"Small Snow Map of Fishing Village", Song Dynasty, Wang Yizuo, Silk, Color, Length 44.5cm, Horizontal 219.5cm Collection of the Palace Museum in Beijing
Wang Yi (c. 1048–1104), courtesy name Jinqing, was a native of Taiyuan, Shanxi. Born into a noble family, he married the daughter of Emperor Yingzong of Song and became a lieutenant of the horse. He had close contacts with Su Shi and others, often sang with remuneration, and discussed art. Gong Shiwen, good at calligraphy and painting, especially good at landscapes, teacher Li Cheng.
The four seasons of spring, summer, autumn and winter are one of the motifs that traditional Chinese painters are most keen to express. The painting of the landscape of the four seasons, in the "Forest Spring Gaozhi Collection", Guo Xi has a very incisive summary of this: "Spring Mountain is light and smiling, Summer Mountain is green and like drops, Autumn Mountain is clear and like makeup, and Winter Mountain is bleak and sleepy." ”
This picture depicts the scenery of the fishing village and the forest at the beginning of the snow in winter. In the picture, the snowy mountains are strangely pine, the fishing boats on the creek bank, the peaks and roads are turned, the steps are easy to move, and the whole picture is artistically depressed, shrouded in an ethereal and silent atmosphere, although there are fishermen working hard, but it reflects the elegant feelings of the literati and yishi yearning for the secluded life in the mountains and forests.
The scroll can be seen as being divided into two parts, the left and right by the mountain in the middle. The left and right parts are completely different in the expression of pictorial meaning. Let's look at it from right to left. The scroll begins with a mountain stone, and above it is a distant mountain, and the mountain comes down from right to left, and it is integrated with the river beach in the picture. The rocks below and the few cold trees that have long since fallen out of their leaves are actually full of life. Behind the rocks, part of the house is revealed, indicating that this is a place where people live and live.
Our gaze moved to the left, and the branches of a willow tree extended to the surface of the water, faintly visible in the pale green between the willow branches. These pigments have gradually faded their original style over time. We can imagine what a pleasant scene this work was like in late winter and early spring when it was first completed.
Not far ahead of the willow tree, four people stood in shallow water, and they were working together to get out of the net. On the shore, a man was pulling up a net of fish, and behind him was crouching on the ground with a container containing the fish he had caught. It seems that it should be full of harvest. A canopy boat docked on the water's edge, and two people inside the boat were talking.
The picture then turns to the left, and the middle is covered with a mountain with thick snow, and the shape is solid and powerful. With a short pen, Wang Yi presents the feeling of stagnation of the mountain under the winter snow cover. On the back of the mountain, a two-story building is revealed. The surrounding area of the building is a hazy patch. The painter deliberately used light ink rich in moisture to dye the surrounding area with a kind of winter smoke effect. To a certain extent, the sense of space is strengthened. This piece of smoke is available from the mountainside at the beginning of the painting and continues until the end of the left end of the scroll.
On a left-leaning mountain in the middle foreground, two pine trees pitch together. The exposed pine roots reveal the tenacious vitality of the pine tree. One of the pine trees swooped toward the water. A ship was now coming through the mountain in the direction of the pine trees. The pine tree seemed to be deliberately greeting the two coats on board.
On the left, the left part of the painting is a vast expanse of uninhabited people, where the area of the water has increased a lot, and the distant mountains have become much more gentle.
This picture is the work of Wang Yishi Fa Li Cheng and his own family. The figure of Zhongshan Stone Hook purely uses a lateral short pen, and the edge contour adopts the "ink breaking method", which is inwardized with clear water after sketching, and the ink color is light. Hanlin Changsong uses thick ink from the center, thus highlighting its noble character of being cold and not withering.
In order to show the snow, in addition to the white space of the mountains, the author also applied white powder to the peaks, branches, and sand feet.
In order to express the sunlight after snow, the author slightly dyed gold powder on the head of the tree and the tip of the reed, and absorbed the painting method of the golden landscape since the Tang Dynasty in the ink painting throughout the canvas, which is a creative practice.
This work fully embodies the creative theme of the Northern Song Dynasty literati paintings that emphasize "there are paintings in poetry, and there are poems in paintings", and writes "the difficult scenery of the lyricist MoQing" with skillful techniques, which is a model work of "poetry and painting uniformly".
The volume "Fishing Village XiaoxueTu" was created after Wang Xue was degraded, and there is an inscription by Emperor Huizong of Song "Xiaoxue of Wang Xue's Fishing Village" in the front across the water, and the end of the painting has "This is the first of the four volumes of Wang Xue hidden in the Inner House". "Small Snow Map of a Fishing Village" did not appear in the folk until the end of the Ming Dynasty in the Yuan Dynasty, and later belonged to Dai Yanjie, and finally to the painter Wang Yi, who later returned to Nian Tangyao, and the Nian clan was not convicted and flowed into the Qingnei Province. There are Qianlong royal inscriptions on the tail paper and paintings, and there are 18 inscriptions, in order: Qianlong, Nian Qianyao, Song Jie, Jiang Pu, Liu Tongxun, Wang Youdun, Qiu Rixiu, Liu Lun, Guan Bao, Peng Qifeng, Yu Minzhong, Dong Bangda, Jin Deying, Wang Jihua, Qian Rucheng, Huang Juntan, Hui Jun, and Zhang Boju.
At the end of the volume, there is a seven-word poem by the Qianlong Emperor according to Su Dongpo's inscription "Yanjiang Stacked Mountains", saying that the opening volume of this picture "has felt the cold wind blowing the face of the pool, and it is like moisture giving birth to silver fields". It can be seen that the atmosphere of this painting is very homely, so Wang Shigu collected it as a secret treasure in the pillow.