At the end of China's feudal society, although the culture tended to be preserved, there were many distinctive genres and painters with strong personalities in the field of painting, each leading the way and weaving the painting world. The reforms of the Ming and Qing dynasties did not break the tradition of painting; the Qing Dynasty still had many schools of painting, imitating the ancient and innovating in their own way; literati painting and Western painting also had an impact on court painting; along with the development of the commodity economy, the literati also made a living from painting and vented their anger by painting; the jianjian style of Jinshi calligraphy also dissolved into painting; folk painting became more secular and commercialized. As the last splendor of ancient Chinese painting, Qing Dynasty painting has shown a tendency to undergo strange changes, making preparations for the reform of modern Chinese painting. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the remnant painters represented by the Bada Shan people developed literati painting, which made it a step further and had a great impact on future generations. After entering the Qing Dynasty, under the influence of Dong Qichang's painting theory, the atmosphere of the painting world was greater than innovation, and it was called the orthodox school. By the middle of the Qing Dynasty, the emergence of the Eight Monsters of Yangzhou broke this state and became an artistic innovation school with its own opinions, breaking conventions, and taking a clear banner. All kinds of painting disciplines have developed at this stage, and at the same time, Chinese and Western art have also been exchanged, which is another prosperous stage in the history of Chinese painting.
Thousand Rocks Show
Qianyan Jingxiu Figure Qing Cheng Yi Ink on paper 29.5 X width 22.7 cm Zhejiang Provincial Museum Collection
Cheng Yi (c. 1605~ 1691), a native of Shexian County, Anhui Province, lived in Yangzhou in his later years. Gong poetry, good at landscape and water, the first imitation of Juran, and then pure ink with thirsty pen, deep and ancient, unique path. He is the main painter of the Xin'an School. This picture is made by the author in his later years, the layout is strange in peace, the painting method is slightly referenced to the Brush Intention of Wang Meng of the Yuan Dynasty, the momentum is broad, and the artistic conception is Xiao Sen, which not only has the characteristics of the Xin'an School of Painting, but also shows the author's pursuit of jinshi interest.
Landscape map
Landscape map Qing Fu Mei Silk color Length 22X width 21.8 cm Collection of Tianjin Art Museum
Fu Mei (1628-1683), Painter of the Qing Dynasty. Yangqu of Shanxi, son of Fu Shan. This drawing depicts a village temple deep under the walls of a mountain. The dense forest inside and outside the foothills of the temple is lush and shady, the scenery is secluded, the layout is plain and interesting, the pen is concise, the ink blends, vivid and natural, unique. It is the best of Fu Mei.
Map of the River And mountains
Jiangshan Lying Tour Figure Qing Cheng Zhengyi Color on paper Length 26X width 305 cm Collection of the Palace Museum in Beijing
Cheng Zhengyi (1604-1676), ziduan bo, juling, Qingxi Daoren, Hubei Xiaoqiu people, living in Nanjing. Cheng Zhengyi painted landscapes, using a hard pen bald, thick and heavy, ups and downs, very nostalgic cursive taste. Cheng Zheng's landscape paintings are mostly in the form of hand scrolls, and they are arranged under the title of "Lying In the River and Mountains". Zhou Lianggong said in the "Reading Album" "Cheng Zheng Shu Shu": "I wanted to make five hundred volumes of lying pictures, and ten years ago, I had already seen three hundred of them, or a few zhangxu, or a few feet, and the complexity and simplicity were thick and light, and each was extremely unique." It can be seen that Cheng Zhengyi created a number of "Lying In the River and Mountains", and this one is the author's work when he was 49 years old.
Nine Summer Pine Wind Map
Jiuxia Songfeng Diagram Qing Wang Jian Color on paper Size unknown
Wang Jian (1598~1677), painter of the late Ming and early Qing dynasties, a native of Taicang, Jiangsu, was the grandson of Wang Shizhen. He is good at painting landscapes, with rounded brushwork, thick ink, and gu youjing, who is on a par with Wang Shimin, and is one of the six great masters of the early Qing Dynasty. Wang Jianjia has many famous relics and has been practicing copying since he was a child, so his skills are profound. His landscape paintings, influenced by Dong Qichang, also traced dong yuan and Ju Ran, and many of his paintings imitated the Yuan families. He is also good at painting green and green, and he is both dyeing and dyeing, and he claims to be "a pen without self-writing." The style of this painting is rich and smooth.
