Bamboo is a humble and straightforward character, which has always been a metaphor for the virtue of a gentleman. It is indifferent to editing the Northern Song Dynasty Wen Tong Ink Bamboo Picture Wen Tong Collection of the Palace Museum in Taipei, China (1018-1079), whose name i

2025/07/0612:19:42 hotcomm 1861

Bamboo is a humble and straight section

has always been a metaphor for the virtue of a gentleman

Tsinghua outside, indifferent among them

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Northern Song Dynasty Wentong Ink Bamboo Picture Collection of the Palace Museum in Taipei, China

Wentong (1018-1079), whose name is Yuke, he calls himself Mr. Shishi, and also called Mr. Xiaoxiao, from Zitong, Sichuan. He once held a lawsuit for the title of Yuanwailang and a Secret Pavilion administrator. He was also ordered to defend Huzhou, so his friend was called "Wenhuzhou". The sect is the Huzhou Bamboo Sect, which has a profound influence. The works heirloom include "Ink Bamboo Picture". This picture uses ink paintings to droop bamboo branches, and uses the original method of deep ink as the face and light ink as the back to describe bamboo leaves. The thickness and lightness are suitable, and the spiritual energy is suddenly revealed. The brushwork is rigorous and orderly, and it also shows a chic style.

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Northern Song Dynasty Zhao Chang Bamboo Insect Picture (Japanese) Tokyo National Museum

This picture is filled with sparse shadows of bamboo and sparse shadows, double hooks fill in color, flying with color, and also paintings of oxen and lizard. They are all portrayed in a very melody, melon praises, Ami inscriptions, and monks in Tianshi. The thickness shows the direction of the leaves and the curve of the rod. The branches and leaves are full, and the leaves and fruits imitate Xu Chongsi's "boneless" painting method. Set different postures. There are also flowers, wild melons, butterflies, dragonflies, and colorful colors without hiding the ink bones.

Southern Song Dynasty Liang Kai's picture of the Sixth Patriarch chopping bamboo (Japanese) Collection of the National Museum of Tokyo

This picture depicts the story of the Sixth Patriarch Huineng cutting bamboo. Huineng, whose family surname is Lu, lived in Fanyang for generations and was once a woodcutter. He is the founder of the Southern Zen School. The Sixth Patriarch in the picture is cutting down dead bamboos against the backdrop of an ancient tree. The picture is drawn with just a few strokes, and fully demonstrates Huineng's life experience with rich life experience. The brushwork is vigorous, sophisticated and concise, and extraordinary, and is the author's "simple" masterpiece.

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5th dynasty Houshu Huang Quan Snow Bamboo and Bird Pictures Collection of Palace Museum in Taipei, China

Huang Quan, born in 965 AD, died in the fifth dynasty Houshu Huashu, and was from Chengdu (now Sichuan). He served in the Former Shu and Later Shu, and served as the chief clerk and the chief censor. He served as the chief prince Zuo Zanshan in the Song Dynasty. By gathering the goodness of each family, we will form a law for one family. The works mostly depict rare flowers and birds in the palace, with plump flowers, colorful and crafty paintings, fine outlines, with almost no handwriting, and coin-making, which is called "sketching". Later generations called him "Huang Xu" together with Xu Xi of Jiangnan, forming two major schools of flower and bird painting in the Five Dynasties and early Song Dynasty. The brushwork of this picture is very fine. It is made of light ink first and then dimmed with colors, and is divided into many levels, which is completely in line with the art form of yellow pen recorded in the history of painting.

Yuan Gu An Fengyu Bamboo Picture Collection of Palace Museum in Beijing

This picture is a masterpiece of ink bamboo in the painter in his late years. The two large-leaf bamboo poles are drawn with thick and thin ink. The branches are obliquely covered and the bamboo leaves droop, representing the natural form of the bamboo branches and leaves hanging in the wind and rain, covered in rain, and swaying and swaying. The brush is elegant and moist, the ink is strong, rigorous and natural, strong and strong, and the brush is full of all the power of the brush and ink, and the clear and moist aura is overwhelming.

