Wang Gong and Su Shi left.

Empress Dowager Gao and Empress Dowager Xiang called Wang Mumu and Yuwen Rounu out from behind the screen. Everyone was relatively speechless for a while, and they all had a feeling of being teased, looking at each other and smiling, which was a wry smile.

Originally, I thought that on the platform of fighting water and criticizing the false, although it may be more intense, but happy enmity, exposing ugliness, and exposing falsehood, there will be a kind of comfort in the field of drinking horses. Who knows, a paste, a false shot, and the concentration disappears.

Empress Dowager Gao said, okay, okay, let's ignore the academic corruption, let's conduct academic research. Empress Dowager Gao unfolded a painting as she spoke. said that this painting was just brought by Wang Gong, but this painting is not Wang Gong's. This painting is Wang Xu's, and Wang Shu knew that they were going to enter the palace today, because he had recently been injured, so his health was not good and his physical strength was not good, so he asked Wang Gong to bring him into the palace and honor my Empress Dowager Gao.

In fact, the Empress Dowager Gao is not very good at calligraphy and painting, but intuitively thinks that this is good, this is not good. Now, Wang Mumu, who is very good at painting, is on the side, so he unfolds it and asks the son-in-law in front of him to comment on the paintings of his ex-son-in-law to see how different the mood of the two is.

The first picture shown by the Empress Dowager Gao is called "Little Snow in a Fishing Village". This painting is ink and color on silk, 44.4 cm in height and 219.7 cm in width. Look at this "Little Snow Picture of a Fishing Village", which is a snowy landscape work, which shows the scene of the fisherman fishing in the early days of the small snow in the south of the Yangtze River. Wang Xu's painting space of less than half a meter above and below creates towering peaks and rivers in the flat river, giving people the feeling that the world is thousands of miles away. Unfold the picture scroll, the two pines on the stone cliff in the foreground pitch and harmonize, the Yashi boat under the cliff is drinking, the middle scene is the old man with the staff in the valley, the servant with the piano follows closely, to the distant view but the peaks stand up, the green and majestic, the mountain goes straight to the outside of the painting.

This "Little Snow in a Fishing Village" clearly shows Wang Xu's understanding of landscape scenes and his pursuit of artistic conception. He skillfully creates a deep charm of the landscape artistic conception through the transformation of brush and ink, and expresses the external form and inner divine meaning of each scene by changing the position, direction of movement and ups and downs of the brush: the brush line depicts the steep and hard rocks of the giant peaks, the central bone method uses the pen to show the vigor and tenacity of the deep forest and tall trees, and the dotted clusters use the pen to skillfully paint the agility of the dead leaves of the miscellaneous trees. In terms of ink, the combination of the ink-breaking method and the green method achieves the realm of "golden and blue, intoxicating rhyme".

In "Little Snow in a Fishing Village", Wang Shu introduced the coloring method of golden landscape in ink painting for the first time, making the work more elegant and gorgeous. For the representation of objects in the snow scene, Wang Shu uses the method of platinum two-color paving to outline and blend, breaking through the traditional expression of the snow scene, and giving the meaning of sunshine in the landscape and snow scene.

The artistic conception rich in thoughts and emotions in "Little Snow in the Fishing Village" is in harmony with the environment of the objects in the painting, reflecting Su Shi's freehand art theory that emphasizes artistic conception over artistic conception. Through light clouds, mist, morning light, blue river, flat boat, steep mountain, golden pine, flocculent willow and other objects, Wang Shu has built a vast and profound, happy and elegant image space, and the characters such as Xu Xing hermits, drinking and drinking elegant people, and anglers are embellished in a timely manner, outlining a worldly paradise that is different from the real world, and the scenes and characters complement each other, creating a calm and harmonious artistic conception of paradise. Although all this seems to be a vivid depiction of objective objects, it is actually the expression and transmission of the artist's thoughts and emotions through the medium of the physical environment.

