Shi Tao (1642–1707) (also known as the Bitter Melon Monk, a leading figure of the Four Early Qing Buddhist Monks) painted this hanging scroll in the Jiazi year of the Kangxi reign (1684, at age 42) during his visit to the official residence of Zhao Langxian (Zhao Lanshan), the education inspector, in Rongcheng, as a dedicated gift. Fishing in a Secluded Stream (ink and light color on paper, held at the Sichuan Museum) features Shi Tao’s lengthy colophon and two seals (“Qing Xiang Lao Ren” vermilion oval seal and “Long Mian Ji” white square seal), with later textual research inscribed around the mounting edges by Li Yimang. This work dates to his mid‑career period of traveling and absorbing natural scenery, reflecting his shift from imitating ancient masters to direct observation of nature.
The composition presents a majestic and layered landscape: towering jagged peaks, mist‑wreathed forests, quiet cottages, and a meandering stream where an old man fishes alone in a small boat, shown in profile. Shi Tao deploys versatile brushwork—supple middle‑tip lines for the boat and figure, dynamic texturing for the craggy rocks, and splashed ink washes for the mist and foliage. He creates striking contrasts between wet and dry ink, pale and scorched tones, vividly capturing the scene described in his colophon: “Rain covers the distant view, while the central woods are bright with sunshine.” The spatial arrangement alternates between dense and sparse, with negative space skillfully used to evoke the tranquility and seclusion of the mountain stream, balancing grandeur with delicate intimacy.
This work marks an important milestone in Shi Tao’s artistic evolution before his iconic Searching Through Myriad Lofty Peaks to Sketch the Draft (1691). It rejects the rigid formulaic landscape painting of the orthodox Four Wangs school, advocating for personal perception and expressive brush‑ink language. Beyond its technical innovations, it embodies the literati ideal of hermitage and spiritual freedom—the lone angler is not just a fisherman, but a metaphor for the artist’s pursuit of an unconstrained mind amid the chaos of the world. As a representative mid‑career landscape, it enriches our understanding of Shi Tao’s artistic transformation and remains a classic example of early Qing innovative landscape painting.