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This picture by Wang Hui depicts the scenery of Jiangnan. At first, the plain forest is clear and open, with continuous slopes and peaks, shallow sand and distant water, and distant sky and sunset. Between the slopes, the winding path leads to the gradual rise of the mountains, and the village houses are reflected among the lush trees. On the path, people and riders come and go, and at the end of the blue stream, there are crows returning to gather. In the evening mist, the hills and ridges are steep, layered with ravines and rocks, meandering with a majestic momentum. During this time, the trees and pine trees are lush, and the mountain temples are secluded. Beneath them, the lotus flowers send incense, and the plain fields are far apart. The great river and the green mountains are far away but never see their end. At the end, it ended with a sunset and intentionally brought peace to the environment. I wrote it in Gengyin, which was in the 49th year of Kangxi's reign, and Shigu was 79 years old. At that time, the world was peaceful, and Shigu was also known as Zhennei. The world and mentality can be seen in the painting. In its postscript, it claims to be "conceptualizing management, feeling a sense of harmony and freedom between the wrists, and those who appreciate it should be able to understand in silence.". It can be seen from his leisurely painting and his contentment after painting. After the scroll, Chen Shifan praised him for "using the pen of the Yuan Dynasty to write Tang Dynasty poetry, expressing the lack of substance and spirit, and not lacking in its true interest." He also praised him for "being outstanding at all times, with delicate ink techniques. Although he imitated the various systems of the camp and hills, it was almost not an exaggeration." However, compared to Li Cheng, he said that using the pen and ink of the Yuan Dynasty to write the hills and valleys of the Northern Song Dynasty was "appropriate to call it a god." Chen's evaluation of the essence is not lacking. This volume is recorded in the "Continuation of Shiqu Baoji" and is an old relic of the Qing Dynasty palace. It was later carried by Puyi to the puppet Manchuria and scattered among the people. Perfectly preserved, it is the most exquisite product in Shigu paintings.