Zhou Wen's work, from the details, has the style of Xia Jue and Ma Yuan during the Southern Song Dynasty of China

"Takeshi Kaku 斋书书图", Japanese literature name no (Takesai reading plot Chikusai dossuzu), 񏍘moto, ink painting, wash, ai-muro-cho time, 15th Shōshu Fumisho. Shakusaku 134.8×33.3 Rinmai, 现东东kyo national museum.

Smell is compiled

In the first half of the 15th century, a monk named "Gao" at Minamizen-ji Temple in Kyoto owned this landscape painting, which was a scroll of poems and prefaces created by famous Zen monks of the time. It is said to have been painted by Zhou Wen, a Zen monk at Xiangguo Temple, who also served as a painter for the family of General Ashikaga. Although none of Zhou Wen's works have been affirmed, the imprint of "Yue Opera Zhou Wen" appears in the works, which has also been questioned, but this work is one of the most appropriate works in Zhou Wen's paintings.

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Judging from the composition and patterns of the paintings, it is believed that there are painting styles of Xia Jue, Ma Yuan and others in the Southern Song Dynasty of China, and it can also be seen that the works of Ma Jue and Xia have been studied. It takes a diagonal composition, without collapse, and in the distance in the upper left, depicts the mountains opposite the lake, the foreground in the lower right corner depicts a person reading a book in the grass surrounded by bamboo forests, and two people who cross the bridge to visit. Although it is a small picture, the breath is full of vast space, and it is an excellent work that represents this era, as a Zen monk yearning for a secret study life.

Introductions: Yuon and other copies, then yuyue-nishi-zha school (Kishi Koyuu) Koda, Kodetsu koon-sei-hai, Konuma Zhou Zen monks such as Eugene), Zuiiwa 龙惺 (蕊 cancer disease), and Kisei Seii.

Although the preface contains a chronology of the fourth year of Wen'an (1447 AD), it appears to have been drawn long before this epoch. In addition, the preface only mentions the monk "Gao" who entrusted the preface, but does not mention the painter at all, which can be said to be the practice of the time. This work was originally collected in the myochi-in temple in Kyoto.