Wang Mumu looked at the "Little Snow in the Fishing Village" in front of him, which is still in the collection of the Palace Museum nearly a thousand years later. In Wang Mumu's previous life, he didn't have so much leisure to pay attention to calligraphy and painting, but more to work hard for food and clothing and survival. This "Little Snow in the Fishing Village" was seen in the album in the library back then, but he didn't expect to see the original original through the millennium.

Wang Mumu looked at the "Little Snow Picture of the Fishing Village" in front of him, this painting, in this era, can not be described as bad. Composition, painting skills, coloring, and inscriptions are all top-notch. However, Wang Mumu always felt that this painting, this kind of painting, is not so simple, there are words in the painting, the painting is the words, the painting is in the painting, and the words are outside the painting.

Wang Mumu looked at the "Little Snow in the Fishing Village" in front of him, which depicts the scenery of the mountains and forests of the fishing village in the early days of light snow in winter. In the picture, the snow-capped mountains and strange pines, the fishing boats on the river bank, the peaks and loops turn, the scenery is easy to move, and the artistic conception of the whole picture is bleak, shrouded in an ethereal and quiet atmosphere. This picture is the work of Wang Xu's teacher Li Cheng and his own family. In the picture, the mountain stone is purely used with a short side pen, and the edge outline adopts the "ink breaking method", which is internalized with water after the outline, and the ink color is light. The long pine of the cold forest uses thick ink in the center, thus highlighting its noble character that does not wither through the cold. In order to express the snow, in addition to leaving the mountains blank, the author also applied white pigment powder to the peaks, tree branches, and sandy feet. In order to express the sunlight after the snow, the artist also dyed the heads of the trees and the tips of the reeds with gold dust, and absorbed the painting method of the golden landscape since the Tang Dynasty in the whole width of ink, which is a creative practice. This work fully embodies the creative theme of the literati painting of the Northern Song Dynasty, which emphasized "there is a painting in the poem, and there is a poem in the painting", and wrote "the difficult scene of the lyricist Moqing" with skillful techniques, which is a model work of "poetry and painting".

In this painting, the picture uses white pigment powder as snow, tree heads, reeds, mountain tops, and micro-beams of gold powder at the foot of the sand, and uses broken ink halo beams to express the light sunshine after the snow, which is his original method. The whole picture is cold and sparse forest, with light snow, and the scene of small boats and fishermen fishing with nets forming a wonderful interest in the cold forest. The contrast between the fishermen's work and the cold and desolate atmosphere of the whole picture is intriguing. In the latter section, a forest is crooked, the miscellaneous trees are embellished with ink, and the pine needles are sharpened with a pen and hooked, which can see the influence of Li Cheng. This picture opens the volume, "I have felt the cold wind blowing on the face, and it is like a wet silver field". It can be seen that the atmosphere of this painting is very homely.

Wang Xu's landscape painting advocated Li Sixun and Li Cheng's two regulations, and at that time, Tang and Song Dynasty painters were good at making snow scenes, such as: Wang Wei's "Snow Creek Map", Jing Hao's "Snow Landscape Map", Ju Ran's "Snow Map", Li Cheng's "Peaks and Snow", Fan Kuan's "Snow Mountain Xiao Temple", "Snow Scene Cold Forest Map", Guo Xi's "Guanshan Spring Snow Map", "Valley Map" and so on. On the one hand, this is because ink painting is the best at expressing the black-and-white contrast and gray tone of snow scenes, but the deeper reason is that the empty, clear, and otherworldly atmosphere created by snow scenes seems to be more in line with the Zen of "unity between heaven and man" and "clear contemplation" pursued by literati painters.

From the perspective of the technique of painting snow, such as Wang Wei's "Snow Creek Picture", ink pen painting on silk. The composition is flat and far, divided into three scenes: near, medium and far. In the foreground, there is a wooden arch bridge covered with snow, which leads people to a world of ice and snow; The middle ground is a large frozen river, lying horizontally in the middle of the scroll, horizontal as a mirror, and the waves are not exciting; In the distance, the snowy slopes, trees, and houses on the other side of the river lie flat on the black water, hidden in the vast white snow, making the scenery in the picture more deep. In this painting, Wang Wei used his first "ink breaking method" to dye the stream with ink, which also set off the whiteness of the snow and the coldness of the sky. Here, no painter is seen painting snow with white paint.

