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Editor's note: The lotus flower is a symbol of holiness and beauty, she is white and immaculate from the mud, sprinkled with fragrance and natural beauty, extremely exquisite and pure and modest, known as the "gentleman of flowers". Throughout the ages, the lotus flower has always been an extraordinary existence in the hearts of literati and inkers, and many famous painters also like to use it as a painting object, and the lotus flowers that come out of the mud without staining gently bloom on a variety of paper and ink, standing tall and cute. Below, please follow the editor into the pen and ink lotus pond, admire the lotus flowers written by ancient masters, and see which one you love the most?
▲ Wu Bing's "Izumi Furong Map" • Southern Song Dynasty , Silk Coloring , 纨扇 ・ 23.8 × 25.1cm
This picture depicts a water lotus flower, faint red smudge, with green leaves under the flowers and three branches under the leaves. In the picture, a delicate blooming red lotus occupies the entire picture, and the back is lined with green leaves, fresh and full, green and red, especially conspicuous, this plump composition like a portrait allows us to intuitively appreciate this delicate and feminine lotus. The author uses the technique of looking down on close-ups to depict the graceful appearance of the lotus flower and the quality of the sludge without staining. The full-picture brushwork is exquisite, the color is gorgeous, and there is no ink pen trace, which is a fine product in the body painting of the Southern Song Dynasty. The picture has no print, and it is rumored to be Wu Bingzuo.
▲ Zhang Zhong's "Picture of the Mandarin Duck with Lotus", Yuan Dynasty, Light Color on Paper, 96.4×46cm
Although this painting is a color work, it is mainly ink, and the Mandarin duck is slightly colored, which is cute and elegant. Dead lotus broken stems, painted with reflections, is rare in ancient paintings. The inscription is written from left to right, which is very special. The way this work is created is unique while inheriting the tradition, and it is quite innovative in the treatment of details. After the feathers of the partridge are dotted with a dry pen, they are then blended with light ink with wet and dry strokes, creating a fluffy texture. The male partridge's body is covered with a faint layer of vermilion, and the unique body surface features of this partridge are more elegant and gorgeous in the ink color blend. The feathers on the top of the male partridge are written in only one stroke, which is simple and bright, and the three-dimensional effect is obvious. This thick stroke contrasts strongly with the large area of blank space on the male partridge's face in the color relationship, making the position of the eyes more prominent and appearing sparkling.
▲ Wang Qing "Lotus Flower Diagram", Ming Dynasty, long scroll dot gold note color on paper, 26×908cm
▲ Wang asked the "Lotus Flower Diagram" part
On the 9-meter-long picture, this picture shows that the lotus flower begins with "small lotus only to show the sharp horns", and goes through the life process of buds waiting to be released, showing the first appearance, blooming like a xiaxia, evening lotus like fire, flowers and leaves floating zero, and finally a pool of dry ropes, and the lotus canopy standing upright. With longitudinal brushwork and light colors, write the elegant and noble temperament of lotus flowers. The whole volume is painted with flowers and leaves in a freehand boneless way, and there are continuous changes in color and composition, there is no isolated and abrupt brush, and it has its own sense of completion.
▲ Zhou Zhimian "Lotus Bamboo Bird Diagram" Ming Dynasty, Silk Color, 93× 47.7cm
This work is natural in pen and ink, the color is light and elegant, the artistic conception is clear and handsome, several lotus leaves are leaning upwards, and the lotus flowers are either budding or blooming, and the posture is different. The reeds stand tall, the aquatic grass is dotted, and the lake is crystal clear. A pair of Mandarin ducks are playing in the water, with rich hair and feathers, full of fun. A kingfisher stopped on a lotus pole and was about to spread its wings and sweep out. The picture is written in the scene, the image is vivid, the picture is beautiful, the part-time work belt is written, the leaves are written with no bones, the flowers are painted with pink and white, and the brush and freehand are harmonious and unified.