Stone stall book diagram
Shi Deng stall book diagram Qing Xiao Yun from paper ink pen length 132 X width 66 cm Rong Bao Zhai collection
Xiao Yuncong (1596~1673), painter of the late Ming and early Qing dynasties, a native of Wuhu, Anhui. Good at landscape and water, body preparation of the law, clean penmanship, in his later years, put pen, self-style. This picture is made with a strong brush and elegant color, which is the painter's landscape painting masterpiece.
Landscape Drawing Qing Puhe Ink on Silk 25.5X Width 34.5 cm Collection of Tianjin Art Museum
Pu He (1593~1683), Painter of the Qing Dynasty. Monk, a Tonghe, a native of Jinning, Yunnan. Gong poetry, good at painting landscapes, taking the law Ni Zhan, the style of absurdity and indulgence. This picture depicts a fishing boat floating in the reeds, and the fisherman on the bow of the boat fishing, described as cute and very impressive. The pen is sparse and simple, the pen is arbitrary, the ink is dripping, and the atmosphere is smooth.
Nanshan Jicui Map
Nanshan Jicui Figure Qing Wang Shimin Silk Color Length 147.1 X Width 66.4 cm Collection of Liaoning Provincial Museum
This is an imposing landscape work. It is the painter's twilight birthday for people to celebrate the birthday, containing the meaning of "Shoubi Nanshan Immortal Pine", respectful and affectionate, is the painter's landscape painting in the falcon.
Xianshan Pavilion Map
Xianshan Pavilion Diagram Qing Wang Shimin Ink and ink on paper 133.2X horizontal 63.3 cm Collection of the Palace Museum in Beijing
Wang Shimin (1592~1680), a native of Taicang, Jiangsu Province. He is good at painting landscapes, taking Huang Gongwang and Ni Zhan as his ancestors, and his painting style is biased towards imitating the ancients. He was also a poet and one of the "Six Great Masters" of the early Qing Dynasty, and authored the "Collection of Wang Smokers". This picture depicts the Long Pine Ridge, a stream cottage. This painting is patriarchal Huang Gongwang in the expression of brush and ink, the hook line is ethereal, and the dry and wet brush is contrasted with the thick and light. The use of ink in this painting is clear and clean, which comes from the influence of Dong Qichang, and the qi is thick and powerful, which also shows the author's profound pen and ink skills.
Waterfall map of the creek
Xishan Flying Screen Picture Qing Wu Youhe Ink and Pencil on Paper 97.1X Horizontal 49.6 cm Collection of Tianjin Art Museum
Wu Youhe, year of birth and death unknown, lived around the kangxi period (1662-1723), a native of Shexian County, Anhui. Calligraphy and painting are exquisite, especially landscapes. This picture is composed of the Pingyuan method, with the stream as the link, and several groups of scenery at different levels are penetrated. Pen and ink master FaYuanren, mountain stone slope angle hook, sometimes use the flank, there is a sense of softness in the sense of rigidity.
West Rock Pine Snow Map
Xiyan Snow Figure Qing Hongren Ink on Paper Length 192.5X Width 104.5 cm Collection of the Palace Museum in Beijing
Hongren (1610 -1664), originally surnamed Jiang, was a native of Shexian County, Anhui. In the fourth year of Qing Shunzhi (1647), he became a monk, and his dharma name was Hiroshi (II. Gong painting landscape, part-time painting plum. The landscape style is close to Huang Gongwang, and is most deeply influenced by Ni Zhan, with thin pen and ink and cold style. Together with Wang Zhirui, Sun Yi, and Cha Shi, they were marked as "The Four Greats of the Xin'an Sect.". This picture depicts snowy mountains, steep cliffs, and winding green mountains, which appear cold and dangerous. The huts are star houses, adding to the wind. The overall situation is ethereal and clear, and attention is paid to the changes in the size, density, and virtual reality of the scenery, giving people a sense of grandeur, tranquility, and quiet holiness.