Let's look at Jing Hao's "Snow Landscape Map" by Jing Hao of the Five Dynasties, on silk, colored, and vertically composed. Heavy mountains, dotted by travelers, bent in the shape of the mountains, and heavily colored. The bald pen is finely written, the shape is like the ancient li, and the ancient is very ancient. The whole picture is rhymed with ink, and the snow is made with blank space.

Let's look at the "Snow Map" of the Five Dynasties Juran, vertical scroll, silk, ink painting. The picture is divided into three scenes, the main mountain vista, the twin peaks are standing, the majestic and steep peaks, the snow of the strange peaks, the haze \ the depth, the jagged rock blocks, the abrupt and strange, and the painting power is public. The pavilion in the middle view, looming in the mountains, has guests on the mountain path. Close-up view of the riverbank, dead branches and stones. The mountain stone is scorched, the hemp cirrus clouds, the forest trees are sharp and straight, and the dead branches are like claws. The snow cover of the strange peaks in this picture is all straight with scorched ink, leaving a blank structure, and no white pigment powder is seen.

Looking at Guo Xi's "Spring Snow Picture of Guanshan Mountain", this picture shows the scenery after the spring snow in the deep mountains in the form of a vertical frame, the upper part of the painting is majestic, the steep mountains and dense forests line the houses in the mountains, the stream flows, and the water mills turn happily, adding vitality to the lonely and quiet snow-capped mountains. The majestic snow-capped mountains only have white space, no white pigment powder.

Let's look at Li Cheng's "Peaks and Snow Map", which shows the mountains are high and snowy, the waterfalls are cold, and the Gangfu Pavilion is winged. In terms of technique, the peaks and forests are all made of light ink, and the water and sky are filled with no powder. Only the snow marks are dotted with powder, and the branches and moss are dotted with powder.

Look at Fan Kuan's "Snow Mountain Xiao Temple Map", the mountains are clustered, pointing to the sky, deep ravines, dense forests and Tibetan temples, clusters of rocks stacked on top of each other, streams out of the deep void, water if there is a sound, folded and powerful, cold trees are vigorous, quite like an iron broom. However, although Fan Kuan's snow scene, the broad view is very great, the gun pen is even, the old and the hard is hard, the snow ridge is deep in the mountains, and it is cold and lonely, but the majestic and magnificent mountains under its white snow, Fan Kuan uses "ideas", traveling and Xiao Temple, lonely and desolate. In the mountains and rivers, the blank space creates clarity and clarity, and is not polluted by white pigment powder.

Chinese painting emphasizes brush and ink, because the paper is white and black and black, so there is a saying that ink is divided into five colors, with "always thought to be gorgeous", with "black and white are born together", "know white and keep black", "count white as black". Tang Zhiqi pointed out in "Painting Things": Where to paint snow scenes...... Use the pen to dye the recess of the stone, and leave white in the high place of the stone painting, and the white is snow. …… Fang Xian is snow-white and stone-black, and its forest branches are left blank on the back side to ...... meaning of hanging snow.

When painting a large area of ice and snow landscapes with white and flawless whiteness, Chinese painting is also a large blank, but it is a kind of blank space supplemented by white and black.

And Wang Mumu's "Little Snow in the Fishing Village" in front of Wang Mumu, although the painting method is mainly ink, but at the same time has begun to mix some painting methods of green landscapes, painting snow with a large number of white pigments, painting mountains and rocks and mountains with gold powder, and slightly dyeing gold powder on the reeds on the trees, and smudging with broken ink, not only reveals Wang Xu's noble psychology, good luxury tendency, but also reveals his attachment and gratitude to the white pigment powder after being castrated, as well as hopelessness for the future life. and like dampness giving birth to a silver field."

