five Dynasties and Song Dynasties. However, there are very few authentic flower-and-bird paintings handed down from generation to generation. The Forbidden City has a loose leaf of "Double Hook Orchid", which is almost the only copy. Other domestic museums also have some collections of works, such as "Peachland Wonderland" in the Tianjin Museum. The beautiful and tranquil mountain scenery is embellished with figures, which adds to the beauty of the setting.