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yuan Gu An New Bamboo Picture of Boxing Stone Collection of Palace Museum in Taipei, China

This picture describes the new bamboo poles, thin and upright, standing next to the stone, the bamboo leaves are staggered, showing different levels with thickness and light, the lines are sharp and powerful, the brush and ink are delicate, and the business is full of business.

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yuan Gu An, beautiful stone pictures of the beautiful stones in Beijing,

collection of the Palace Museum in Beijing, Gu An (1289-about 1365) Yuan Dynasty painter. His courtesy name was Dingzhi and his pseudonym was Yu Ne Jushi. He was from Pingjiang (now Suzhou, Jiangsu). His hometown was Kunshan (now Jiangsu), and his ancestral home was Huaidong. His father, the judge of Songjiang Prefecture, was appointed as a patrol in Lanxi (now Zhejiang), Longyan (now Fujian) and other places for inspection. Later he served as the magistrate of Tong'an County, Quanzhou. He is good at painting ink bamboo, and often works in new bamboo bamboo. His writing is strict, vigorous and elegant, and he moisturizes and turns with ink. He paints lake stones with hooks and dyes, and has a wrinkled posture. In addition to Li Yan and Ke Jiusi, he has a faint and elegant aura, which has become a single style. It is also Wang Xing and regular script.

works handed down include "The Secluded Bamboo and the Beautiful Stone Picture", "The Bamboo and the Stone Picture", "The Ink Bamboo Picture", etc. In the picture, the stones in the lake stand in danger, exquisite and transparent; the bamboos stand behind the stones, the bamboo poles are thin and strong, and the bamboo leaves are tilted and graceful. There are also several pairs of young bamboo shoots interspersed among the bamboos, making the spring scenery full of scenery. The lake stones are hooked and dyed, with a beautiful shape, full of three-dimensionality and decorative flavor. The brushwork is vigorous and the thickness is suitable for Gu's ink bamboo paintings. I knew that "Gu You Dingzhi from Donghuai".

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yuan Gu An Bamboo and stone picture The collection of the Palace Museum in Taipei, China

In the picture, several bamboos stand upright, the ground is full of new bamboos, and the rocks are green. Use light ink to write out the bamboo pole, and use thick ink to write out the bamboo leaves. The layout is sparse and dense, without any disorder, and the structure is tight and rigorous. A few bamboo shoots are swaying and twisting, full of vitality. The thickness is appropriate, the layers are well-known, and the style of Li Yan. This picture is also a rare Qingzhu in Gu An's works. Its brushwork is delicate and elegant.

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yuan Ke Jiusi horizontal pole Qingqing picture (Sunday) Osaka Municipal Art Museum

This picture is a bamboo branch, which takes the momentum from top to bottom, then rotates and turns upwards, and uses vigorous brushes. Except for the ink used by the main trunk, the branches and leaves are made of thick ink, showing tenacity and tenacity, which is actually the author's thoughtful work of expressing his love and ink. Its artistic expression techniques are similar to the Song Dynasty's literature, but are more experienced and full of calligraphy styles.

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yuan Ke Jiusi, ink bamboo picture of Qingguan Pavilion, collection of the Palace Museum in Beijing

Ke Jiusi (1290-1343), whose courtesy name is Jingzhong, his pseudonym Danqiusheng, Wuyun Pavilion official, was from Xianju, Taizhou (now belonging to Zhejiang). He is knowledgeable and knowledgeable, and has served as a doctor of Kuizhangge's book review. He has a good appreciation of ancient artifacts, calligraphy and painting, and the master of ink and bamboo has the same literary style. He is also good at painting ink flowers and landscapes. The paintings handed down include "The Ink Bamboo Picture of Qing Gu Pavilion", "The High Festival of Tsuki Xiang", "The Double Bamboo Picture", etc.

This picture shows two bamboo poles, standing upright against the rock, with the stone adorned with small bamboos and grass. The bamboo leaves are written in the strokes of calligraphy. The ink is thick and moist, the thickness is interspersed, and the intensity is calm and vigorous. The style of painting is transformed from the same text. The stone is long and woven with hemp, round, strong and thick, with a sense of space and volume. The picture is elegant and beautiful, with a high spirit and a strong and straight spirit. It has its own unique style among the bamboo paintings of the Yuan Dynasty.

