The Ming Dynasty (1368-1644) was an important stage in the history of Chinese painting and calligraphy. The painting and calligraphy of this period continued to evolve and develop on the basis of the Song and Yuan traditions. In particular, with the gradual stabilization of social economy and the development of culture and art, some famous artists and genres centered on regions have emerged. The evolution and development of the entire Ming Dynasty generation of calligraphy and painting art can be roughly divided into three stages: the early period, the middle period and the late period, but it cannot be completely separated, but alternately connected with each other.
In the early Ming Dynasty, this period was mainly based on imitation of the "two Song Dynasty courtyards". In terms of flower and bird painting, it inherits the painting style of Huang Quan's father and son; in landscape painting, some patriarchal Guo Xi, while most of the figure landscape paintings are completely imitated by Li Tang, Liu Songnian, Ma Yuan, and Xia Gui of the Southern Song Dynasty. The main features can be summarized as accurate image, rigorous law, and bright colors. The difference between Ming painting and Song painting is mainly that the pen under the Song Dynasty courtyard painting is dignified and steady, more neat and rigorous, and the style is simple and thick, while the Ming Dynasty courtyard body painting, the early painting style is still more rigorous and meticulous, more ink with a little freehand, the next pen is light.
In the early period, there were courtyard paintings Lin Liang, [Autumn Forest Gathering Birds], Lü Ji [Residual Lotus Eagle Heron], Wu Wei [Yu Le Tu] Dai Jin [Wind and Rain Returning to the Boat], here is an introduction to the early Ming Dynasty Lü Ji paintings.
Lü Ji (1429-1505) of the Ming Dynasty, Ming Dynasty painter, Zi Tingzhen, Trumpet Leyu, Yin County (present-day Ningbo, Zhejiang Province). Famous for his flower and bird paintings, he first learned the brushwork of Bian Jing Zhaogong, and was also influenced by Lin Liang's ink painting method, and later imitated the famous relics of the Tang and Song dynasties, so he became a self-contained and unique contemporary. His flower and bird painting style shows two faces, one is heavy and colorful, the precision is rich, and many paintings of phoenix cranes, peacocks, mandarin ducks and the like, supplemented by tree slopes and stones, beach and spring background, both legal and full of vitality. The other type is ink freehand painting, with a thick brush stroke, concise and unrestrained, close to Lin Liang's style. He is also good at characters, landscapes, patriarchal Southern Song Dynasty Ma Yuan, Xia Gui painting method. His style of painting flowers and birds was very influential inside and outside the court at that time, and there was no shortage of successors. His representative works include "Osmanthus Mountain Bird Diagram", "Durian Flower Double Warbler Diagram", "Residual Lotus Eagle Heron Diagram", "Nine Heron Diagram", "New Year Double Pheasant Diagram", "Eagle Magpie Diagram", "Cold Snow Mountain Chicken Diagram", "Lion's Head Goose Diagram", "Bamboo Bird Diagram", "Apricot Blossom Peacock Diagram", "Peony White Bird Diagram", "Autumn Rare Bird Diagram", "Willow Shade Bird Fun Diagram", "Three-Thought Chart Axis", "Snow Scenery Feather Diagram", "Autumn Heron Hibiscus Diagram", "Lotus Sleeping Map", "Apricot Blossom Peacock", "Autumn Waterfowl", "Four Joy Diagram", "Four Seasons Flower and Bird Diagram", "Spring, Summer, Autumn and Winter", Snow plum set bird map", "banana rock crane standing map" and so on.
Early Ming Dynasty Lü Ji "Guiju Mountain Bird Map" appreciation
"Guiju Mountain Bird Diagram" axis, Ming, Lü Ji painting, silk, color, length 192cm, horizontal 107cm, now in the Palace Museum,
"Guiju Mountain Bird Diagram" is a representative work of Lü Ji's flower and bird painting. Picture a laurel tree, lush flowers and leaves, full of business. There is a piece of Taihu stone in front of and behind the laurel tree, and various chrysanthemums are planted around the Taihu stone. There are 4 ribbon birds among the flowers and trees, 1 chirping on the laurel tree, and 3 scattered on the ground to peck; There are also 3 birds on the branches, and the song is excited. The whole picture is neat and meticulous with a pen, the lines are straight and powerful, the colors are rich and vivid, and it has a strong decorative effect, which is one of the fine works of Lu Ji. The author of the upper left of the painting recognizes the "Lü Ji" section, and the lower part reads the "Seal of the Four Ming Lü Ji".