▲ Lü Ji "Residual Lotus Eagle Heron Figure", Ming, Silk Color, 190×105.2cm
The painting depicts a lotus pond leaflet, with an eagle fighting an egret. The eagle reversed from the upper right of the picture to the left, the strong wings were slightly closed, the head and neck turned vigorously, the two claws were already tightly clenched downwards, the fierce eyes were tightly focused on the prey, and the arrows rushed to the egret running between the remnants and the reeds, as if in an instant, the egret became the mouth of the eagle. At the bottom of the picture, the egret is running between the reeds and the wreckage, and the other birds are also terrified, and a wild duck opens its mouth to look upwards, its head and neck are tightened, and it is a state of fear.
In the specific depiction of the scene, the reed rod is written with a center, and the reed leaves have a change in the thickness of the ink color, dry and moist, and elastic. The reed flowers are dotted with broken pens, and the virtual reality is clearly layered. The lotus leaf is drawn with a wet pen, and then the stem is hooked with a center, and the nature is written, and the aura moves around. Egrets and finches mostly use the boneless method, extensive but rigorous. The feathers of the aerial eagle are lightly inked with a broken pen and written with the growth of the feathers, meticulously and with a strong texture. The whole picture, with a rough and simple pen, lotus leaves, reeds, water and grass seem to be painted in one breath, and the ink color is dripping, close to Lin Liang's extensive and simple painting style.
▲ Xu Wei "May Lotus Tuming", Ming Dynasty, Ink on Paper, 103×51cm
"May Lotus Flower" is Xu Wei's work when he was 37 years old, is one of his masterpieces, ink dripping, pen and brush, giving people the feeling of sudden rain and wind, reflecting his typical painting style. At the top left of the picture, there is Xu Wei's self-inscription poem: "May lotus flower Saipu head, long pole ruler handle swinging in the middle of the stream." Even if the face of the west is covered, the song is covered by the leaf. The poem is written in a lotus, expressing his resentment and injustice. Looking at the painting with poetry, the lotus leaf is swept out with thick ink dots and scattered edges, almost no kind of objects, it seems that the author does not have the slightest good feeling for it, so it is just a stroke of the pen. Lotus flower is quickly outlined with light ink center, wild cursive brushwork, and has no intention of seeking work. The handle and aquatic grass are also written in long fronts, allowing them to be thick and wet, and the center flanks are not considered. Finally, the author does not seem to have exhausted the passion in his heart, and uses a heavy pen to dot seven or eight ink dots of different sizes in the lower corner of the picture, hinting at the floating leaves in the water.
The lotus leaves in the painting do not have a beautiful image and a pleasant brush and ink. However, the painting also has a strange beauty, the beauty of the rhythm of ups and downs, and the beauty of the real artistic feeling appeal. In fact, the lotus in the painting is Xu Wei's own incarnation, full of fragrance, but living in a turbulent environment. It is this contradiction and pain that makes art a helpless magnificence, which is known by reading paintings.
▲ Chen Hongshou "Lotus Mandarin Duck Diagram" Ming Dynasty, Silk Color, 183× 98.3cm
"Lotus Mandarin Duck Diagram" Flowers and birds are outlined with strong and thin lines, with bright colors, delicate layers and subtle changes. The lake stone is folded with a pen square and hard, which sets off the delicate and rounded lotus flowers and lotus leaves depicted. The work is titled "out of the mud without staining, mao qing lian without demon" lotus flower, the flowers are beautiful, or budding, the first bloom, or blooming, colorful and polymorphic; the branches and leaves are exposed, The ting stretches, pitches the side; the lake stone is majestic, sharp and strong, thick and condensed. Two colorful butterflies danced in the air, and a pair of Mandarin ducks played leisurely on the surface of the water, breaking the tranquility of a pool of clear water. A frog is lurking on the lotus leaf behind the stone, coveting the beetle, bowing and moving, adding a little vitality and interest to the picture, from which we can see the painter's careful observation and subtle ingenuity. The author uses penmanship without being stereotyped, the coloring is mellow and not vulgar, the painting style is clean and bright, there is not only the sketching skills of the object pictogram, but also the moderate exaggeration of the change, and the picture presents a kind of harmony and unity in the contrast and change of complexity and simplicity, sparseness and density, rigidity and softness.