Pine Canyon Clear Spring Diagram
Songyuan Qingquan Figure Qing Hongren Ink and pencil on paper 134X width 59.5 cm Guangdong Provincial Museum Collection
In the use of pen and ink, this figure is taken from the questions of Huang Gongwang and Ni Zhan, and has its own appearance. The mountain stone is still simple, outlined with dry pen and light ink, the lines are smooth, less rubbed and there is a hard shape of the mountain stone. The layout of the work is precise, the structure is rigorous and there is no sense of stagnation, and the wind god is lazy and the atmosphere is desolate and cold.
Green sky map
Green Sky Map Qing Jia Remnant Color on paper Length 85X width 40.5 cm Collection of Nanjing Museum
(1612~1673), monk, native of Changde, Hunan. He is good at painting landscapes, learns from the "Yuan Sijia", and changes the methods of his predecessors to suit himself, and his works are thick and vast. Although the scale of this picture is not large, it gives people a sense of vastness and eloquence, which shows the author's skill.
Rain washes the mountain root map
Rain wash mountain root figure Qing Jia remnant Ink and pencil on paper 103X horizontal 59.9 cm Collection of the Palace Museum in Beijing
The landscape paintings of the skull are deeply influenced by Wang Meng, and also by Shen Zhou, Wen Zhengming, Dong Qichang and other influences in the Ming Dynasty, making good use of bald pens and thirsty pens, specializing in dry brush rubbing, dense scenery, pen and ink, strange realm, thick charm, and self-style. The pen and ink dots are crisscrossed and layered, and the mountains, water, clouds, and fog light after the rain are expressed like picturesque.
Snow Room Reading Diagram
Snow Room Reading Figure Qing Fa Ruozhen Color on Paper Length 161 X Width 87 cm Shenyang Museum Collection
Fa Ruozhen (1613~1696), a native of Jiaozhou, Shandong. Gong poetry, fine calligraphy, good landscape. His paintings are elegant and vulgar, and the brush and ink float and are self-contained. This picture depicts people living in the snowy mountains. The author dyes the sky and the ground with light ink, sets off the snow scene, hooks the boldness, and dyes the number of clear pushes.
Landscape Drawing Qing Fan Xi Silk Color 13.1 X Width 22.1 cm Shanghai Museum Collection
Fan Ji (1616~?) ), a native of Jinling (present-day Nanjing, Jiangsu). Jingshan water, flowers, characters, etc., is one of the "Eight Houses of Jinling". This landscape album is high-spirited and solemn. Picture 1 depicts a spring scene of peach blossoms, mountain stones, and drunken spring beads. The color of the picture is bright, the contrast between red and green is strong, bright and moving, and full of seductive pastoral interest. The composition is concise, and less wins more. Figure 2 depicts a small village surrounded by mountains and rocks, with two old trees on a flat surface. It was empty and clear, full of refreshing breath.
Pinewood Bookstore Diagram
Songlin Book House Figure Qing Gong Xian Color on Paper Length 271.2X Width 128.3 cm Lushun City Museum Collection
Gong Xian (1618~1689), a native of Kunshan (now part of Jiangsu), lived in Jinling (present-day Nanjing:). Painting mountains and waters, taking the fa Dongyuan and Wu Zhen, paying attention to sketching, dyeing layers of ink layers, rich and moist, creating a style of self-creation, and becoming one of the "Eight Houses of Jinling." This picture depicts lush woods and staggered mountain rocks in a thick and simple ink color.
Lying map
Lying tour figure Qing Gao Cen Silk color Length 208X width 58 cm Guangxi Zhuang Autonomous Region Museum collection
Gao Cen, year of birth and death unknown, a native of Hangzhou, Zhejiang, lived in Jinling (present-day Nanjing, Jiangsu). The landscape is close to Lan Ying, with a fine pen, and the freehand flowers are also beautiful. It is one of the "Eight Houses of Jinling". Drawing on Fan Kuan's painting style and integrating it into his own personality, this picture draws strange peaks protruding, steep and majestic, accounting for only one-third of the picture, and forming countless horizontal lines between the water surface and the shore, so that the picture is lofty and far-reaching, and the sense of rhythm is very strong.