This picture shows a combination of colorful flowers and birds and freehand trees and stones. The main flowers and birds depicted: the ribbon bird, the starling, the osmanthus flower, and the autumn chrysanthemum, all belong to the auspicious and precious things, which have the meaning of wealth and longevity and gentleman's festival, and the content clearly reflects the royal artistic and aesthetic interests.
The objects of the picture not only truly show the natural nature of living things, but also vividly express the meaning of connotation. The trunk of the laurel tree is thick and leafy, the branches are full of flowers, and the yellow golden laurel seems to emit a burst of fragrance; several clusters of chrysanthemums on the side of the stone, red, yellow, pink, white, colorful, competing for color; the relative chirping of the branch starlings highlights its good singing disposition; the ribbon bird has a beautiful posture and dark blue feathers. The brilliant colors and vivid emotions of flowers and birds create a festive and joyful atmosphere and auspicious and gorgeous interest. This pictorial method is neat and beautiful, inheriting the tradition of "royal wealth" of the court "courtyard body" flowers and birds. At the same time, the flowers and birds with heavy brushwork and the trees and stones with thick brush and ink also reflect the mature flower and bird painting style written by Lü Ji and Gong Belt.
Appreciation of lü ji's "Durian Flower Double Warbler Diagram" in the early Ming Dynasty
Ming Lu Ji Durian Double Warbler, Silk, Color, Length 120.4, Width 40.2 cm. Collection of Nanjing Museum.
Write a branch of the durian tree, the flowers bloom, and for a while the yellow oriole perchs on the branch and cries endlessly. The demeanor is lively, with double hooks as lines and heavy color depictions, which is the typical style of courtyard body painting in the middle of the Ming Dynasty. In the middle left of the painting is the ink book "Lü Ji".
Appreciation of the Early Ming Dynasty Lü Ji's "Residual Lotus Eagle Heron Diagram"
Ming Dynasty Remnant Lotus Eagle Heron Diagram Silk Book, Color, Length 190cm, Width 105.2cm. Palace museum.
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 terms of specific performance, the painter arranged the reeds, lotus leaves, lotus puffs, egrets, and birds and finches together in a disorderly manner, which better reflected the panicked scenes when the egrets and birds were attacked. A few pieces of residual lotus, a few reeds, point out that it is the early autumn festival, and the autumn scenery of Xiao Killing renders the atmosphere. Make the tone of the picture unified and harmonious.
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.
Appreciation of the Nine Herons of the Lü Dynasty in the early Ming Dynasty
Ming Dynasty Nine Herons, colored on silk, 148.8 cm in length and 82.9 cm in width. Collection of the Museum of Boston, USA.
Appreciation of Lü Ji's "New Spring Double Pheasant Diagram" in the early Ming Dynasty
The "New Year Double Pheasant Diagram" color painting silk, 185 cm in length and 109 cm in width, is a silk color painting created by Lü Ji in the Ming Dynasty, which is now in the Beijing Municipal Bureau of Cultural Relics.
The pheasant painted with stone green, stone green, ochre red, white, cinnabar and other colors below the painting perchs on the ink-colored old plum trunk, and on the left and right of the pheasant, there is a large red camellia with green leaves, a little red fruit in the green bamboo, and other green leaves and pink flowers. Above the painting are loud white plums with stone blue, ochre gray, and pink doves.
Early Ming Dynasty Lü Ji "Eagle Magpie Diagram" axis appreciation
"Eagle Magpie Diagram" axis, Ming, Lü Ji painting, paper, color, length 120.7cm, horizontal 61.5cm. Department: "Lü Ji". 钤 "Siming Lü Ting Zhenyin". Collection of the Palace Museum.
The picture depicts a goshawk on top of a separate rock, two flying bees catch its eye, and the magpies on the side take the opportunity to flap their wings and flee. The author uses a thick pen, full of simple and indulgent pen and ink interest. Lü Ji's flower and bird paintings not only pursue similarities, but are also good at expressing the relationship between birds and birds, capturing the momentary demeanor and momentum of birds, creating a sense of urgency and explosiveness, breaking through the aesthetic decorative meaning of traditional flower and bird paintings, thus gaining new artistic vitality.
