Figure 1, Song Wang Ximeng's "Map of a Thousand Miles of Rivers and Mountains", collected by the Palace Museum in Beijing
In September 2017, the Palace Museum held a "Green Landscape" theme exhibition led by "A Thousand Miles of Rivers and Mountains" (Figure 1), and the famous work "Map of a Thousand Miles of Rivers and Mountains" was once again launched in full volume to meet with the public, and the academy held an academic seminar on this theme.
Due to the controversy over authenticity, "A Thousand Miles of Rivers and Mountains" has become a cross-year hot spot. To this end, in May 2018, the School of Humanities and Arts of Peking University held a forum entitled "Looking at the Thousand Miles of Rivers and Mountains Across the Millennium Time and Space: What is the Truth of History and Art History", which was a real discussion on the theme of debate and controversy, and finally formed a collection of conference papers, in which I had the honor of participating.
Along with questions and debates, Mr. Yu Hui published the answers to various questions on "Qianli Jiangshan Map" in the form of questions and answers in China Art Magazine (bimonthly), from Issue 5 in 2017 to Issue 6 in 2018, and finally collected them into a book, namely "Hundred Questions and Thousands of Miles - Wang Ximeng's Q&A On the Volume of Qianli Jiangshan Map".
Every large-scale questioning and debate on the authentic handwriting will inevitably lead to a large-scale popularization and solution of basic problems.
In the end, all the doubts raised by the questioning party were solved and denied by direct evidence, indirect evidence, common sense and logical analysis, and "doubts dried up" were reached, until the truce was reached.
The 2022 CCTV Spring Festival Gala "Only This Green" program once again pushed "A Thousand Miles of Rivers and Mountains" into the hot spot.
This article combines some previous questions, the latest research results and my views, and sorts out the background and circulation around this work. Some details of the problem, there is still a lot of room for research, in fact, this article is also to give you an outline of reading and thinking.
1. Name and author
First of all, there is no inscription by the painter Wang Ximeng on the scroll, which was a common phenomenon at that time, perhaps Wang Ximeng will be like Fan Kuan's "Xishan Travel Map", inscribed in a certain bush in the painting, interested friends can find, but not necessarily harvested.
Secondly, the original volume only mentions that the author is called "Xi Meng", which should be the author's "table character", and the Song and Yuan literature and the scroll itself can not find the name of "Qianli Jiangshan Map" and the author's surname. The earliest name and author's surname "Wang" that can be found today comes from Liang Qingbiao's signature for this drawing (Figure 2).
Figure 2, Liang Qing's title "A Thousand Miles of Rivers and Mountains" is signed
Because this signature was written by Liang Qing, there have been various speculations in recent years.
The circulation of real ancient calligraphy and painting hand scrolls, due to continuous wear and tear, the most easily destroyed is the outer signature. In the process of re-mounting ancient calligraphy and paintings, most of them will be re-inscribed according to the previous framed and damaged outer signature.
The more important records of several large-scale exchanges are as follows:
1. Thoroughly, "Qi Dongye Language" Volume VI "Shaoxing Imperial Palace Calligraphy and Painting Style" Article: The famous paintings of the Fashu that Emperor Gaozong visited, "all those who have been inscribed by their predecessors are removed" and "If there is a Title of Xuanhe Imperial Book, it is not used to remove it in parallel".
2. Wang Shidian's "Secretarial Supervisor's Chronicle" records that on March 21, 1316, in the third year of Yanyou (1316), Emperor Renzong decreed at His Highness Jiaxi: "The calligraphy and paintings in the secretary's prison are not signed and pasted, and Zhao Ziang wrote them."
The calligraphy and paintings of the Yuannei Province, such as the "Preface to the Heavenly Calendar Benlan Pavilion" collected by the Palace Museum, followed by Song Lian's inscription, or for transfer, said to be inscribed by Zhao Mengfu, but the calligraphy and painting of the YuanneiFu that have been preserved to today, the Zhao Mengfu inscription has disappeared.
The practice of the ancients may feel very "irregular" in today's view, today's food and medicine can be marked with two-dimensional codes, and it is easy to trace the source of accidents. Ancient calligraphy and paintings have survived to this day, and most of the circulating records are incomplete and not "standardized".