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yuan Wang Meng Bamboo and stone pictures

collection of Suzhou Museum

Wang Meng, whose birth year is unknown, died in 1385. His courtesy name was Shuming, was from Wuxing (now Huzhou, Zhejiang), and his grandson of Zhao Mengfu. He was good at poetry, calligraphy and painting, and was particularly good at painting landscapes. He learned from Dong Ju and Zhao Mengfu and developed and changed, and had his own style. He was one of the "Four Masters of Yuan Dynasty". His landscape painting style had a great influence on the creation of landscape paintings in the Ming and Qing Dynasties.

works handed down include "The Collection of the Forest and Spring Collection", "The Book of Reading in the Spring Mountain", "The Picture of Danshan Yinghai", "The Picture of Bamboo and Stone". The picture shows the bamboo and the slope stones, the branches and leaves of the bamboo fall, and the strokes of the slope stones are short and vigorous. Split bamboo is clothed on the upper left, and the slope is on the lower side. The blank space in the middle is connected by the title of regular script poetry, which plays a role in running through the breath and participating in composition, reflecting the combination of poetry, calligraphy and painting emphasized by the painting of literati in the Yuan Dynasty. This picture is the earlier one of the works handed down by Wang Meng.

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Yuan Wang Yuan collection of bird pictures in bamboo and stones. The Shanghai Museum is

Wang Yuan, whose birth and death year is unknown, was a painter of the Yuan Dynasty. His courtesy name is Ruoshui and his nickname is Danxuan. His nickname is Hulin Yishi. He is from Qiantang (now Hangzhou, Zhejiang). When he was young, he learned painting methods by Zhao Mengfu, he learned from landscapes, and learned from Guo Xi, and learned from Tang people. He was particularly good at painting flowers, birds, ink, bamboo and stone. He imitated the hook and serp method of Huangpu and father and son. He was ink and painted with ink and paint, and his ink and paint were well-designed, and his ink was well-designed, so he could find the wonderful sketching. There were also colorful colors, but it was rare. His works include "Bamboo Collection of Birds", "Pictures of Peach and Peach and Chef" and "Liangchang Grassy Cottage".

This picture is also known as "Flowers, Bamboo, Birds and Birds". Use ink brush to express the scene of birds and birds perched and soaring in the garden where cuckoos bloom and bamboo stand upright. The picture shows two horned eagles and a dangerous stone. The male is living on the dangerous stone, with bright eyes and colorful fur on the chest. The female eagle hid behind a dangerous stone, leaned out and looked back. A few blooming cuckoos and a bunch of bamboo branches grew upwards, and a few frightened wax mouths either jumped or were looking forward to flying. In the process of brush and ink, according to the different textures and colors of the objects, various techniques such as hooks and ink brushing and dyeing are used to express the square and hardness of the lake stones, the uprightness of bamboo branches, the softness of flowers and the changes in color, especially the expressions of birds, the layers of feathers, and the texture of the feathers are all perfect.

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Yuan Wuzhen Mozhu Tune Album The collection of the Palace Museum in Taipei, China

"Mozhu Tune" has a total of twenty-four pieces, and is a representative work of Wuzhen's bamboo painting. The posture, uprightness, upturning, and yin and yang in each picture are different, and the brushwork is simple and vigorous.Two of them are selected here. One of them describes the beginning of new bamboos, which are lined with thick bamboos and moist bamboo shoots. The brush and ink are smooth and smooth, full of emotion; the other is snow bamboo, which is not rendered with ink color, but directly uses light ink cursive to describe the snow. The hidden, curved and hidden forms of branches and leaves in the snow are vividly expressed.

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yuan Ni Zan Bamboo branch picture

collection of the Palace Museum in Beijing

picture drawing a branch of Hsinchu, sparse and colorful, extending diagonally throughout the entire picture, vivid and cute. The bamboo leaves are painted with bald brush and thick ink, and the brush and ink are thin, vigorous and vigorous. The light ink describes the branches, the brush is strong and spicy, and the slanting and slanting are orderly. This painting changes the sparse, cold, silence and quiet style that Ni Zan has in her paintings, but has a thriving and clear feeling.