Early Ming Dynasty Lü Ji "Cold Snow Mountain Chicken Map" axis appreciation
Ming Dynasty, Lü Ji, Hanxue Mountain Chicken Diagram, Axis, Color on Paper, Length 135.3 cm, Width 47.2 Cm. Collection of the National Palace Museum in Taipei.
The "Hanxue Mountain Chicken Diagram" painted by the Ming Lu Ji is a vertical axis, a plain note book, and an ink painting. The author uses both freehand and penmanship to depict the ice and snow covered with sparse wood and grass and bamboo, and a pheasant chicken shrinking its head and squatting alone on the top of the snow, giving people a sense of beauty of wilderness and tenacious rhythm of life. The shaft is four feet two inches and one minute wide, and one foot four inches and seven minutes wide. The section is signed "Lü Ji", and there is a seal of "Siming Zhan Tingzhen" under it. Under the left is a seal of "Seeing the Sun Book". Shiqu Baodi, volume XVII.
Early Ming Dynasty Lü Ji "Lion's Head Goose Diagram" axis appreciation
Ming Dynasty, Lü Ji, "Lion's Head Goose Figure", also known as "Plum Goose Figure" axis, silk color, length 192.5 cm, width 106 cm. Collection of Liaoning Provincial Museum. In "Plum Goose Diagram", he extends a tree trunk with a less complete ancient plum from the right side of the painting obliquely to the top third of the picture, and the momentum is exhausted. Although he depicts winter scenes, they do not make people feel cold. This is because the painting is based on silk, which presents a warm color. The warm-colored silk background sets off the blooming white plums, giving people a warm and peaceful feeling.
"Plum Goose Diagram", gong pen painting lion head goose, sideways curved neck review of ancient plum, goose body as white as jade, eyes carved with god, vivid image. The ancient plum branches are vigorous and vibrant. The tree is lined with Taihu lake stone and moon flowers, and there are double hook bamboo hidden behind the stone, which is brightly colored, setting off the white and red crown of the lion's head goose. It is a masterpiece of flower and bird painting in the courtyard of the Ming Dynasty. Signed "Lü Ji".
Early Ming Dynasty Lü Ji "Bamboo Bird Diagram" axis appreciation
"Bamboo Bird Diagram" axis, Ming, Lü Ji painting, silk, color, length 148.5 cm, width 67.7 cm. Collection of the Palace Museum.
Department: "Lü Ji". Plutonium "Siming Lü Ting ZhenYin" seal. At the top of the picture there is an inscription poem of Dong Gao.
This scene is simple, with a pole of bamboo slanting out from the bottom left, diagonally running through the picture. The trunk is beautiful, the side branches are thin, and the leaves are dense and dense, which is the method of painting bamboo by the Song and Yuan literati. Two magpies chirp at the branches, with the meaning of auspicious peace. The composition of the work is clear, the style is beautiful, the use of small freehand brushwork, the color is fresh and elegant, which is different from the rich and noble appearance of Lü Ji's other works.
Early Ming Dynasty Lü Ji "Apricot Blossom Peacock Diagram" axis appreciation
Ming Dynasty, Lü Ji, Apricot Blossom Peacock Figure, Axis, Silk Color, Length 203.4 cm, Width 110.6 Cm, National Palace Museum, Taipei.
The painting depicts a pair of peacocks perched under an apricot blossom tree. In the center of the picture, the peacock stands on one foot on the rock, looking back at the blooming red peony, while the other peacock crouches on the stone and observes the ground. Peacocks, apricot blossoms, peonies, etc. in the painting symbolize auspicious meanings. The apricot blossoms are dyed with white and pink ochre pigments, while the peony flowers and peacocks use a thick ochre red color, which is matched with the pigments of stone blue and stone green, which is full of rich and beautiful decoration.
This painting belongs to the representative work of Lü Jigong's flower and bird painting, with the right side of the signature "Lü Ji" and the "Siming Lü Ting Zhenyin" side covered.