Wood leaf Dan yellow figure
Muye Dan Huang Tu Qing Gong Xian Ink and pencil on paper 99.5 X width 64.8 cm Shanghai Museum collection
The layout of this map is real and virtual, the mountains are large, and the artistic conception is sparse. The mountain stone is rubbed with dry ink layer by layer, and the sunken is thick. It is the author's legacy.
Two views of Swallow Rock and Mochou Lake
Two views of Yanziji and Mochou Lake Qing Wuhong Color on paper Length 30.8 X width 150 cm Collection of the Palace Museum in Beijing
Wu Hong, year of birth and death unknown, a native of Jinxi, Jiangxi. Gongshanshui and Mozhu are one of the "Eight Houses of Jinling". The first part of this painting depicts the famous scenic spot of Nanjing, Swallow Rock, on which the river is connected with the mountains and stones, the fishing boats are moored in a remote harbor, and the farm at the foot of the mountain is quiet; the latter section depicts the smoky and hazy scenery of Mochou Lake, where residents drive livestock and livestock to walk on the flat land, and the atmosphere of life is rich. The whole work is painted in a fine and delicate way, with light and elegant brush and ink, and grand momentum. The depiction of the large scene on the banner is wonderful and moving.
Landscape Drawing Qing Ye Xin Color on Paper Length 14.1X Width 17.4 cm Lushun City Museum Collection
Ye Xin, year of birth and death unknown, was a native of Huating (present-day Chenjiang, Shanghai). Gong painting landscape, the brushwork is hard, self-contained, one of the "Eight Houses of Jinling". This picture of peaks and peaks overlapping, is made of dry pen rubbing, the ripples in the lake are outlined with soft fine red and slightly pasteled, and some people in the water pavilion covered with miscellaneous woods are meditating on the fence, the style is lyrical, and the tranquility is beautiful.
Picture of Huashan Maonu Cave
Huashan Maonu Cave Figure Qing Dai Benxiao Color on Paper Length 137.5X Horizontal 63.1 cm Collection of Zhejiang Provincial Museum
Dai Benxiao (1621-1691), painter of the early Qing Dynasty. Living in seclusion in the Ying'a Mountains, the Eagle Ashan Qiao was a native of Xiuning (now part of Anhui), and he did not live his life. He can write poetry, paint landscapes, write more about the scenery of the Huangshan Mountains, be good at dry brushwork, have a loose and dry style, have a pale ink color, are not complicated by hills and valleys, and have a near-Yuan flavor. Yuan Ji (Shi Tao) was influenced by his early landscape paintings. Later generations called him and Mei Qing, Mei Geng, Shi Tao, and others the Huangshan School of painting. He is also good at painting pine plums. Dai Ben Takashi made many small scenes in the volume, and the works are largely rare. Most of the mountain stones in his pen are rubbed with dry pens dipped in burnt ink and rubbed out of decency, and rarely use lines to outline the mountain stone structure, and there is less moss. But he did not specialize in imitating yuanren pen and ink. He once traveled to the Five Peaks, had a broad vision, and attached great importance to "teaching nature," so the mountains and rivers and hills in his paintings were varied, but the artistic conception of the paintings was clear and the meaning was high, and he won a high painting title in the painting world.
Rooftop isosus diagram
Tendai Yisong Figure Kiyoshi Dai Ben Takashi Ink on paper Length 169X Width 76 cm (U.S.) Music Art Collection
This picture is intended to write about the rooftop landscape, the mountains and rocks overlapping, the stone bridge flying frame, the strange pine in the middle, the flying spring straight down, an old man living in seclusion here. The giant ravine is not complicated to write, the dry pen outlines, the thirsty ink is slightly rubbed, the artistic conception is cold and secluded, and it is deeply popular with the yuan.