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0 yuan Zhang Woo Zhuxi Caotang Picture

in the Liaoning Provincial Museum

Zhang Woo, whose birth year is unknown, died in 1356, a painter in the Yuan Dynasty. His courtesy name was Shuhou, his pseudonym was Zhenqisheng and Jianghaike. His ancestral home was Huainan and later became a native of Hangzhou (now Hangzhou, Zhejiang). He was knowledgeable and skilled, failed the imperial examinations after many years, so he devoted himself to poetry and painting, and was good at painting figures, learning Li Gonglin's white paintings. Some people also said that he learned Liang Kai of the Southern Song Dynasty. The brushwork is fine and vigorous, and the image is vivid.

works handed down include "Nine Songs Pictures" and "Visiting Dai on Snowy Night". The picture shows the lush bamboo forest, the distant mountains are lingering, and the river water is like a mirror. There is a thatched cottage surrounded by mountains and rivers, surrounded by elegant pines and trees, and the environment is quiet. One person sat alone in the hall, with his arms leaning against the couch, looking ahead. There is a poem written by Yang Xu, the owner of the aforementioned tang. The tail of the painting is Yang Weizhen wrote "The Record of Zhuxi Caotang" and the poems of famous masters such as Zhang Yu, Shao Zhong, Ma Wan, Zhao Xiao, Qian Weishan and Tao Zongyi in Yuan Dynasty. There are poems or inscriptions written by Yang Xunji, Huang Yun, Xiang Yuanbian, and the Qing Dynasty great scholars.

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000 01 Zhang Xun Double hooked bamboo and pineapple picture

in Beijing Palace Museum

Zhang Xun, whose birth and death year are unknown, and he was active during the Zhizheng period of Yuan Dynasty. His courtesy name was Zhongmin and his pseudonym was Xiyun. He was from Wuxian (now from Suzhou, Jiangsu). He is good at poetry and painting, and is good at painting bamboo, especially exquisite in pinching bamboo, and is wonderful in the world. Landscape learning Juran. This picture shows several beautiful bamboos in the pond, swaying in many shapes, with an old pine tree, slanting and twisting, which complements the lake and stones. The branches and leaves of bamboo are all made of double hooks, which are rigorous and neat, and the brushwork is vigorous, like an "iron hook lock". The ancient Songs and Pituo were drawn with round brushes and slightly dyed with ink and wash, soft on the outside and hard on the inside, and had the legacy of Dong Ju. Zhang Xun was a famous bamboo painter in the Yuan Dynasty, but his works were rare. This frame is a lonely version of Zhang's double hook bamboo, which is really valuable. There are postscripts from Xie Xizeng in front and back, and there are postscripts from fourteen schools including Cha Gen, Ni Zan, Zhang Kun, etc.

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yuan Zhao Yong Green Shadow Red Heart Picture

Zhao Yong (1289-1361), whose courtesy name is Zhongmu, is from Huzhou, Zhejiang Province. Zhao Mengfu's second son. He was appointed as the general manager of Jixian and was appointed as the general manager of Huzhou Road. Calligraphy and painting inherit the family's learning, and landscape, flowers and birds, saddle horses, characters, and boundary paintings are all-round, especially landscapes and saddle horse paintings. He can also write poems and appreciate them carefully. Historic works include "Green Shadow and Red Heart", "Group of Horse", "Group of Fishing Hidden in the Stream and Mountains", etc.

This painting describes orchids and bamboos in light colored juice green, which is rare in Yuan Dynasty orchids and bamboo paintings. In the picture, the dangerous stones stand tall, with the light ink in the center outline, and a little rubbing, a branch of bamboo grows between the stones, with branches like curved bows and curved arcs, and bamboo leaves are covered with colorful shapes. Cymbidium orchids are clustered in the slopes, with green stems and leaves intertwined. Five or six white flowers bloom in one crocodile, and the heart of the stamens is decorated with light red, and it is quiet and fragrant. The painter incorporates the calligraphy style into the painting, reflecting the artistic interest of literati paintings. The bamboo stems are like writing seal script, the bamboo leaves are like eight characters, and the orchid stems contain the cursive style.