Appreciation of lü ji's "Peony White Bird Diagram" in the early Ming Dynasty
(Ming) Lü Ji,"Peony White Bird Diagram", 184 cm in length and 99.8 cm in width, Chinese painting, national art museum of China.
The upper part of this "Peony White Bird Diagram" depicts several peach branches obliquely, on which peach blossoms bloom, pink and white. Three birds and finches perch on the branches, with different postures, chirping, full of spring liveliness. There are white and red peonies competing among the stones in the lower lake. The white bird standing on the lake stone becomes the center of the picture, its eyes are round, looking down on the pheasant under the stone, and its tail feathers look gorgeous and vigorous under the peony. The whole picture creates a festive and cheerful atmosphere, auspicious and rich, reflecting the typical royal aesthetic taste.
Early Ming Dynasty Lü Ji "Autumn Scenery Rare Bird Map" appreciation
Ming Dynasty Autumn scenery rare birds figure vertical axis, colored silk book. 184×109.5cm。
Plutonium seal: Siming Lu Ting Zhenyin. Title: Lü Ji. Jianzang Seal: Jiaochaxuan collection of calligraphy and painting prints.
Lü Ji was a court painter in the early Ming Dynasty, good at painting flowers and birds, slightly changing the Song painting method, writing flowers and birds with a gong pen, and tree stones with a slight intentional brush and cursive method, setting the color beautiful and vulgar. This picture should be the autumn scene in the original four seasons screen, writing that the Mandarin duck rare bird is between the Dangui hibiscus autumn chrysanthemum, after five hundred years and the color is still bright and moist, it can be described as a rare and good meal. The "Guiju Mountain Bird Diagram" collected by the Palace Museum in Beijing is a famous work of Lü Ji, and the scale is similar to this map, especially the brushwork structure of the tree stone can be used as a reference for this figure. The painting is based on a laurel chrysanthemum with a pheasant, and this one is based on a dangui hibiscus with a mandarin duck. The color of the hibiscus is particularly delicate, born from the Southern Song Dynasty Li Di's "Red and White Hibiscus" album, which is now in the Tokyo Museum.
Appreciation of Lü Ji's "Fun Map of Willow Shade Birds" in the early Ming Dynasty
Lü Ji "Willow Shade Bird Fun Map" is heavily colored on silk
This picture on the grass stone on a pair of beautiful Mandarin ducks, full of vitality, on its peach blossom pieces, luxuriant and blooming, a quiet and tranquil warm picture jumped on the canvas, above there are three goshawks, not spreading their wings, not like the famous "Residual Lotus Eagle Heron Map" in the same eagle, fierce, sharp, but depicted in different postures, the atmosphere is relaxed and casual, and the mandarin duck below is interesting, a willow branch flourishes and does not lose the luxury of Lu Ji through the main picture, the tree and stone lining, the main and secondary are staggered, and the vision is complete. The whole picture reveals a harmonious and peaceful mood, which should also express the prayer for social harmony expected by Lü Ji, as an official of the imperial court.
"Willow Shade Bird Fun Map" has a dense composition, rigorous workmanship, rich penmanship, thickness and thickness, especially with dry pen slightly rubbing, thick and light, the pen is smooth and inky.
Appreciation of Lü Ji's "Axis of Three Thoughts" in the early Ming Dynasty
The composition of the painting is rigorous, the colors are bright, and the method is exquisite and vivid. The picture of shou willow new branches, white head double flying, breeze, yellow oriole singing green, egret under the tree is idle, the hibiscus next to the tree is drunk, a good faction of wealth and grandeur, peaceful and auspicious realm! However, careful thinking is now the author's meaning is profound, well-intentioned: the willow in the painting, the longevity is nearly declining, the hibiscus next to the tree, also known as the frost, this flower is in full bloom, the severe winter is not far away, so the old willow, and then frost and cold, its danger is visible, the tree is painted under the egret, meaning twice, the heart of the country, can be seen! The author is good at using allegorical techniques to advise the emperor in his paintings, and the emperor also knows his intentions, once saying, "Gong Deacons are in charge of art, and Lu Ji has it." "This picture was originally the old collection in the palace, and then transferred to the Confucius House, which was also used as a dowry, living in Yuncheng, and later acquired by the Yuncheng County Cultural Management Office, treasured to this day, the quality is basically intact!
