Lin Chi-ling's Fuchun Mountain Residence Map Conference

In the movie "Residence in Fuchun Mountain", Lin Chi-ling appeared bald. She had always shown her image as a long-haired woman. This time, she sacrificed her hair to become a nun. This bald head caused different reactions. Some people thought that her bald head was still beautiful and moving, and it made her temperament even more extraordinary. Her delicate and beautiful facial features were even more prominent under the bald head, and her expression was quiet and charming. Some people thought that she lacked some of the charm when she had long hair, and it also exposed the shortcomings of her imperfect hair shape. However, Lin Chi-ling's dedication to sacrificing her image for this film was admirable. Her bald head also attracted a lot of discussion, and was even evaluated as "so beautiful that people want to lick the screen". It could be seen that her beauty was higher, and her bald head could also show a different charm. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

In the movie "Residence in Fuchun Mountain", Lin Chi-ling wore a luxurious ruby necklace. This necklace was carefully crafted by an outstanding craftsman of the diamond bird. It was made of 550 high-quality diamonds, 4 heart-shaped and drop-shaped clear rubies, 1 orchid-shaped white agate hand-carved by the diamond bird jewelry craftsman, and 1 top-notch ruby weighing 26 carats. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

In the movie "Tianji: Residence in Fuchun Mountain", there was no mention of Lin Chi-ling's fighting plot. It was more about her character's cooperation with other characters in the story of the treasure hunt. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

In the movie "Residence in Fuchun Mountain", Lin Chi-ling played the mysterious woman Wang Xueqing. She joined forces with Xiao Jinhan, an agent of the Hong Kong Police Department's overseas anti-smuggling department, played by Andy Liu, and launched a fierce competition with the smuggling gang led by Yamamoto, played by Tong Dawei, around the world. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

In "Tianji·Residence in Fuchun Mountain," Lisa, played by Lin Chi Ling, was killed by Koyama, played by Tong Dawei. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

The real scene of "Residence in Fuchun Mountain" was on the bank of Fuchun River in Hangzhou, Zhejiang Province. Fuyang was considered to be the prototype of "Residence in Fuchun Mountain". The Longmen Bay scenic spot in Jiangnan beside Fuchun River in Tonglu was verified by relevant experts as the creation site of "Residence in Fuchun Mountain". While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

Lin Chi-ling starred in the movie 'Tianji: Residence in Fuchun Mountain'. In the movie, Lin Chi-ling and Tong Dawei acted together. She showed her acting skills and had a variety of poses, such as cosplaying nurses, nuns, brides and more than ten other poses. The movie mainly told the story of the treasure fight between China agents, Japanese gangsters, and British thieves to protect and compete for the painting of "Residence in Fuchun Mountain", which was about to be exhibited in the National Palace Museum in Taiwan. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

