The finest in painting speak of mountains and streams;
Wang Wei's peaks and ridges rise in two distinct themes.
Li Cheng's brush captures Nature's creative might;
Jing Hao unfolds a thousand-mile landscape in sight.
Fan Kuan's rocks and mists, with deep woods entwined;
Guan Tong's withered trees, a peerless work of kind.
Dong Yuan and Juran, south of the river, reign;
With light ink and soft haze, a unified domain.
Song Di excels in distant, misty views;
Wang Duan's skill in 'Cold River Journey' shows.
Ke Ming and Dao Ning have passed, their art now gone;
Guo Xi's fresh fame has brightly risen on.
Flowers, bamboo, and feathers differ in their art;
Xu Xi alone attains a realm apart.
Zhao Chang's use of color, ancient and supreme;
Wang You and Liu Chang together share esteem.
Huang Quan, Huang Jucai, and Tan Hong, these three;
Gulls, egrets, spring blooms—Sichuan's scenery.
Ai Xuan's peacocks stand unrivaled in their grace;
Yang Zhongfu's chickens hold a lofty place.
Only Changsha's Yi Yuanji, beyond compare;
Not just in deer and roe, but none can dare.
Eagles in flight, we envy Zhang Jing's hand;
Hu Gui's Tartar steeds steadfastly stand.
Cui Bai and Cui Que, from Haoliang's line;
Tigers on screens for royal chambers shine.
Xu Yi of Haizhou, in fish and water's art;
Scales and fins so lifelike, hard to counterpart.
Wang Qihan's Buddhist icons, Jinling's pride;
Gu Deqian's works, both elegant and wide.
Old Cao's Bodhisattvas, each with spirit bright;
Taoists Li and Liu, a magnificent sight.
Stars and constellations, Sun Zhiwei's alone;
The Lu family's 'Lankavatara' as his own.
Gou Longshuang's brushwork, floating, light, and free;
Three masters from Jinli share brilliancy.
Sichuan ladies, eyebrows styled in tenfold ways;
Zhou Fang's palace beauties, plump in courtly arrays.
Yao's people beat the soil, laugh with bellies round;
Prince Teng's butterflies in dances are found.
Ju Ning's grass insects, famed in Zhejiang's land;
Wei Yan's lone pine, a rarity so grand.
Han Gan could paint the Ferghana horse with skill;
Bao Ding's tigers awe with fearsome will.
General Cao Ba excelled in portrayal true;
His dappled steed is still passed down to view.
Grooms leaning, as in whispered dialogue;
Du Fu's verse into painting held in vogue.
Shao Bao Xue Ji, especially skilled in cranes;
Among odd works, Shi Ke's talent remains.
Dai Song and Han Huang could paint the oxen well;
Hui Chong's small scenes, where misty vapors dwell.
Monk Chuan Gu of Tang, in dragons fine;
His brush-tip seemed with spirit to combine.
Clutching pearls, they dash to ocean's deep abyss;
Manes like flying fire through the void's abyss.
Zhong Shu's towers and pavilions, truly grand;
Mountains must jut from Huaqing Palace land.
Yong Ji and Xiang Kun could paint ghosts with might;
Horned mouths, iron faces, hair in wild flight.
Hou Yi once painted 'Five Marquises' scene;
Mountains and seas gather, clouds and crows convene.
Master Er Zhu in Confucian robes arrayed;
Old Lü with blue eyes and long beard displayed.
Gu Kaizhi's Vimalakirti lost its prime;
Yet through ages, it's copied for all time.
Lu Tanwei's true trace remains in one piece;
On Ganlu's wall, the lion's strength must cease.
Snake-handling fiends and fire-breathing beasts in sight;
Signed Daozi, passed down with the surname Wu's light.
Seng Yao's hall dragon, once its eyes were set;
Thunder and lightning instantly were met.
Immortal Ge old, crossing stream and hill;
A few free-spirited scrolls named 'Moving Still'.
Wangchuan's water play and fishing scene;
Long shores with scattered reeds, cold and serene.
All that I own would fill a cart with ease;
High and low, a hundred kinds, hard to list all of these.
Passed down, they please the elegant and wise;
View poem and painting—no falsehoods arise.