Early Ming Dynasty Lü Ji "Snow Scenery Plume Map" appreciation
History records the story of Lü Ji's "Qu Zhi"; during the Hongzhi Period, Emperor Xiaozong of Ming said: "Referring to the art of advising, Lü Ji has followed." Lü Ji's "Snow Scenery Plume Diagram" is a painting of the emperor who uses allegorical techniques to advise the emperor, and the painter Lü Ji depicts the scene of poultry birds and finches clinging to each other in the severe snow and cold, and helping each other in tribulation, in order to express the suffering of the people of Li and hope that the emperor will reduce taxes. This method of qu zhi not only preserved the noodles for the emperor, but also expressed a piece of loyalty from Lü Ji. Emperor Hongzhi was very appreciative of Lü Ji's approach, and Emperor Hongzhi decided to grant Lü Ji the official position of commander of the envoy, and Emperor Hongzhi recognized Lü Ji as a blunt speech with paintings, for the sake of uprightness, and the position granted to Lü Ji as a military attaché was more appropriate. Lü Jizuo's official position as a "royal painter" was "commander of the Imperial Household". Examination of the Ming History, volume 76, "Zhi Guan Zhi V": "Qiu Luan, in charge of the affairs of guards, arrests, and prisons, heng yi xun qi du oversees it, and En Yin sends lu impermanent members." ...... Su Wei went straight. ...... Zhenfu Si is in charge of the name of the guard and is also a military smith. ”
Early Ming Dynasty Lü Ji "Autumn Heron Furong Diagram" appreciation
Lü Ji, Autumn Heron Hibiscus Figure, Silk, Color, Length 100cm, Horizontal 58cm Collection of the National Palace Museum in Taipei
This picture depicts autumn as a derivative and shows his distinctive aesthetic taste. The three herons in the painting, one perched on the shore, is turning back to its companions flying in the air; The one in the air seems to have heard the call and is circling down to meet the partner, and the top one seems to be looking for the call to follow, and the arc curve connected by the three herons corresponds to the curved line of the willow branch, forming an extremely strong sense of movement on the picture. These minor foils of the shore calamus are orderly and properly gathered, whether it is yin and yang to the back or in the order of the front and back.
The success of this work lies in the author's use of lines. Whether it is the short strips that outline the willow leaves or the long lines of the lotus stems, the pen is in place, strong and clean, stable and firm. Rough places such as willow branches, heron beaks and claws are depicted extremely vividly and naturally, and many subtleties on the picture are quite ingenious, like the two partridges on the shore, which are hidden and exposed, flexible and vivid, and the two small birds on the branches have different looks and natural shapes.
Early Ming Dynasty Lü Ji "Hezhu Sleeping Map" axis appreciation
Lü Ji Hezhu Sleeping Scroll Silk Color painting Length 174.5 cm Horizontal 104.2 cm Collection of the National Palace Museum in Taipei
At the end of the moon, the mist is miserable, the reeds and lotus leaves loom in the middle, and there are four geese perched on the continent. The composition is only near and medium, and the long view is omitted and unpainted. Although this painting has Lü Ji's famous model, there are doubts, and the pen power of the general width is relatively weak, which is not the original trace of Lü's family. However, its scenery arrangement and atmosphere creation are quite close to another piece of Lü Ji's collection of "Qiuzhu Waterfowl", so it should be a copy of the Lü style that is quite faithful to the Lü style, and the appearance of the Lü Ji freehand style can be glimpsed from this painting.
Appreciation of Lü Ji's "Apricot Blossom Peacock" in the early Ming Dynasty
Lü Ji Apricot Blossom Peacock Collection of the National Palace Museum in Taipei
In the painting, a pair of peacocks with different postures surround a circle of apricot blossom trees with elegant blooming postures, surrounded by red and white peonies in full bloom, and the treetops and sparrows jump, and the picture is gorgeous and delicate, presenting an elegant and lively scene as a whole. The apricot blossom is the symbol of spring, the peacock and peony mean wealth, and the harmonic sounds of "bird" and "knight" hint at the high-ranking official Lu position, adding an auspicious meaning to the original magnificent performance.
