Flowers, birds, fish and insects have always been the subject of artists' favorite expressions since ancient times. The painter Cai Maoyou's freehand flowers, birds and calligraphy are more influenced by the calligraphy of his respected teacher Mr. Qigong, but while inheriting the traditional freehand ink painting, he attaches great importance to his own brushwork and artistic creation. This work "Shangshan Ruoshui" takes a corner of the pond, and there is a flower in the upper right, which is properly dense and quite wild. The petals are expressed by the sketching method, and the leaves are made of ink freehand, and the wind and bone charm jump out. The flowers are light and elegant, outlining the swimming fish, ethereal and transparent, contrasting with the lush flowers above, opening up the spatial level, and also highlighting the elegant atmosphere of the combination of flowers and fish. The image of flowers and swimming fish in the whole picture is depicted in detail and subtle, and the lines of flowers from stems, branches and leaves to flower heads are rigorous and exquisite, and they are very powerful. Swimming fish, the ink of the branches and leaves contrast with the red of the flower head, rich and elegant and decorative.
The painter's "Pingchi Jasper Autumn Wave Ying", the lotus leaf flank and center are used together, the brush is thick and inky, and the texture of the lotus leaf is very prominent, which highlights the bright lotus rhyme and the state of the agile swimming fish. At the top of the picture, only a line is slightly rendered to outline a lotus petal, showing the elegant dynamic of the lotus, the whole picture is left high and right is low, the swimming fish swim from right to left, and the bottom outlines a group of ink lotus leaves, and follows the trend, the scenery is not much but has its own deep meaning.
Admire this painting "Shangshan Ruoshui", the lotus flowers in the painting are colorful, dynamic and natural, loosely using the pen to properly show the fluffiness of the lotus leaves, and the twisting qujin expresses Gu Pan's own lotus spirit to the fullest. The horizontal outstretched lotus rod, the flexible fish interspersed and the simple treatment method of the light water wave, the ink depicts the branches, the penmanship is strong, the rubbing is neat, and the ink is integrated into the color, making the picture bright and concise, fresh and elegant. It is worth noting that the treatment of the background in this work absorbs some of the expressive methods of Western painting. The left is virtual and the right is real, and the lotus flowers and fish on the left are heavier in ink and brightly colored. The rest of the blades on the right are light ink, sparsely scattered, looming in the rendering of large areas. The lotus rod is drawn with a large brush, and the ink color is lighter. In this contrast of simple brush and ink, the whole lotus flower is more delicate and energetic.