In autumn, the lake is boundless and boundless, connected with the blue sky. In the evening, the mountains are constantly undulating and vaguely connected with green trees. Autumn scenery's poems in Jiangnan. The exaggeration of the quantifier "30,000 hectares" describes the breadth of the lake. And the author describes it as "the sky", and the lake is boundless, which is the same artistic conception as "autumn water * * * sky is one color" in Wang Bo's Preface to Wang Tengting.
Extended data
Tang Yin seldom indicates the year when he paints, and his painting style changes irregularly, so it is difficult to infer the time when he painted, and it is also difficult to divide the changing process of his painting style by time. As far as subject matter is concerned, Tang Yin's paintings mainly include landscape painting, figure painting, flower-and-bird freehand brushwork and so on.
On the one hand, Tang Yin's artistic achievement lies in breaking the stereotype, accepting both the North-South School of Painting, the Southern Song Dynasty Academy Painting and the Yuan Dynasty literati landscape painting, mainly learning from the Southern Song Dynasty and Liu Songnian Academy Painting School, and learning from the rigorous and vigorous painting style of the Song Dynasty. At the same time, he participated in the composition and pen and ink skills of Ma Yuan and Xia Gui.
He also dabbled extensively in Li Cheng, Fan Kuan and Guo in the Northern Song Dynasty and Huang and Wang Meng in the Yuan Dynasty, and gradually formed his own style. The layout of the picture is rigorous and orderly, the shape is real and vivid, the mountains are majestic, the rocks are steep, the axe is chopped, the brushwork is vigorous, and the pen and ink are dripping.
On the other hand, I have personal observation and real feelings about natural mountains and rivers. Representative works include Loneliness in the Sunset, Spring Mountain Companion, Empty Pavilion at Night, Apricot Blossom House, etc.