Inscription I began painting by studying Wang Shaonong, then gradually studied Dung Cungbo, then the Yuan and Ming dynasty artists, eventually turning back to the artists of the two Song schools. Unconsciously I absorbed the styles of twenty-six artists. In this album I first follow the styles of nine masters from the two Song schools, exhausting my meager talent. Ximing said formerly when I studied Ni and Dong the two artists were obviously not alike. If you want to study the Yuan dynasty study Dachi. If you want to study the Ming dynasty study Qingxiang. You can take from Bei Yuan and He Yang without taking from Mei Hua and Huang He. Since the paper on the right has been filled I'll continue the text on the left. On this page I have newly made a temple on a snowy butte. I do not dare to recklessly usurp the ancients, claiming to act in their place. This is Kuang lu as it appears, I haven't forgotten what I saw. Alas, when it comes to calligraphy and painting it is not easy to mingle with the ancients. This is the third month of 1882 when the moon is not quite full. Now on the eve of the departure of Xi ming ci shi lao xiong for Shanghai, I present this as a parting gift. I'm greatly dismayed! Come back! How can I endure your leaving? Fang liu lao di, Li Ruwei, at age seventy-one.