What are the creative allusions behind Zhao Boma Su's Song Wanjin Quetu in the early Southern Song Dynasty?

At the beginning of the Southern Song Dynasty, Zhao Bomasu drew the Map of the Golden Que in the Song Dynasty, depicting the scenery of Lin 'an (now Hangzhou), the capital of the Southern Song Dynasty, and idealizing and beautifying it, becoming the legendary "Golden Que" where the ancestors of Taoism lived. In the 13th year of Tianbao (754), Emperor Xuanzong of the Tang Dynasty added "Great Sage and High Road, Emperor Xuanyuan of the Golden Que" to the Taoist priest. When I arrived in Song Zhenzong, the worship of Taoism reached another climax. I not only sealed the name of the Holy Father, but also named him Zhao, saying that "the Holy Father has protected the Buddha in Gao Ling Road for nine days". All mortal names, titles and articles should be taboo about the word "Xuan Lang". The ceremony of worshipping Taoism is unprecedented and complete, and the image of Taoism is becoming more and more abundant. The image of the Buddha in the Yuan Dynasty was stereotyped, so the great development of Taoist art in the Song Dynasty came directly from the advocacy of the supreme ruler in the Song Dynasty. Song Wanjin Quetu beautified Lin 'an as beautiful as the Golden Que in the Heavenly Palace.

At the beginning of Southern Song Dynasty, imperial clan Zhao Boju and Zhao Bomasu lived in Lin 'an and painted in the street for economic benefit. By chance, eunuchs went shopping and bought fans they painted. The eunuchs showed them to Emperor Gaozong, who appreciated them and called them into the palace. According to their seniority, they were the uncles of Emperor Gaozong, so Emperor Gaozong gave them the seal of "uncle" and became the painters of the emperor's attendants. They were very grateful. Zhao Bomasu drew this picture of Song Wanjin Que as a reward. In the picture, the Qionglou Diange, a symbol of imperial power, is surrounded by pine trees. Xiangyun floats in the air, cranes soar freely, the moon is in the sky, and the water is gurgling at the foot of the mountain, which is a peaceful scenery. Mr. Xu Bangda once praised this painting: "The style of Song Wanjin Quetu is fair, honest and beautiful, and it has a strange feeling. His best technique of expression is to combine scattered trees with juicy green, inclined angle with neat stone green filling; Jin Que, Qiao Song and Yao Tao, with their fine brushstrokes, fine sketches and fine descriptions, seem to be very skillful, but a closer look also includes rocks and trees. And they use simpler pens to get rid of the habit of vulgar description, as Sun said in his book:' Don't get excited, stand with the wind'. It reflects the painter's quiet and far-reaching mind, not the so-called "true reflection" of any tasteless "recording photography" illustration; This is a highly artistic crystallization of artistic thought. After thousands of years, it can still be loved by readers. When reading, it naturally incorporates the inspiration of the painter's beautiful feelings and achieves the effect of' making the past serve the present'. "