Landscape drawing Qing Luo Mu Ink pen on paper 212X width 113 cm Shenyang Museum collection
Luo Mu (1622~1704), a native of Ningdu, Jiangxi. Good at painting landscapes, learning the painting methods of Huang Gongwang and Dong Qichang and others. The ink is sound, and it is called a wonderful product. This painting has a smooth composition, a fresh artistic conception, and a smooth and composed brushwork, which is the artist's work in his later years.
Akiyama diagram
Akiyama Figure Qing Zhu Yun Ink and pencil on paper 182.8 X width 49.3 cm Collection of Shanghai Museum
Zhu Yun (c. 1624 – 1705), a descendant of Zhu Quan, the King of Mingning, was a native of Nanchang, Jiangxi. After Ming's death, he cut his hair and became a monk. He was good at painting landscapes, flowers, birds, bamboo and wood, and did not have much ink on his paintings, so his creative environment was unique, and his style had a great influence on the freehand painting school of later generations. This chart is based on "high and far". Painting mountain stone trees, near the big and far small, gradually stretching out into the distance. The sparse trees, the empty and secluded mountains, and the countless room stars and steps make people suddenly feel a kind of happiness that is otherworldly.
Map of Kowloon Pond
Kowloon Pond Figure Qing Meiqing Ink on paper 92X width 43.5 cm (US) Collection of the Cleveland Museum of Art
Mei Qing (1623~1697), a native of Xuancheng, Anhui. Good at poetry, painting landscapes, especially good at writing about the scenery of Huangshan Mountain, beautiful brushwork, and lush ink. Later generations called Mei Qing, Mei Geng, Shi Tao, Dai Benxiao, etc. as the Huangshan sect. This picture depicts a scene of the Huangshan Mountains " JiulongTan " , with hazy smoke and rain and unpredictable changes. The brushwork is loose and beautiful, the ink color is pale, and the wind is graceful, and it is a family of its own.
Lotus stone waterfowl diagram
Lotus stone waterfowl figure Qing Zhu Yun Ink and pencil on paper 114 X width 38.5 cm Collection of Lushun Museum
This picture is a work representing the artist's artistic style. Lotus leaf painting method is unrestrained, ink color is thick and light, and rich in layers. The water duck painting method is also simple and relaxed, the image is refined, and it has a "white eye to the sky" look. The picture is ethereal and the aftertaste is endless.
Small in large volumes
Small and medium-sized large volume Qing Wang Fei Silk color ink pen length 56.8 X width 34.9 cm Shanghai Museum collection
Wang Fei (1632~1717), a native of Changshu (now part of Jiangsu), was a Chinese poet. He carefully copied the famous works of the past dynasties, was familiar with the techniques of various schools, and together with Wang Shimin, Wang Jian, and Wang Yuanqi, he was called the "Four Kings." Many of his disciples were known as the "Yushan School," and their influence continued into modern landscape painting. There are eight paintings in this volume, and one is hereby selected. This painting is "Imitation of Li Cheng's Cold Forest Snow Scene", which writes that the peaks and valleys are cold and the pines are strong, and the buildings are hidden. With a clear and moist tone, the stick figure is rubbed, and the light ink is rendered to set off, so that the cold forest snow seems to be in sight.
Cart chart
Pan car figure Qing Li Yin Silk color 133.5 X horizontal 73.5 cm Collection of the Palace Museum in Beijing
Li Yin, whose year of birth and death is unknown, is now a native of Jiangsu. He is good at painting flowers, working concurrently on landscapes, teaching the Tang dynasty and Song Dynasty, and has a deep ability to copy. This drawing depicts a large snow scene, neat brushwork, and a simple style.
Antique landscape map
Antique landscape map Qing. Wang Fei Color on paper Length 22.4 X width 34 cm Private collection
This antique landscape atlas consists of ten pages, and two pages have been selected, one of which is "Pinglin Scattered Pastoral Map" and the other is "Mountain Villa Xueji Map". The pen and ink are pure, the scenery is fresh, and there is a beautiful and elegant atmosphere.