▲ Wei Xuelian 'Lotus Heron Diagram》 Ming Dynasty Ink on Paper 92.9× 49.9cm
In the painting, BiHeshu curls like a cloud, and an egret curls its neck and shrinks its head, and is resting in the grass on the shore with its eyes closed. The author writes lotus leaves in splashed ink, depicts the network with heavy ink hooks, writes with workmanship; double hooks write lotus flowers, and the jewels flutter. The egret is similar to a white depiction, without smudge but vivid and accurate. The whole painting is fresh and bright, and it is a freehand masterpiece.
▲ Xie Sun's "Red Lotus Atlas", Qing Dynasty, Color on Paper, 25.3×31.3cm
This is a sketch of flowers and flowers with a brush stroke, and the technique is detached from the Song Dynasty courtyard body painting. Hook and smudge, deep skill. The lines of flowers and leaves are thin but not rigid, and the color is bright but not thick. Brilliant and lifelike. The concept is chic and ingenious, and the image is particularly prominent with the in-depth depiction of the part. In the middle of the scale, there is only one flower and a half leaves, and a water plant is hastily interspersed among them. The smudge dyeing is so that the veins and even the fibers of the lotus flower are drawn out with a thin pen. The whole picture seems to be relaxed, quiet, quiet and elegant.
▲ Yun Shouping "Lotus Reed Sketch" · Qing Dynasty , Color on Paper , 131.3 × 59.7cm
This painting depicts a new lotus stem soaring out of the sky in the autumn breeze, and the petals in bloom are delicate and moving, in stark contrast to the withered and half-dead lotus leaves and the withered and colorless lotus canopy. The lotus flowers are painted in Yun Shouping's unique boneless painting method, the tones are clear and cool, and the brush is free and ethereal, creating a sense of emptiness. The upper left of the painting is self-titled: "This frame was painted on the East Pond a few years ago after drunkenness, the residual lotus was separated from the reed grass, slightly desolate and lonely, placed in the mess of paper residue, I don't know when it was obtained by the old man of the book, this autumn even showed, Yu suddenly like the law of the room encountered the old thing in the broken urn also." Because the old book is inscripted with a pen".
▲ Tang Ai's "Lotus Flower Diagram", Qing Dynasty, Color on Paper, 148.4×81.6cm
"Lotus Flower Map" takes a corner of the lotus pond, the red lotus blooms, the new lotus leaves reflect the fun, the pond water is clear, the water and grass flutter, showing a vigorous scene of the lotus pond in midsummer. This figure is drawn in a boneless way, the dyeing of the lotus flower, with a powder with rouge, gradually entering the petal head; the lotus leaf is based on a light color, and the dark color rendering gives way to the leaf vein.
▲ Shi Tao's "Green Smoke on the Pushang" • Qing Dynasty , Ink and Pencil on Paper
The painting depicts a pond blown by the breeze, the ripples of the water, and the large lotus leaves and lotus flowers gently swaying with the wind. The water surface painters of Lotus Pond did not completely use the blank virtual realm to express, but used the dynamic gestures of wet brush light ink to slightly dye and show the ripples of the water. On this painting, the painter has a self-inscription: "There is green smoke on the pool, and red clouds at the bottom of the waves." Don't shake the double laurel, be afraid of wet Xiang skirt. Meet to pick lotuses, and the boat will play two oars. Startle the egrets and fly into the port of Hengtang..." Depicting the lotus field and the lotus pond scenery where the lotus flowers are in full bloom.
▲ Yun Bing's "Putang QiuYanTu" • Qing Dynasty • Color on Paper • 127.7×56 .6cm
The author successfully portrays the beautiful scenery of Putang in autumn with realistic techniques. The whole painting uses the boneless method, the algae is directly pointed out by color, and the lotus flower is dyed with pink dots, which quickly blends in with water, the color level is rich, and the shade of the color is excessively natural, truly showing the light and elegant beauty of the petals. The title is "Putang Qiuyan, Fu Nantian Gongben, Female Clan Yun Bing." "钤" 恽冰", "Qing Yu" yin.
