In which category of traditional Chinese painting does the "Pavilion Listening to Rain" belong? I am looking for an article on the appreciation of this picture.

I believe these contents can help you!

Now in the Shenyang Palace Museum of the Pavilion listening to the rain axis, ink brush, paper, three feet one inch high, one foot wide, recorded in Tianjin People's Fine Arts Publishing House of Shi Tao painting and calligraphy in the next volume, and into the People's Fine Arts Publishing House in 2003 published in the Selected works of Chinese masters - Shi Tao, into a quintessence of Shi Tao's work.

On it is recorded a poem: "Shuanggan Tingting Jasper Ming, Cui Yin cool host stone bed clear. The south wind blew off the wine in the garden, lying down to listen to the sound of Xiao Xiao twilight rain." The inscription reads, "Written by Qing Xiang Da Dui Zi in Yizhi Pavilion." The calligraphy is written in regular script, which is too square and powerful, unlike the calligraphy style of Shi Tao in his later years, which is strong and robust and wrapped in an impetuous spirit. The settings of rocks, willows, pines, and houses are also too square, and are suspected of being dull. The building is almost the same as the boundary painting.

This painting trek involved in the name of the place is problematic. "Dajiezi" is the completion of the Hall of Dajiezi, Shi Tao left the new name of Buddhism, and a branch of the pavilion in the Jinling Changgan Temple (i.e., the Great Benevolence Temple), is a small pavilion Shi Tao lived in Jinling, Shi Tao left here in 1687. 1696 at the end of the "Dajiezi". After the end of 1696 to use the "big clean son" of the number, although there is a record of more than ten days trip to Jinling (1702), but did not see again patronize the records of a branch of the pavilion. There is no record of Shi Tao returning to the Yizhi Pavilion after 1687 in any of his surviving works. In his later years in Yangzhou, Shi Tao was known as "The Man Under the Branch," in honor of his career in Jinling. But this painting trek in the "one branch of the pavilion", obviously is the premises, rather than the name.

And then from the Shi Tao's thinking, a branch of the pavilion in the development of its thought process has a special significance, as a place to live, a branch of the pavilion is small, cramped, as small as a bird's nest, small enough to be embarrassed to extend into their friends. Shi Tao from xuancheng to this time, live in this small pavilion, had a dissatisfaction, he said: "the golden land beads and forests are always idle, a branch of the lonesome really remaining plan." Such a brilliant place, I can enjoy is just a place to stand! Mei Qing once advised him accordingly. But later on, he seemed to have fallen in love with Yizhi Pavilion, and he grandly inscribed his calligraphy and painting works: "In Yizhi Pavilion". As a space, Yizhi Pavilion is insignificant, but it is in this embarrassing Yizhi Pavilion that he was prompted to develop very interesting philosophical thinking, and even linked with the core idea of Zen, where he gained a kind of life force. From the frustration of "sending a branch without hair and without a name" to the comfort of "if you can understand the joy of Zen, where is there no peak", he realized the mystery of Zen. If it is really as the trek of this painting said, in that a broken bed and a stove in a shy hut, to relive the old life, what kind of feeling it should have, but this work does not. Here there is only a bland big grin outline! This work is definitely not made by Shi Tao.

And this work of art under the name of the Inscription of the "Qingxiang old man" Zhuyin, is a small square seal, Shi Tao has a "Qingxiang old man" oval Zhuyin, probably in the late Shi Tao in the Jinling began to use, the later years of Shi Tao's works in the use of it. And "qingxiang old man" square small seal, in the signature of shi tao surviving works only seen here.