Chen Hongshou (1598-1652), whose courtesy name was Zhanghou and his pseudonym was Lao Lian. Later, he called himself Lao Chi, also known as Hui Chi, Fu Chi, Yunmen Monk, and the owner of the ninth-rank lotus platform, was from Zhuji, Zhejiang. His calligraphy is elegant and elegant, good at landscapes, and is particularly skilled in figures. He is as famous as Cui Zizhong and is called "Southern Chen and Bei Cui". The characters he painted have a majestic torso, clear and round clothes, fine and vigorous clothes, and have the wonders of Li Gonglin and Zhao Mengfu, and learn the Wu Daozi's method of color. Its power and energy are super open and above Qiu and Tang, with flowers, birds, grass and insects interspersed, all of which are exquisite.

The flowers and bird works handed down from generation to generation include "Fist Stone Mountain Tea Picture", "Lotus Stone Picture", "Cage Goose Picture", and "Magnolia Leaning Stone Picture". This picture uses different painting methods to draw lake stones, daylily and beautiful bamboos. The painter uses dry brush to draw stones, add horizontal strokes and vertical moss, and the brushwork is solemn. The daylily is painted with the double hook color filling method, with beautiful colors and delicate and precise hook lines. Xiuzhu is purely written in plain drawing techniques, with smooth lines, round and full, and is portrayed in detail, showing its upright posture. The three painting methods complement each other and are seamless, which shows the painter's profound skills.

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Ming Chen Ju Snow Bamboo Picture Collection of Palace Museum in Beijing

This picture describes snow bamboo, with unique brushwork. The bamboo is written with double hooks and fast brushes, and the brushwork is written with a brush stroke. The snow is a pile of piles with a dry brush, and the brushwork is more interesting. Among the works of snow bamboo in history, it is unique.

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Ming Guichangshi Fengzhu Picture Collection of Guangzhou Art Museum

Guichangshi (1574-1645), whose courtesy name is Wenxiu and his nickname is Liu'an, is from Kunshan, Jiangsu. In the late Chongzhen year, he was waiting for the imperial edict, but he did not respond. He is good at poetry and ancient prose, and is good at calligraphy, painting and seal carving. He is good at writing orchids and bamboos, his pen and ink are calm and composed, and his spirit is full of spirit, and he is in the green vines and white sun. He is also good at landscapes and learns from Ni Zan and Huang Gongwang. Historic works include "Wind and Bamboo Picture".

Gui Changshi painted bamboo. "Silent Poetry History" says: "The branches and leaves are clear and beautiful, and they are amusing the rain and dancing in the wind, and they have the thought of Weichuan Qiao." This picture of the bamboo pole is strong, and the bamboo leaves are swaying with the wind, while the bamboo pole is straight and unyielding. The brushstrokes are upright, focusing on expressing the strong temperament of bamboo and containing the pure and elegant affection. They are innovative in the style of Mo Zhu from the Song and Yuan dynasties. This painting was his later years.

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Ming Guo Xu Miscellaneous Paintings Album Shanghai Museum

Guo Xu (1456~about 1529) Ming Dynasty painter. His courtesy name is Renhong and his pseudonym is Qingkuang Taoist, and he is from Taihe (now Jiangxi). He is good at drawing freehand characters, his brushstrokes are flying, his image is clear and ancient, and sometimes he can be interesting when he picks it up. He is also good at drawing flowers, grass and insects, and also writes about landscapes. At the same time, painters Shen Zhou, Wu Wei, Du Jin and others all valued their artistic harmony. His works include "Miscellaneous Paintings" and "Pictures of Traveling in Dongshan".

This picture album depicts eight pictures, including banana stone women and babies, frogs and grass butterflies, green mountain flower village, cockskin butterflies, bamboo and stone autumn chrysanthemums, grass pavilions and fishing boats, reed pond mustard greens, and streams and mountains. Each picture is titled as a seven-character poem to illustrate the meaning of the painting. "Bamboo, Stone, Autumn Chrysanthemum Picture". The author is more creative in the expression techniques of flowers and birds, and is purely painted with color, with fresh and clean colors and concise writing. In terms of brushwork, the hook and dots fly flexibly without any stagnation, and the shape of the creature is lifelike; the painting methods such as mustard greens, bamboo and chrysanthemums also show his skill in ink and wash freehand painting.