The Painting of Residence in Fuchun Mountain was an ink landscape painting created by the Yuan Dynasty painter Huang Gongwang in 1350. It was one of the top ten famous paintings in China and was known as the Preface to the Orchid Pavilion in the Painting. It is now separately collected on both sides of the Taiwan Strait. This volume (Useless Master's Volume) is collected in the National Palace Museum in Taiwan, and the small section (Remnant Mountain Painting) is collected in the Zhejiang Province Museum. On June 1, 2011, the two sections were exhibited for the first time in the National Palace Museum in Taiwan. This painting was shot on both sides of the Fuchun River. Huang Gongwang completed this work after observing the strange changes of clouds and clouds on both sides of the Fuchun River for three or four years and enjoying the beauty of the fishing beach. The painting depicted the early autumn scenery of the Fuchun River. On the painting, there were undulating mountains and flowing water. There were villages, flat slopes, grass pavilions, water pavilions, small bridges, fishing boats, and so on. It made people feel as if they were there and relaxed. In terms of painting techniques, the painting of mountain peaks was mostly done with hemp and chapped, clean and neat, free and lively; When painting trees, the brush was old and beautiful, and the rice dots were used in the distance. The ink color was rich, transparent and dignified. The whole picture was written in elegant ink, and the layout extended from the flat surface to the depth. The space seemed extremely natural, with the artistic effect of "scenery changes with people, people move with the scenery". This was a landscape painting that was improvised and supplemented in response. It was a great lyrical landscape masterpiece of the turning point and an important link to the harmonious and friendly relationship between the two sides of the Taiwan Strait. In 2011, the special exhibition in Taiwan kicked off the spread of cultural creativity, followed by a series of cultural and creative derivative products with the theme of "Residence in Fuchun Mountain". From the composition of the painting, the original painting was drawn on six sheets of paper, which were then mounted into a long scroll of about 700 centimeters. Huang Gongwang created it freely. The viewing, moving, and overlapping points of view were either wide-angle and far-reaching or close-up. The visual viewing method was free and unrestrained, and the angle was ever-changing. The first part of the painting started from a big mountain. The peaks converged their sharpness and were round and thick. The earth piles gradually piled up and slowly tilted to the left. Huang Gongwang used a unique "long and flat" brush technique. The center of the painting was vigorously brushed down, showing the thick texture of the Jiangnan landscape soil and the misty mountain mist. The second part of the mountain range had a turning point. As the mountain range changed, the trees, slopes, houses, and boats in the river had a desolate feeling of being surrounded by layers of mountains. The main mountain range was on the left, and the mountains echoed on the left. The pine and cypress trees nearby were slightly swaying to the right, echoing the mountains in the distance. The ink color and space of the third part changed the most from the second part to the third part. The second part echoed the third part. The brush suddenly turned and slightly extended backward with the chapped slope and the calm river surface. The picture changed from dense to relaxed, alienated and beautiful. The thick ink and fine brush outlined the water waves, silk grass, wide water and fine sand. The scenery was lively and also reflected the philosophical and literary interaction between the mountains, water and sand, and the clouds. The fourth part had the least amount of brush and ink. There were no stains, only mountains and water, which restored the original nature. The composition crossed over the fifth part, and there was a large blank space as if time had passed. The painting was dotted with dried moss, small trees, and small bridges on the river bank connecting the fifth part. The overall picture was like the silence of autumn and winter. The fifth to sixth parts were wide-distance white sand. In the white space, two small boats were parallel to the river. The fisherman on the boat was the point scene. In the distance, there was a distant mountain. The line drawing of the pen and the dragging of the ink continued in the white space. "Living in Fuchun Mountain Painting" mountain rock hook, chapped pen twist natural, long hair hemp chapped dry wet muddy, profound skill free and easy and spiritual. The whole picture was painted with light and elegant ink. Only the rocks were covered with almost transparent ink color. The sand stains and wave shadows of distant mountains and riverside were dyed with slightly darker ink color. The thick ink was dotted with moss and leaves, striking and natural. The whole scene was full of beautiful trees and lush vegetation. It was full of the poetic feeling of a hermit wandering in the forest and spring, and it emitted a strong aura of Jiangnan literati. Other than that, there was also a song inspired by 'Residence in Fuchun Mountain'. Li Xiao Bai wrote the lyrics, Luan Kai composed the music, and Wang Xiaomei sang it. The Spring Festival Gala program,"Memories of Jiangnan," was also based on "Residence in Fuchun Mountain" as a blueprint. Many artists in the program displayed the charm of Fuchun's mountains and rivers through recitation, singing, dance, and other forms. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!

The original painting of Residence in Fuchun Mountain was an ink-wash landscape painting created by the Yuan Dynasty painter Huang Gongwang in 1350. It was painted by his younger brother Zheng Chu (useless master). The original painting was drawn on six pieces of paper, which were then mounted into a 700-centimeter long scroll. Huang Gongwang didn't design the structure according to the size of the paper, but created it freely. The picture was shot on both sides of the Fuchun River, depicting the early autumn scenery around the Fuchun River. The picture showed undulating mountains, flowing water, villages, flat slopes, grass pavilions, water pavilions, small bridges, fishing boats, etc. Painting mountain peaks mostly used Ma chapped, painting trees near the pen old and beautiful, painting in the distance parallel with rice dots, ink layers rich, transparent and dignified. The ink used was elegant, and the layout extended from the plane to the depth. The space was natural, and it had the artistic effect of "scenery moves with people, and people move with the scenery". The hook and crack of the mountain rock are naturally formed by the use of the pen. The long, hemp, dry and wet cracks are formed. The skill is profound and free and easy. The whole picture was only covered with a layer of almost transparent ink color on the mountain rocks, and the sand stains and waves of the distant mountains and riverside were dyed with a slightly darker ink color. The moss and leaves were dotted with thick ink, which was eye-catching and natural. The whole scene was full of beautiful trees and lush vegetation. It was full of the poetic feeling of a hermit wandering in the forest and spring, and it exuded the rich aura of Jiangnan literati. The map is now collected on both sides of the Taiwan Strait. This volume (Useless Master's Volume) is collected in the National Palace Museum in Taiwan, and the small section (Remnant Mountain Map) is collected in the Zhejiang Province Museum. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!