Dealing with historical issues, it is not possible to judge a piece of a widely agreed heirloom as a counterfeit because the ancients "did not standardize" and did not play a two-dimensional code. We can only use the norms and conventions of the ancients to examine the ancients, questioning the broad consensus should have sufficient evidence, and overturning the old broad consensus should be based on the new broad consensus.
Generally speaking, there is no impulse to tamper with the original author of the original name without interest or motivation, especially the so-called "Wang Ximeng" who was "changed" or "arbitrarily named" was not well-known during the Song, Yuan, Ming, and Qing dynasties, and could not produce major benefits, and the "Map of a Thousand Miles of Rivers and Mountains" was handed down by the Liang family and had no intention of profit.
If there is no sufficient evidence, we should think that Liang Qingbiao was replaced by an external signature in accordance with the general procedure at that time. The original signature will generally have information such as the author's life, important collectors, important inscriptions, etc., and the information in Song Xi's poems that prompts Wang Ximeng to die early in his twenties may also be derived from the external signature before Liang Qingbiao's replacement. This is the most plausible explanation under current evidence and logical conditions.
Second, from Wang Ximeng to Cai Jing
Regarding the Song Dynasty text information of the "Thousand Miles of Rivers and Mountains", today only a paragraph of Cai Jingba remains, a total of 77 characters, through trace analysis, the damaged texture of this "trek" is not in harmony with the end of the volume, and it is consistent with the beginning of the volume, which should have been placed at the beginning of the volume, which should be called "title". Mr. Yu Hui made a verbatim comparison with Cai Jing's other reliable books, and there is no doubt that this inscription is authentic, which can be found in "Hundred Questions and Thousands of Miles".
And these 77 words can be divided into twenty or thirty key words, one by one detailed and comprehensive interpretation and extension. The entire era is examined by the year of the work, and the work is examined by the whole era.
"The third year of Zhenghe (1113) leap april 8 was given. At the age of eighteen, Xi Meng used to study painting, and as a disciple, he was summoned to the library of forbidden Chinese. A number of paintings were dedicated, but not much work. Knowing that its nature is teachable, he instructed him and taught him the Dhamma himself. Not more than half a year old, but in this way. ShangJiazhi, because of the blessing of the courtiers, said: 'The squire of the world is just doing it.' ’”
There are many systems such as painting studies, painting academies, prodigies, and libraries, as well as Wang Ximeng's identity and school age.
In the third year of Chongning (1104), Emperor Huizong of Song founded the School of Painting, an independent school for 6 years (1104-1110), and then merged into the Hanlin Picture Academy for 17 years, until the fall of the Northern Song Dynasty. Corresponding to the imperial examination system, painting studies are held every 3 years. Including the status of enrollees, academics, assessments, promotions, granting officials and living allowances during the school period, painting studies are managed with reference to the Taixue Law.
In terms of identity, being able to enter the painting school is equivalent to entering the Taixue, which needs to be recommended by the character official, and Wang Ximeng's family is at least a descendant of the family.
In terms of age, in 1113, Wang Ximeng was eighteen years old, and the history of painting school was 6 years, corresponding to Wang Ximeng's nine to fifteen years old, from the age point of view, it should be the second session of painting, that is, 1107 to 1110, Wang Ximeng's twelve to fifteen years old.
After graduating from painting at the age of fifteen, he could directly confer official service, but only send officials, and he could not be sent until he was twenty years old, that is, the actual official position. Therefore, the library of forbidden Chinese books should be a transitional identity that is convenient for emperor Huizong to personally teach.
According to Zhao Mengfu's work as the fifth brother Zhao Mengfu, Zhao Mengfu was fourteen years old and obtained the qualification of directly injecting officials without the quan examination at the age of seventeen, although his father-in-law was a bureaucrat Shangshu, he also had to wait until he was twenty years old to receive the dispatch of "Zhizhen". Zhao Mengfu "did not win the crown, tried to be a Chinese sub-supervisor, and joined the army in The True Prefecture Sihu", and when Taixue graduated, he was not yet twenty years old, and he was only given a zhu official until the death of the Song Dynasty. Ye Li, who participated in the discussion of the banknote law with Zhao Mengfu after entering the Yuan, only entered the Taixue School at the age of twenty during the Southern Song Dynasty. Wang Ximeng has graduated from painting at the age of fifteen and should be called a "prodigy" and a "genius".