Daffodil Cypress Stone Diagram
Daffodil Stone Figure Qing Wang Wu Ink and pen on paper Length 134.3 X width 63.8 cm Collection of the Palace Museum in Beijing
Wang Wu (1632~1690), a native of Wu County (present-day Suzhou, Jiangsu). The sixth grandson of the Ming Dynasty painter Wang Jun, he was a fine appreciator, rich in collection, good at painting flowers and birds, and had a beautiful style. The painting is based on mountain stones, cypress trees, and daffodils, and uses ink ochre to outline the stones and branches of trees. Thick ink dots the moss mountain stone, and light ink dots the cypress, so that the mountain stone is dignified and solid, and the cypress tree is clear and empty. He also wrote in a double-stroke method Narcissus, with light and elegant colors, forming a contrast between light and dark with mountain stones, and even more appearing daffodils are tender and delicate.
Lake sky spring color map
Hutian Spring Color Chart Qing Wu Li Color on Paper Length 123.5 X Width 62.5 cm Collection of Shanghai Museum
Wu Li (1632~1718), a native of Changshu, Jiangsu. When he was young, he studied painting with Wang Shimin and Wang Jian, and made great efforts to the "Yuan Sijia." His landscape paintings are mostly burnt with dry brushes and are dense and lush. Later generations referred to him, together with the "Four Kings" and Yun Shouping, as the "Qing Liujia." As a religious monk, Wu Li had the opportunity to come into contact with Western painting, which made his landscape paintings consciously or unconsciously influenced by Western paintings. This picture is a very lyrical work.
Diagram of Tateshina ichthyatollus
Ting Ting fish algae figure Qing Yun Shouping Color on paper Length 135.1 X horizontal 62.6 cm Collection of the Palace Museum in Beijing
Yun Shouping (1633~1690), originally known as Ge, was a native of Nantian, Wujin (present-day Changzhou, Jiangsu). Originally written about landscapes, he later changed them to flowers, and his works are fresh in color, elegant and elegant, and unique, and are one of the "Six Houses of the Qing Dynasty". This picture is one of yun Shouping's representative works of flower painting. Depicting a clear spring, three-tailed carp are swimming and frolicking, turquoise algae are floating slowly in the translucent lake water with gentle waves, and beside the lake stones, blooming red indigo hangs low on the water, and the bamboo behind the stone is green, and the reeds are delicate.
Sketch flower bamboo stone diagram
Sketch flower Danshi figure Qing Yun Shouping Color on paper 23.5 X width 30.8 cm Collection of Nanjing Museum
This sketchbook consists of ten pages, and one of them is selected here. Yun Shouping's boneless flowers, combining the techniques of Ding Huangxiao and Xu Chongsi, not only attach importance to sketching things, strive for similarities, but also emphasize "conveying the gods." The autumn calyx painting method in the painting uses light color and light ink mixed, the brushwork takes no bones, and the relaxation is not out of order, reaching a state where all forms and gods are prepared.
Diagram of the Sacred Relics of Confucius
Portrait of Confucius Qing Jiao Bingzhen Silk Color Length 29.2X Width 35.7 cm (Us) Collection of st. Louis Art Museum
Jiao Bingzhen, year of birth and death unknown. He was active during the Yongzheng and Qianlong dynasties, a native of Jining (present-day Shandong Province). He is good at painting people, landscapes, flowers, and pavilions, and this picture is an allusion to Confucius traveling around the world and lobbying the kings. Confucius looked solemn and sat on the ground, and the king and Yan Yueshi listened. The hook line is strong and the color is intense.
Visiting friends with the piano
Qing Shangrui On paper, color length 28.1X horizontal 107.3 cm Collection of Lushun City Museum
Shangrui, born in 1634, died in unknown year, a native of Wu (present-day Suzhou, Jiangsu). Shanshui Fa Wang Fei, flower and bird master Yun Shouping, the characters have ancient methods, and have Tang Yin's penmanship. In the painting, a stream runs across, the water pavilion is diagonally opposite the bank, there is a banqiao, an old man and a child with a piano, crossing the bridge to visit the friends of the secluded. The composition is concise and the realm is open. The scenery is gathered and scattered, the virtual reality is born, and the characters are small but portrayed in detail, attracting attention. The brush is loose and the tone is fresh.