▲ Wu Zhenwu's "Lotus Mandarin Duck Diagram" • Qing Dynasty , Silk Coloring , 56.7 × 56 .8cm
This work is a corner of the lotus pond, reeds, clear water, a pair of Mandarin ducks swimming together, on them lotus leaves are emerald green like umbrellas, several red lotus flowers are blooming Fangfei. The flower and bird painting method is neat and meticulous, and the virtual reality is in harmony. The veins of the lotus leaves, the red silk of the lotus flowers, and the fine thorns on the lotus handle are all depicted very vividly, while the water waves, aquatic grasses, and reeds are only painted with light ink. The combination of virtual and real brushwork makes the picture present an ethereal and moist feeling.
▲ Zhu Yun", "Lotus Flower Bird Diagram", Qing Dynasty, ink and pencil on paper, 182×98cm
In the painting, the lotus leaves are about to decay, the lotus flowers will also wither, and the two birds are bulging with a pair of confused eyes, looking at each other, revealing a lot of confusion and confusion about the future... The whole picture, ink and lotus vivid, each has a posture, full of interest, and the lotus lotus echoes the lower left painting of the water dew stone, properly combined, the right part remains outside the painting, with the pen relaxed, sparse and vibrant. Lotus flower birds are Zhu Yun's best and favorite subject, he depicts lotus ponds, mostly shallow water dew mud, slender lotus handles, soaring upwards, pavilions, with a gentleman's wind. He once said from the clouds: "The new lotus in the lake and the ancient pine on the side of the West Mountain House are all those who have attained god by waiting and watching." It can be seen that his paintings are observational and subtle, contemplating and understanding the right and using imagery as it, and it is easy to come by hand and be interesting.
▲ Lang Shining's "Lotus Butterfly" Qing Dynasty
With the combination of Chinese and Western painting techniques, Lang Shining depicts unique paintings of flowers and birds. The flowers, birds and insects in the painting are colorful, and the depictions are extremely detailed and realistic, with a strong sense of three-dimensionality and layering. In his paintings, he still more or less carries the changes in light and shade in Western painting, and the shape is realistic and vivid. Lang Shining, an Italian, formerly known as Giuseppe Gastellione, was born in Milan, in 1715 as a Catholic Jesuit monk to China to preach, immediately entered the palace into the Ruyi Pavilion, became a court painter, participated in the design of the Western-style building of the Yuanmingyuan, successively served in the Kang, Yong and Qian dynasties, engaged in painting in China for more than 50 years.
▲ Hu Gongshou "Xiangman Putang Tu", Qing Dynasty, color on paper, 178.9 × 47.5cm
This picture is concise with a pen and bright colors, depicting the sentiment of "a small half-stream of lotus, and a cool water and a pool of lotus". First use wet brushes to draw two clusters of green pupa, white lotus blooming, pavilions, swaying with the wind, fragrant overflowing. Lotus leaves are interspersed with Gu Pan and are infectious.
▲ Ren Pre"Lotus Flower Diagram", Qing Dynasty, Ink on Paper, 106× 29.5cm
This figure draws lotus flowers in ink. Later Zhou Dunyi wrote "The Saying of Eilean" to compare the lotus flower to the "gentleman of the flower", and later generations of literati and doctors often used the lotus to symbolize the purity of their own character. In Buddhism, the lotus lotus is a symbol of the Pure Land of the Buddha, and is used by believers to yearn for happiness and beauty in the next life. Therefore, lotus lotus has also become a very favorite subject of Ren Qian, and his noble and quiet temperament is expressed through painting lotus.
▲Gao Sulfone "Lotus Flower Diagram", Qing Dynasty, Fan, Light Color on Paper, 17.8×51.1cm
In the picture, the lotus leaves and reed leaves in the water are painted in the boneless method, and the lotus leaves are pink, and the lotus leaves are wide and complete, swaying with the wind. The shape is simple and the depiction is general. Long reed leaves and weed residues coming out from the left are all painted in one stroke. The color is bright and vulgar, thick and not stagnant, elegant and elegant. And it's fun and elegant, and it's not dusty.
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