Huang, whose real name is Lu, has a long word and is called a Taoist idiot. As an adult, he adopted Yongjia Huang as his adopted son, and became an official in the Central Procuratorate of Taiwan Province because of his surname change. Later, he was involved in prison, joined Quanzhen Sect after he was released from prison, and made a living by selling hexagrams in Jiangsu and Zhejiang provinces. The situation at that time was that "Huang Zijiu only sat on rocks all day, and his attitude was careless, and people didn't know what it meant" or even "take a bottle of wine every night, sit on the lake bridge and drink Yin Qing alone. After drinking it, throw it into the water and the bridge will be almost full. " It is this great open-mindedness and escape that makes his spiritual world gradually empty, and his talents are scattered on those scrolls like clouds in the mountains.

Fuchun, which was completed by Huang at the age of 85, not only integrates east, residence, scenery and concern, but also embodies the characteristics of landscape painting in Yuan Dynasty. This mixture of climate requires superb artistic skills, and Huang's 80-year-old has obviously reached the peak of his painting level.

Named after "the servant returned to Fuchun Mountain in the seventh year". Unexpectedly, this place has been circulating for a long time and is constantly being injected with legend.

Fuchun Shan Jutu, which is 33 cm long and 636.9 cm wide, is mainly embodied in the National Palace Museum in Taipei. The first section of Shazhu Tingzhou is a hill with a broken mountain map, surrounded by close-up houses, and there are boats to cross. The leaves are stained with thick ink, and the mountains in the distance are rendered with light ink.

There are mountains behind the first Tingzhou, and the second section of peaks and mountains are closely connected with the third section. In the misty valley, the shanzhai mountain road can be seen. Here, the peaks are mostly short with dry pen, the close-up trees are heavy with ink, and the leaves on the top of the mountain are highlighted with horizontal ink, but the third peak is different. Although the habit of using ink is still strong in close range and weak in prospect, the trees on the summit are all dyed with vertical pens, and so are the branches in close range.

Since then, peaks and mountains have reappeared after a period of inclination. Here, not only the leaves are constructed with horizontal and vertical ink dots, but also the simple ink dots are placed on the top of the peaks, which almost confuses the skills used in the previous volume, which may be in line with the self-titled "I haven't prepared for three or four years, because I stayed in the mountains and traveled abroad, I have to get my luggage back today, and I have to write sooner or later." Please click to enter a picture description.

Fuchun occupies an important position in the history of painting, not only because it is the representative work of Huang, but also because it has been in the hands of Shen Zhou, Dong Qichang, Qianlong and others for more than 600 years since it was painted. After several twists and turns, it was burned in two in the early Qing Dynasty, which became a legendary story, which is really rare in the history of Chinese painting collection.