It is not right to doubt a genius because you are not a genius, there are those who graduate without a crown, and there are those who enter school with a crown. Song Huizong arrived at the Chongning period at the latest, in his early twenties, he had already opened the Sect of Founding, and his thin gold body was very mature, and his works included "Chongning Tongbao" Qian (Figure 3) and "Thousand Characters of the Book of Letters", Wang Ximeng graduated from painting and was personally taught by Song Huizong, and Song Huizong was only less than thirty years old. Mr. Chen Danqing's interpretation of the "Thousand Mile River and Mountain Map" believes that Wang Ximeng must be eighteen years old, how old and a few years younger will not have "Thousand Mile River And Mountain Map", mature and elderly masters do more subtraction, that is, trade-offs, generalization, and Wang Ximeng is doing addition, reflecting the unique ambition and carefulness of young people, I think it is very well said.
Figure 3, Song Huizong book "Chongning Tongbao" money
Wang Ximeng "counted the paintings and presented them, but did not work hard." Knowing that its nature is teachable, he instructed him and taught him the Dhamma himself. "Shall be between the ages of fifteen and seventeen; "not more than half a year, but by this purpose." "It should be from the autumn of 1112 to the spring of 1113, counting the time of mounting later, and in 1113 the painting was completed, the imperial view, and the reward was given to Cai Jing.
From Cai Jing's title of Wang Ximeng, Wang Ximeng and Cai Jing should be very close descendants; after the painting was presented, Emperor Huizong "because of the gift of Chenjing, it is said: 'The world's corporal is just doing it.'" The tone is similar to saying to "parents."
Third, the mystery of the whereabouts of Cai Jing's "Map of a Thousand Miles of Rivers and Mountains" after cai Jing
Cai Jing's later end was very tragic, after Emperor Qinzong ascended to the throne, he was demoted to Lingnan, killed in Tanzhou, and then raided, and exiled by his descendants, and the "Map of a Thousand Miles of Rivers and Mountains" should be re-entered the palace. In December of the first year of Jing Kang (the Gregorian calendar had reached 1127), Song Qinzong officially surrendered to the Jin Dynasty, and the "Map of a Thousand Miles of Rivers and Mountains" once again faced the problem of whereabouts.
Until the beginning of this century, the circulation of more than 500 years from the end of the Northern Song Dynasty to the beginning of the Qing Dynasty has been chaotic. The interpretation of the collection seal is the key to understanding the circulation of the "Thousand Miles of Rivers and Mountains".
At the beginning of the volume, "Sanxitang Jingjian Seal" is superimposed on one side of the seal, which is unrecognizable, and has long been mistaken for the "Jixi Dian Bao" seal due to the erroneous bibliography of the "Shiqu Baodi" (Figure 4);
Figure 4, the "□□ Hall Treasure" superimposed by the "Sanxitang Jingjian Seal" is partially obscure
The "Shouguo GongShuYin" "Shiqu Baodi" at the end of the volume is not released until 2017, when it was deciphered by Lü Xiao and Wang Yaoting (Figure 5).
Figure 5, "Shouguo Gong Book Seal" on Wang Ximeng's "Map of a Thousand Li Rivers and Mountains" (left and middle) and Fan Zhongyan's "Daofu Zan" (right)
Previously, the "Map of a Thousand Miles of Rivers and Mountains" has been speculated according to the dispersion of the Northern Song court, the Southern Song Dynasty into the Inner House of Lizong, and the entry into the Yuan by Puguang.
However, the "Shouguo GongShu Seal" was interpreted, which made this speculation waver. The "Shouguo GongShuYin" is the seal of Gao Ruli (1154-1224), the prime minister of the Jin Dynasty, who was crowned the Duke of Shouguo in 1220 and died in 1224, and it is very unreasonable to flow from Gao Ruli to the Inner House of Emperor Lizong of Song.
Moreover, this thing also has the inscription of Pu Guang, he saw the "Thousand Miles of Rivers and Mountains" when he was fifteen years old, according to today's more accurate information, Pu Guang was born in 1240 at the latest, so Pu Guang was fifteen years old no later than 1254, at this time Song Meng was still hostile, Song Lizong and alive, and his collection could not reach Pu Guang's eyes.
Obviously, the writers of the "Shiqu Baodi", who are ignorant of the relatively clear "Shouguo GongShu Seal", have unreliable ability to identify the "Jixi Dian Bao", and the "□□ Dian Bao" at the beginning of the volume needs to be re-interpreted.