Wang Mumu is also funny when he thinks about it, a picture of Wang Xu's "Little Snow in a Fishing Village", hundreds of millions of people have seen it, some people have seen the great rivers and mountains, some people have seen the Chinese painting techniques, some people have seen the meaning of the literati, but they have seen the desolation of Wang Xu's state of mind after being castrated and the subconscious orientation to color.

Wang Mumu looked at Wang Xu's "Little Snow in the Fishing Village" in front of him, which is based on the physical environment, which has fully expressed Wang Xu's yearning for the countryside and fields, the longing for a leisurely life, and the emotions of being happy and leisurely, yearning for an elegant and out-of-world realm throughout the whole work. You see, in the painting, the light snow is at the beginning of the day, and the haze is gloomy and heavy. In the painting, after the snow, the high mountains and mountains, the cold rivers and dead trees are withered and killed, and the chill is bursting. Looking at "Little Snow in the Fishing Village", Wang Shu probably admitted defeat, his thoughts were revealed in the painting, he wanted to tell the Empress Dowager Gao that he wanted to get away from the hustle and bustle, he wanted to get together with like-minded wise men, and he wanted to enjoy the life of the unity of heaven and man. Wang Shu attached his own desires to the scenery in the painting, telling the Empress Dowager Gao and the people about his longing for seclusion.

Compared with Wang Xu's "Yanjiang Stacked Peaks" a few years ago, "Fishing Village Xiaoxuetu" is not as sharp as "Yanjiang Stacked Peaks", in the dark ridicule of the government, criticism of current affairs, after the catastrophe "Fishing Village Xiaoxuetu" Wang Xuan expressed more that he wanted to retire, he is no longer a man, so he also looked down on the party struggle of the court and government, regardless of the order of the court, just want to retreat to the countryside early, avoid people's eyes and ears, avoid humiliation, spend the rest of his life in peace, bow his head and accept his fate, and want to avoid everything.

Wang Mumu saw a lot of thoughts, and estimated that Wang Xu's eunuch, the Queen Mother and the Queen Mother didn't know it, and thought, such a Song mystery, a mystery through the ages, that is, there are a few people in the Song Dynasty who know, no wonder, I used to read history and watch the Water Margin, but I didn't figure it out, this little Wang Duwei and Wang Xu's family are as beautiful as clouds, full of courtesans, singing every day, blowing Xiao at night, choosing freedom, and doing whatever you want, why did you only have a boy with the princess of Shu, and died early at the age of 3, so many flowers can't bear fruit? I see, his seeding equipment was castrated by my little golden cat. Now facing the Empress Dowager Gao, Wang Mumu said nonsense in the clouds, from the painting of the murderous atmosphere, it can be seen that Wang Xu's fighting spirit is completely gone, he has wanted to retreat from the rivers and lakes, the fishing boat sings late, the words are the heart, the painting is the brain, and so on.

Wang Mumu was in the sea and the sky, and a small eunuch came in and muttered a few words in the ear of the Empress Dowager Gao.

Empress Dowager Gao glanced at Wang Mumu and said, "Mumu, you don't seem to have been going well lately, and you're in a lot of trouble." Let me ask you, is there a person named Bai Suzhen among the people you entered Beijing this time? Why does Venerable Buddha Yin say that she is a snake demon? ”

Wang Mumu glanced at Yuwen Rounu, a look of inquiry: You brought Bai Suzhen too?

Yuwen Rounu hurriedly reported: "Lord Wang, I heard that the prince was robbed in Beijing, some people were tied up, and it is estimated that there will be dead and injured, so I rushed here and picked four assistants: Bai Niangzi, Bai Suzhen, Xiaoqing, and Xu Xuan." When I entered the palace today, they said that they were going to Daxiangguo Temple to burn incense, could it be that Bai Suzhen met the chubby Buddha Yin Master again? Isn't he in Zhenjiang Jinshan Temple? Why did he come to Bianjing? Why did he put a hat on Bai Suzhen's head again? Excuse me, is something going on? ”

Empress Dowager Gao said: "Alas! Go out of the palace and see for yourself, how to deal with it, you don't need me to teach, you know. Oh, by the way, Mumu, come to me again before leaving Beijing, I have something to say to you. ”