中文 
en 
During this period, Yun Shouping created numerous “small-scale yet grand” copies of ancient texts, which were not merely casual ink play within the Yun family but also essential study drafts through which he mastered the distinctive styles and compelling energy of Song and Yuan masters, gradually becoming “proficient in ancient methods and rules,” “shedding temporal traces, washing away fresh charm,” clearly reflecting the transformation of Yun’s landscape painting style.
This book comprises eight pages, depicting scenes such as Cliff and Torrent, Rock Village Cottage, Wind-Blown Willows and Reed Beach, Floating Mountain in Warm Green, Cloud Mountain Ink Play, and Sparse Rocks by the Shore. Although the title of this book imitates the brushwork of various schools, it has somewhat lost its original traces, touched upon casually. The painter renders mountains, forests, and stone dwellings with simple strokes, while meticulously depicting willows, reeds, and boating scenes along the shore. His focus on the arrangement of secluded places seems to have become a significant characteristic of Nantian’s future landscape paintings, collectively reflecting that during this stage, Li Shouping initially took Hui Chong and Zhao Linglang as examples, showing particular fondness for this pictorial format and imagery.