Figure 6, there is a large difference in size between the "□□ Dian Treasure" on the "Qianli Jiangshan Map" and the "Ji Xi Dian Bao" on Huang Tingjian's "Flower Smoke People's Post"
In fact, the size of this seal and the "Ji Xi Dian Bao" has an irreparable difference (Figure 6), Huang Tingjian's "Hua Qi Smoke People's Post" measured "Ji Xi Dian Bao" is not square, the left height is 53.9mm, the right height is 54.7 mm, the average value is 54.3 mm, and the "□□ Dian Bao" measured on the "Qianli Jiangshan Map" is 59.1 mm high, this size difference far exceeds the elastic range of the material, and it is a completely different seal.
The original image has a dull background color, and after special image processing, the wear, damage marks and printing colors are enhanced, and the visual effect is relatively clear (Figure 7).
Figure 7, "□□ Dianbao" local special processing HD images
After treatment, the word "temple treasure" has undoubtedly been meaning, due to the existence of more serious leakage, infiltration, wear and damage in the original in the collection, most of the details of the first two words have been extinguished, and it is necessary to repeatedly investigate with the original map and the original work in the identification, understand the existence of trace substances, and eliminate the interference of wear and damage traces.
Find relatively clear residual strokes (Figure 8) and narrow the range by using glyphs and combinations, using the exclusion method.
Figure 8, "□□ Temple Treasure" remains of the strokes marked
The second word, the left side is "礻", a total of 116 characters under the dictionary, "礻" and "mouth" combination only "祏", "祐", "祜", "祒", "祮", "禧" eight characters, with the "Xi" glyph the closest, the most auspicious. Combining the first word, from the perspective of image, text, and word meaning interpretation, "Jiaxi" is the best combination (Figure 9). The names and glyphs of the palaces of the Song, Jin, Yuan, and Ming dynasties, except for "Jiaxi", are not similar to those in Figures 6, 7 and 8 above.
Figure 9, "Jiaxi Dianbao" stroke restoration
Of course, there are other interpretations of this seal, such as the "Treasure of the Kangshou Temple" of Empress Wu of Song Gaozong, which is a normal phenomenon. It is precisely this discrepancy, as well as the erroneous interpretation of the Shiqu Baodi, that before the image processing, the Qianlong and Shiqu Baodi authors did not know what this seal was, and the eunuch who covered the "Sanxitang Jingjian Seal" did not even know that there was a seal here, of course, Liang Qingbiao could not know.
There is a paradox in Liang Qingbiao's falsification, he cannot forge a partial door seal that he and others do not know to deceive himself and his family who inherits the inheritance, and it does not make sense from logic and motivation, so this seal must be far earlier than Liang Qingbiao, and the "Map of a Thousand Miles of Rivers and Mountains" cannot be Liang Qingbiao's forgery.
Fourth, the two kinds of interpretation are preferred
There are three reasons to support the interpretation of the interpretation as "Jiaxi Dianbao":
1, seal glyph restoration, "Jiaxi Dianbao" fit more, especially the "Jia" character "Ji" head of the "mouth" word is highly fitted, it is difficult to accommodate the "Tian" shape in the middle of the "Kang" word; there are "Xi" characters on the left side of the "礻" side, two horizontal and three vertical, at least three strokes are clear, "Xi" word under the right of the "mouth" word is also highly fitted.
2. Stylistically, the "Ji Xi Dian Bao" bending Pan Huan is exactly the "XinHu Xiang Wei" and "Sparing Remaining Qiao" criticized by Zhao Mengfu in the "Preface to the History of Printing", and the so-called "Delusional Pan Qu" in Wu Qiuyan's (1272-1311) "Xuegu Compilation"; "Jiaxi Dian Bao" emphasizes the standard and writing of the seal law, and Zhao Mengfu's so-called "typical simplicity of han and Wei can be seen" (Figure 10); although the "Imperial Sister Book" seal in the middle of the Yuan Dynasty is poorly executed, the seal book is a standardized "speaking text" seal, and there is no "vain disculation" It is still influenced by Zhao Mengfu's aesthetic.
Figure 10 shows that there is a large difference in style orientation between "Jiaxi Dianbao" and "Jixi Dianbao"
3. The "Map of a Thousand Miles of Rivers and Mountains" retains the "head of the six thieves" Cai Jing's inscription and has not been cut, which is unimaginable in the Gaozong period when "all those who have been written by the predecessors have been demolished".
