1476, Shen Zhou, a 4 1 year-old teacher who had never been to Jiangxi, created a masterpiece "Lushan Mountain High" with his own imagination. This work imitates Wang Meng's brushwork. Not only the unlocking of Wang Meng, but also the reloading of Dong Yuan. The whole painting is stained with light ink layer by layer, and then awakened by thick ink layer by layer.

Shen Zhou used the vigorous brushwork unique to the northern painting style to express the tragic beauty of the southern landscape, and intentionally or unintentionally blended the northern and southern painting styles, which is the beauty.

Chinese painting has always been based on pen and ink, which is valuable, similar and different, and wonderful. The formation of Shen Zhou's painting style lies not only in his "learning from the past", but also in his character, experience, accomplishment and experience.

As we all know, Shen Zhou's works are profound and subtle in style, with meticulous brushwork in the early stage and bold brushwork in the later stage. Lushan Mountain High can also be said to have both styles.

? Looking at the panorama of Lushan Mountain, it is magnificent, open and indomitable, with overlapping peaks, lush vegetation, waterfalls hanging high, clouds swirling around and high-altitude composition. "A Journey to Shenzhou" uses thick and thin ink, gradually changing the level into an S-shaped vein, which makes its situation visually have a strong sense of flow and depth. At the same time, it also shows the ups and downs of Lushan Mountain.

? Buyantu, an ingenious Mongolian painter in the Qing Dynasty, said in "Questions and Answers on Painting Heart": "In a painting, the main mountain and the peaks are like grandparents and grandchildren. The main mountain, that is, the ancestor of the mountain, should also be solemn and affectionate, and the mountain should be self-effacing and obedient, without backing ... "

In Lushan Mountain, the mountains and trees on both sides seem to have a special feeling for the high waterfall, which is big and chasing. The top peaks of the clouds seem to have the modality of looking around the main peak, so does the main peak. Alas, wonderful!

? "Draw two sides, not two sides. If you call it a landscape, the mountain is the master, and the clouds, trees, stones, people, livestock and buildings are all guests. If the Lord is at the foot of the mountain, all the guests must stop, even if they are far and near. " The Theory of Huajian by Tang Hou in Yuan Dynasty

The leftmost oblique mountain is rich in ink, and the turning pulse is clearly discernible, while the ink color in the middle of the picture is light, which is in sharp contrast with the oblique mountain on the left side of the waterfall. Give a close-up of the left side of the mountain. It also keeps the faint mountain in the middle away from the point of view. It gives the painting a sense of depth. It will not make the mountain plane of the picture similar, and the spatial position is difficult to distinguish and chaotic. On the other hand, there are more pen and ink in the middle and lower right, which can not only enhance the sense of stability of the picture, but also produce changes in the combination of reality and reality, so that there is space in the painting and reality in the painting.

The pulse of the whole "Lushan Mountain Height" starts from both sides of the bottom, gradually extends upward, and converges and closes at the top of the waterfall in the left two-thirds of the picture. It's painted in great colors here, and then the top of the main peak is painted upwards, which seems dull but actually wonderful.