Appreciation of Lü Ji's "Autumn Waterfowl" in the early Ming Dynasty
Lü Ji Qiu Waterfowl Collection of the National Palace Museum in Taipei
On the autumn night when the smoke is thick, the moon is half hanging. Hibiscus and reed slopes inhabit the bean geese four, three have fallen asleep, and a pair of moons have been chirping. The brushwork of painting flowers and birds in the painting is fine and not rigid, and the slope stone is freehand. It not only shows the habit of a goose guarding the night when the geese roost at night, but also paints the poignantness of the autumn night, and pins on the mood of borrowing time and scenery to express feelings, which is a representative work that shows The combination of Lü Ji's work and writing, and is good at mastering the characteristics of the situational atmosphere.
Appreciation of Lü Ji's "Four Happy Pictures" in the early Ming Dynasty
The silk book depicts four magpies, which has the meaning of annunciation and blessing, and is a painting of flowers and birds with auspicious nature. Paintings of such subjects were generally intended to bless or pray for the emperor's blessings.
"Four Xi Tu" belongs to his close to the northern Song Dynasty courtyard body painting classic type of heavy color painting, is a more orthodox court painting style, meaning auspicious, colorful, with penmanship, with a magnificent court decoration interest.
Appreciation of Lü Ji's "Four Seasons Of Flowers and Birds" in the early Ming Dynasty
Lü Ji's "Pictures of Flowers and Birds in All Seasons" Tokyo National Museum is a set of four screens, which are accompanied by flowers and birds in the natural landscape of spring, summer, autumn and winter, and are a representative work of Lu Ji's flower and bird paintings. It can be seen from the fall of the money that he worked in the painting academy at that time, and his exquisite depiction and excellent color expression reflected the painting style of the mature period of lü Ji. Once part of the Shimazu family's collection, it is a work of historical origin, and it is speculated that Lü Jihua was transported to Japan by a large number of ships in Ningbo, where he was born. In particular, daimyōs liked to hang large paintings of flowers and birds in their living rooms, which also had a major influence on the Japanese painting scene after the Muromachi period.
Spring scenery of flowers and birds in the four seasons of the Ming Dynasty Cherry blossoms bloom, mandarin ducks play in the water and trees, a spring scene. Tokyo National Museum
The summer scene of Lü Ji's "Picture of Flowers and Birds in All Seasons": painting magnolias, yellow orioles, peonies and water ducks, with mountain stones and streams as the background, but the author is curious, why did not paint the representative flowers of summer, lotus flowers?
Autumn scene of Lü Ji's "Picture of Flowers and Birds in Four Seasons": Writing about the mandarin duck rare birds in the autumn chrysanthemums of Dangui Hibiscus, after 500 years and the color is still bright and moist, it can be described as a rare masterpiece.
Winter scene of Lü Ji's "Four Seasons Flower and Bird Diagram": The winter landscape shows the visual design of the flowing water boldly and elegantly, and at the same time realistically depicts the flowers and birds in nature, it also arranges these scenes in a decorative way in the large picture, reflecting that Lü Ji has mastered the art of abstract expression.
Early Ming Dynasty Lü Ji "Snow Plum Collection Bird Map" appreciation
Lü Ji Xuemei set poultry picture silk color 192cmx110cm is now in the Tianjin Museum
Lü Ji mainly paints in the tradition of a neat and exquisite courtyard body, with accurate shapes and bright colors. But I can also paint vivid and vivid paintings of flowers and birds written with a workband. His paintings were vivid and his brushstrokes were fresh, and he was a famous flower and bird artist with the same name as Bian Jingzhao and Lin Liang at that time.
Appreciation of the Early Ming Dynasty Lü Ji's "Crane Standing Map of Banana Rock"
Banana Rock Crane Standing Map, Lü Ji, Ming Dynasty, Silk, Color Painting, Horizontal 70cm, Vertical 107cm, Beijing Palace Museum Collection.
The picture is composed of cranes, stones, and plantains, the crane is called "a bird", the leaves of the plantain are the largest leaves in the plant, "leaves" through "karma", the "karma" of the cause, and the great cause is successful. The crane also has a saying of trilling, "The crane lives for a thousand years, to swim close to it." ", the stone is thin, leaky, transparent as the most, alluding to longevity. Self-titled: "Wu Ying Dian Zhi JinYi commanded Lü Ji to write when Hongzhi 癸海暮春六日也".