Therefore, according to the interpretation of the "Jiaxi Dianbao", cai Jingba on the "Map of a Thousand Miles of Rivers and Mountains" should be preserved, and the safest path is to be released to the Jin Kingdom after the fall of the Northern Song Dynasty, and then transferred to the hands of the prime minister Gao Ruli.
Fifth, from Gao Ruli to Puguang
In the seventh year of Dade (1303), Pu Guang said in his inscription "A Thousand Miles of Rivers and Mountains" that "at the age of self-zhixue, he has been able to view this volume, and has so far passed nearly a hundred times" and "once he has thrown out a new one", so Pu Guang is Gao Ruli's next collector (Figure 11).
Figure 11, Yuan Puguang's "Map of a Thousand Miles of Rivers and Mountains", collected by the Palace Museum in Beijing
Gao Ruli was a native of Jincheng, Yingzhou, and Puguang was born in Yunzhong (present-day Datong), geographically belonging to the Datong Basin, which is only more than 100 miles, equivalent to the diameter of the six rings of Beijing. Good traffic conditions have created good conditions for the transmission from Gao Ruli to Puguang (Figure 12).
Figure 12, Datong and Yingzhou in the Datong Basin
Puguang's status in the early Yuan Dynasty was very high, "Emperor Shizu tasted the origin of religion" and "to Yuan Xin Mi (1281), he gave the title of Great Zen Master and was the Grandmaster of the Touto Sect", and Yan Fu, a scholar of Hanlin, wrote the "Monument of the Shengyin Temple of the Dadu Tou Tuo Sect". "At the beginning of the Imperial Court of Shengshang (Chengzong), the Seal Book, the Xi Ming Jia Zhao Wenguan University Scholar", according to Ren Shilin's article, Pu Guangjia "University Scholar" at the latest in the second year of Daedeok (1298), the University Scholar, like Chengzhi, was the highest grade of the Guan Ge Bachelor. The yuan dynasty court revered The Buddha, and the monks were very wealthy. Pu Guang's contacts are all celebrities of the moment, and his collection vision is admired by officials such as Zhang Zhihan and Cheng Jufu.
Among Pu Guang's many exchanges, Wang Yun was the most important in his early interactions. Wang Yun's grandfather and father were officials in the same dynasty as Gao Ruli, and in addition to the three scattered channels of Gao Ruli's three collections recorded four times in the Qiujian Collection, there were also many poems donated by Pu Guang, and the Yutang Jia Dialect also recorded his books with Pu Guangguan and on Liu Gongquan.
Judging from the surviving poems, Pu Guang spent most of his early years in Datong, Shanxi. The "First Appearance in the Clouds" included in the Qing "Datong Fu Zhi" expressed his joy of "coming out of the hustle and bustle", so that the place where Pu Guang first saw "A Thousand Miles of Rivers and Mountains" at the age of fifteen was more likely to be in Datong; and "Will Return to the Clouds and Be Happy and Have Works", Pu Guang often returned after leaving Datong.
Heaven, place, people, wealth, and eyesight, from the Gao Ruli family to Puguang, at least, but far more, there are more than four high-probability collection transmission paths, and once again rejected the possibility of the return of the Late Jin Dynasty to the "Ji Xi Temple".
Sixth, from Puguang to Yuan Renzong
The Jiaxi Hall is a side hall in the Longfu Palace complex, and the most prominent in the history of the Yuan Dynasty is the Yuan Renzong period, where the submerged residence before Yuan Renzong ascended the throne. After taking the throne, it was still the main place to handle government affairs, read books, and appreciate paintings, and Li Yan, Shang Qi, Tang Di, Wang Zhenpeng (Figure 13) and others even painted here, equivalent to the Sanxi Hall of the Qianlong Emperor of the Qing Dynasty.