Sycamore double rabbit diagram
Wutong Double Rabbit Figure Qing Leng Piece Silk Color Length 176.2X Width 95 cm Collection of the Palace Museum in Beijing
Leng Ming, date of birth and death unknown, from Jiaoxian County, Shandong. Jiao Bingzhen, a painter, is good at painting figures, ladies and landscape pavilions. The painting style is fine and the colors are strong. The picture shows two plane trees, under the trees, wild chrysanthemums, and two white rabbits playing in the soft grass. The shape of the double rabbit is accurate, the image is vivid, especially the portrayal of the eyes, which is crystal clear. The mountain stones are painted with folded bands, slightly mossy, steep and hard. The whole picture is clear and beautiful, and the emphasis is on the portrayal of the texture of the object, and there are obvious traces of Western painting techniques.
Lotus flower diagram
Lotus Flower Figure Qing Tang Ai Vertical Axis Color on Paper Length 148.4X Width 81.6 cm Collection of Shanghai Museum
Tang Ai, born and died unknown year, character Zi Jin, number Pishi, a native of Changzhou, Jiangsu Province. Gonghua lotus flowers, on a par with Yun Shouping. Together with Yun Shouping, it is known as "Tang Lotus" and "Yun Peony". His works include "Lotus Flower Diagram" and "Lotus Flower Diagram". This painting takes a corner of the lotus pond, the red lotus blooms, the new lotus leaves reflect the fun, the pond water is clear, and the water and grass flutter. It presents a vigorous scene of lotus pond in midsummer. This picture is drawn using the boneless method, the coloring of the lotus flowers, with powder and rouge, gradually entering from the petals; the lotus leaves are based on a light color, and the dark color rendering gives way to the leaf veins.
Linggu Detective Meitu
Linggu Tanmei Tu Qing Shi Tao Ink and pencil on paper 97.5X width 50., 3 cm Collection of Nanjing Museum
Shi Tao (1642~1707), a monk of the Great Dizi and bitter melon, was a native of Jeonju, Guangxi. When he was young, he coincided with the death of ming, and under the leadership of his brother, he joined the monastery as a monk, and his dharma name was Yuanji. His painting skills were comprehensive, his style was somber and bold, and his painting theory in particular was praised, which had a great influence on future generations. This picture is written in bamboo plum erjun, the composition is simple and bright, and the ink color changes richly. The movement of the bamboo leaves depicts the invisible wind to the fullest. Full-figure brushwork skillful, free rhyme.
Huaiyang Jie Autumn Chart
Huaiyang JieQiu Figure Qing Shitao Color on paper Length 89X width 57 cm Collection of Nanjing Museum
"Huaiyang JieQiu Map" depicts the autumn scenery of the fields on the riverbank. The painting is outlined in ink and colored with light and light ochre, and with the changing trend of the riverbank, the structure of the picture is arranged, the ink is organized in an orderly manner, and the change is appropriate, which reflects Shi Tao's superb grasp of "going deep into its reasoning and bending its posture".
Imitation of Huang Gongwang Fuchun Mountain Residence Map
Imitation Huang Gongwang Fuchun Mountain Residence Figure Qing Wang Yuanqi Ink and pen on paper 98.8X horizontal 60.1 cm
Wang Yuanqi (1642~1715), a native of Taicang, Jiangsu, was the grandson of Wang Shimin. He painted at the court, identified ancient paintings, was good at mountains and waters, inherited family law, and learned the "Four Yuan Families." Later generations referred to him, together with Wang Shimin, Wang Jian, and Wang Fei, as the "Four Kings," and wu li and Yun Shouping as the "Six Families of the Qing Dynasty." Wang Yuanqi took the Fa Song and Yuan families, especially Huang Gongwang, but the style of painting did not lose his own appearance. This figure is the body of Huang Gong Wang Fuchun Mountain Residence Map long volume interestingly made. The composition of the painting is rich, the main and secondary order, harmonious and natural, the peace in the curiosity, its brushwork mostly uses dry brushes, so that the picture has a sense of vastness and thickness, and the ink color is mainly light, thick and light.
