The scroll painting "The Second Ode to the Red Cliff" by Qiao Zhongchang of the Northern Song Dynasty is characterized by its

During the Five Dynasties and Northern Song Dynasty, landscape painting experienced unprecedented development, producing numerous masters and exerting a profound influence. Qiao Zhongchang's style differed from that of the Northern and Southern schools of painting at the time (such as the majestic grandeur of Jing Hao and Guan Tong, the clear and elegant style of Li Cheng and Guo Xi, the solid and weighty style of Fan Kuan, and the simple and serene style of Dong Yuan and Ju Ran). He created his own unique style, characterized by its refined and clear spirit. Using concise brushstrokes rich in the flavor of line drawing, he fully utilized the function of different types of lines in summarizing images, thus creating the scroll *The Second Ode to the Red Cliff*.

This scroll depicts the content of Su Shi's *The Second Ode to the Red Cliff* in sections using the line drawing method. The figures, rocks, and trees are painted with extremely concise brushstrokes, creating a serene atmosphere. The opening section depicts figures under the moon, a rare sight in traditional painting, unconstrained by fixed styles, with a simple and unadorned style, representing the essence of early literati painting.

A brief biography of Qiao Zhongchang is found in Deng Chun's *Hua Ji*: "Qiao Zhongchang was from Hezhong. He was skilled in miscellaneous paintings and studied under Longmian. During the siege of the city, longing to return home, he painted a picture of Hezhong and presented it to Vice Minister Shao Zemin, which is still kept in his family. He also has a scroll titled *Longgong Sanzhai*, and paintings such as *Mountain Dwelling Arhats*, *Yuanming Listening to the Pine Wind*, *Li Bai Catching the Moon*, *Xuanzhenzi at Xisai Mountain*, and *Liezi Riding the Wind* have been passed down to posterity." The "siege of the city" mentioned in the text likely refers to the Jin army's siege of Kaifeng during the Jingkang era, indicating that his activities took place in the late Northern Song Dynasty. Lou Yue of the Southern Song Dynasty also recorded in his *Gong Kui Ji*: "Qiao Zhongchang was skilled in painting but not easily obtained. A nobleman waited for him for three years. One day, he happily asked for a piece of paper to paint a portrait, which he completed in a few days. In addition to the general image, he depicted figures, ghosts, gods, mountains, trees, and rocks in great detail."