Figure 13, Yuan Wang Zhenpeng Lin Ma Yunqing painting Wei Mo Bu Di Tu sketch, collected by the Metropolitan Museum of Art
Zhao Mengfu had a deep relationship with Yuan Renzong and Jiaxi Temple, and in the second year of Dade, Zhao Mengfu went to Longfu Palace to write a scripture, and the young Yuan Renzong went to Longfu Palace every day to serve the empress dowager, establishing a friendship between teachers and friends. In the eleventh year of Dade, after the successful coup against Buluhan, Emperor Renzong and Emperor Wuzong agreed to "brother and brother, uncle and nephew generation", and made him crown prince, that is, summoning Zhao Mengfu to the qiandi. Later, Zhao Mengfu's dedication of the Five Bulls Diagram (Figure 14), the writing of palace words, the inscription of calligraphy and paintings and other activities were all related to the Jiaxi Hall.
Figure 14, Yuan Zhao Mengfu," Five Bulls, Beijing Palace Museum
The latest record of Pu Guang's activities that can be documented is the fourth year of Yanyou (1317), see "Songxue Zhai Collection" Volume VII "Records of Xianle Hall", Pu Guang Fengyuan Renzong Edict, the book "Xianle Hall" plaque, which shows the friendship between kings and subjects. Pu Guang is not less than 78 years old, and the transfer and loss of his collection should also be before or after, and it is self-evident that the owner of the "Jiaxi Palace Treasure" is Yuan Renzong.
Emperor Yuanrenzong broke the agreement of "uncle and nephew generation" and made his own son the crown prince, later Emperor Yingzong, laying the foundation for the transformation of the Yuan Dynasty from prosperity to decline. Yuan Yingzong was killed in the Nanpo Rebellion in the third year of zhizhi, and the Yuan Dynasty fell into chaos, and the emperor took the throne seven times in ten years, and the "Map of a Thousand Li Rivers and Mountains" disappeared throughout the 300 years of the Ming Dynasty.
Seventh, the country and mountains reappear
We cannot review the process from Yuan Renzong to Liang Qingbiao, but this phenomenon of long-term secret collection is still common in the history of collection. After Liang Qingbiao collected it, he reloaded the "Map of a Thousand Miles of Rivers and Mountains", laying the framed pattern seen today:
1, the Cai Jing inscription from the beginning of the volume to the back of the water, this in the early Southern Song Dynasty does not seem to be important inscription, more than 500 years later is very precious, moved to the end of the volume, can get better protection;
2. After the Original Puguang inscription stacked in the scroll was framed in the Cai Jing inscription, the folding traces were still clear, and the "two" character of "Winter December" was broken by the crease;
3. Re-inscribed the outer signature and stamped with the riding seal of the heavy frame of the logo.
In the hands of Liang Qingbiao, "A Thousand Miles of Rivers and Mountains" was successively recorded by Gu Fu to "Spectacular Life", and Song Jie wrote "On painting sentences", which should record the first-hand information that can be obtained before and after mounting.
After Liang Qingbiao's death, his collection was scattered by his descendants, and finally entered the Inner Palace during the Qianlong period, and was written in the "Shiqu Baodi Preliminary Compilation", the lower limit is 1745.
After the Xinhai Revolution, Puyi abdicated. Fearing that he would eventually lose the imperial palace, Puyi smuggled a large number of calligraphy and paintings out of the palace in the name of rewards, and was later transferred to the Xiaobailou of the Puppet Manchu Imperial Palace in Changchun, which included the "Map of a Thousand Miles of Rivers and Mountains", which was on November 25, 1922. In 1945, after the victory of the Anti-Japanese War, Puyi fled, and the cultural relics of the Xiaobailou were robbed. At the beginning of the founding of New China, "A Map of a Thousand Miles of Rivers and Mountains" reached the hands of Jin Bosheng, transferred to his younger brother Jin Yunqing, and was purchased by the Cultural Relics Administration Bureau of the Ministry of Culture at that time for 10,000 yuan, and in January 1953, it was transferred to the Palace Museum.
Due to the long age, each exhibition volume of "A Thousand Miles of Rivers and Mountains" has the risk of fading and breaking silk, and since then, there have only been five exhibitions in 1953, 1978, 2009, 2013 and 2017, and the exhibition in 2017 is an exhibition with the theme of "green landscape", which has received the highest standard of treatment, and has also stimulated the public's enthusiasm for ancient calligraphy and painting and the return of tradition, and various factors have contributed to today's green boom.
In the third year of Zhenghe (1113), Wang Ximeng painted the "Map of a Thousand Li Jiangshan", which has been circulated for 909 years, and there is no problem in passing on the millennium, and I sincerely wish that the "Map of a Thousand Li Jiangshan" can prolong its life and usher in the second millennium.