双松树，水平距离 - 美国大都会艺术博物馆展品查阅

品名（中）	双松树，水平距离
品名（英）	Twin Pines, Level Distance
入馆年号	1973年，1973.120.5
策展部门	亚洲艺术（Asian Art）
创作者	Zhao Mengfu【1254 至 1322】【中国人】
创作年份	公元 1310
创作地区
分类	绘画（Paintings）
尺寸	图像: 10 9/16 x 42 5/16 英寸 (26.8 x 107.5 厘米) 整体 with mounting: 10 15/16 x 25 ft. 7 11/16 英寸 (27.8 x 781.5 厘米)
介绍（中）	这个空旷而神秘的场景代表了中国绘画的革命性转变。赵孟复将他的"彩绘"山水简化为一套书法画笔惯例，岩石用"飞白"草书写，松树用未经调制的篆书勾勒。因此，他拒绝幻觉主义的表现，而是依靠富有表现力的笔触线条来赋予他的意象个人意义。赵强调了他对这种新方法的承诺，他在松树的右侧增加了一个标题，并在构图左侧的远山顶上写下了长长的题词，清楚地表明他的绘画不仅仅是关于风景。尽管他坚持这种新风格，但赵选择了传统上重要的主题。在中国艺术中，松树长期以来一直是生存的象征。赵紫阳在这里代表他们，可能指的是他自己在蒙古占领下的政治生存，以及中国文化在外国统治下的持久性。
介绍（英）	This spare, enigmatic scene represents a revolutionary redirection in Chinese painting. Zhao Mengfu reduces his "painted" landscape to a set of calligraphic brush conventions, with the rocks executed in "flying-white" cursive and the pines outlined in unmodulated seal script. He thus rejects illusionistic representation and relies instead on expressive brush lines to imbue his imagery with personal meaning. Zhao underscores his commitment to this new approach by adding a title to the right of his pines and writing a long inscription on top of the distant mountains at the left side of the composition, making it clear that his painting is not merely about landscape scenery. Despite his adherence to this new style, Zhao chooses a traditionally significant subject. In Chinese art, pine trees have long been emblems of survival. By representing them here, Zhao may be referring to his own political survival under the Mongol occupation, as well as to the endurance of Chinese culture under foreign rule.