This landscape painting (Song Dynasty landscape volume) was collected by the great-grandfather of Mr. Yang, a San Francisco collector, in a double-layer wooden box 80 years ago. This album has a certain development sequence in the layout of landscape space, from the grand panoramic landscape space in the early Northern Song Dynasty to the diversified poetic landscape space in the Southern Song Dynasty. These landscape elements must serve the situation of the picture and the idealized landscape pursued by the artist. Therefore, the landscape elements of the Song Dynasty in the painting actually have idealized characteristics. Only then can we have a deeper understanding of the value of brush and ink in the landscape works of the Song Dynasty. The painter uses polygons to summarize objects and images, inherits and develops a series of techniques such as brush and ink, texture, and rendering, which changes the overall appearance of landscape painting. Provenance: Mr. Yang Collector, San Francisco. 此山水畫(宋人山水冊)是在80年前由舊金山收藏人楊先生的曾祖父用雙層木盒所收藏。此畫冊在山水空間佈局上有著一定的發展脈絡，從北宋早期宏大的全景式山水空間到南宋時期多元化的詩意性山水空間。這些山水元素都要為畫面情境與畫家追求的理想化山水服務。所以畫面中的宋代山水元素事實上都具有理想化的特徵。我們才能更為深入地理解宋代山水作品中筆墨的價值。畫家運用多邊形來概括物象，繼承並發展筆墨、皴法、渲染等一系列技法，改變了山水畫的整體面貌。來源：舊金山楊先生收藏家。