Stone Valley riding bull map
Shigu Riding a Bull Figure Qing Yang Jin Ink and Pencil on Paper 81.6 X Width 33.5 cm Collection of the Palace Museum in Beijing
Yang Jin (1644~1728), a native of Changshu, Jiangsu Province, was a disciple of Wang Fei. He is good at landscapes, especially in village scenes, but also writes about people, flowers, birds, especially good at painting cattle, and the hooves are vivid. This picture depicts Wang Fei wearing a bucket hat and a cushioned coat, riding on the back of an ox, as if wandering on a country path after a rainy day. The ink color is light, the outline is simple, and it is full of poetry.
Get a huqin diagram
Nong HuQin Tu Qing Wang Shu Grain Silk Color Length 90.6 X Width 50 cm Collection of the Palace Museum in Beijing
Wang Shuyu (1649?c. 1735), a native of Hangzhou, Zhejiang. Painting characters, learning from Chen Hongshou and changing. This picture depicts Chen Ziang's angry and broken piano. On the picture, the young violinist is sitting on the ground and playing, while the two people on the other side seem indifferent, which sets off the mood that it is difficult to find the voice. The works are fluent in brushwork, gentle in color, accurate in proportion to human figures, and vivid in spirit. The picture has no background, which strengthens the appeal of the theme.
Wang Yuan Qi Yi Jutu
Wang Yuan Qi Yi Ju Tu Qing Yu Zhiding Color on paper Length 32.4X width 50 cm Collection of the Palace Museum in Beijing
Yu Zhiding (1647~1716), a native of Yangzhou, Jiangsu Province. Good at painting small portraits, but also can landscapes, flowers and birds. Kindergarten teacher Lan Ying, after learning Song Yuan, more realistic white paintings. In this picture, the protagonist Wang Yuanqi is sitting on the bed, enjoying chrysanthemum wine tasting, and his posture is pleasant. The facial is delicately depicted, blended with Spanish, highlighting the portrait effect. The composition is sparse and elegant, with a long charm and elegant elegance, reflecting the elegant mood of the literati and scholars.
Drunken Figure
Drunken Confucian Figure Qing Huang Ding Silk Color Length 115.5 X Width 57 cm Collection of Guangdong Provincial Museum
Huang Ding (1650-1730), a native of Changshu, Jiangsu. Good at painting landscapes, known for his imitation of Wang Meng, later learning from Wang Yuanqi, pen and ink vigorously, and paintings are super easy. This picture is a painting by the author's Court Painter Gu Longshuang of the Song Dynasty, which embodies Huang Ding's artistic skills.
Akiyama Hikoto
Akiyama Kikito Kiyoshi Wang Outline Color on paper Length 31.6 X Horizontal 869. 5 cm From the collection of Zhejiang Provincial Museum
Wang Kui (1654~1710), a native of Xiushui (present-day Jiaxing, Zhejiang), lived in Nanjing. Good at painting landscapes, Master Gong Xian, cangjian in penmanship. He is also good at characters, flowers and birds, and the characters he makes, and his pen and ink are exquisite. The "Mustard Garden Painting Spectrum", a total of three episodes, is compiled and explained by the three Wang Brothers and others, of which the landscape part is his handwriting. "Akiyama Xiketu" is a long scroll of huge landscape paintings. Write that the mountains on the banks of the great river are stretching out, the deep valleys of the rocks, the peaks and flat slopes, the flowing streams and the flying springs, and the dense forests of miscellaneous trees, each showing its own state, and the bridges, the masts of the ships, and the trees of the mountain springs are locked in the obscurity of smoke and clouds. This painting is sketched with dry brushes, rendered in light ink, light and colored, and can be transformed into gas. Dense forest miscellaneous trees, fine dot painting, there is abundance