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ming Jinwu Double hook bamboo picture

collection of Palace Museum in Beijing

Jinwu, birth and death unknown, Ming orthodox people. His courtesy name was Benqing, his pseudonym was Xiumu Jushi, and his pseudonym was Taishousheng. He was from Yin (now Ningbo, Zhejiang), and served as the Minister of the Secretariat. He became the Grand Master. The seal, clerical, running and cursive are all good, and they are quite generous with the style of the Han and Jin people. He is good at copying seals and writing bamboo and stones very well, and his hooks and bamboos are particularly wonderful.

This picture draws two bamboos with high erected rods on the rocks on the slope, the branches are strong, the bamboo leaves are lush, and the back is tilted, and the thickness and light are complemented to each other. The stone gaps, grass slopes, and new bamboos are growing, showing a thriving momentum after rain. The double hooks have thin and vigorous lines, and the fill and dye are elegant, which is quite elegant and elegant, which is quite powerful and elegant in the new bamboo. This picture is a rare work of the painter.

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ming Lin Liang Photo of Autumn Lin Gathering Birds Collection in Guangzhou Art Museum

Lin Liang (about 1416-1480), whose courtesy name is Yishan, is from Nanhai (now Guangzhou). During the Hongzhi period, he was appointed as the Chief of the Ministry of Works' Construction and Repair Office, and the Zhirenzhi Hall was changed to the Jinyiwei Hundred Houses. He and Lu Ji successively worshipped the inner court. He is good at painting flowers, fruits and feathers, and his coloring is simple and light, and he is exquisite. His ink and water birds, trees and stones inherited the indulgent and simple brushwork of the Southern Song Dynasty School of Art, vigorous and flying, with cursive scripts, and flexible ink colors. He was a representative writer of the ink and bird paintings of the Ming Dynasty, and was also the founder of the ink and freehand painting school of Art of Art of Art. His works include "The White Feathers of Camellia", "The Picture of Birds of Shrubs", and "The Picture of Double Eagles".

This picture is a masterpiece among Lin Liang's freehand flower and bird paintings. The composition is meticulous and rigorous, and a group of birds live between the black trees and bamboo bushes.Use thick and thick ink to paint the main trunk of the black tree and a group of white-headed crows, with bold and unrestrained brushstrokes, and the ink color is vigorous; use light ink to paint bamboo and small birds, and the complexity, thickness, sparseness, density, and virtuality of the picture. Light red and light green, simple coloring, natural and vivid. This painting expresses the artistic characteristics of Lin Liang's ink, water, flowers and bird paintings, which are simple and inspiring.

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ming Lu Ruijun Bamboo bird picture

collection of the Palace Museum in Beijing

Lu Duanjun, no life record. The picture shows lake stones and bamboo clumps. The bamboo poles are thick and tall, and the bamboo leaves are dense and shady. A group of sparrows fly, live, roar, eat, and move in the bushes, adding noise to the quiet bamboo forest. The painting method is rigorous and vivid. The changes in the thickness of the ink color highlight the deep feeling in the space and the meaning is hazy.

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Ming Shen Zhen Zhulushan House Picture Collection of Liaoning Provincial Museum

Shen Zhen, born in 1400, his death year is unknown, is a painter of the Ming Dynasty. He was Zhenji, and was named Nanqi and Taoran Taoist. He was from Changzhou (now Suzhou, Jiangsu). He was good at Tang Dynasty law, was good at painting things, and learned from Dong Yuan's landscape, and had a little bit of the fun of smoke, clear forests, plain and innocent. This painting stands tall, at the foot of the mountain rocks, with lush bamboos and turbulent streams, with miscellaneous trees, mountain houses, water pavilions and courtyards scattered among them. Some people sit and chat in the bamboo house, which is quite quiet and interesting. Shen Zhen learned from Dong Yuan and took the strengths of the Yuan sects. The mountains and rivers were exquisite, and they were close to those of the Song people. This picture is neat and meticulous, fresh and elegant.

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Ming Sun Kehong Shuang Bamboo Picture Collection of the Palace Museum in Taipei, China

Bamboo has been written in cinnabar in all dynasties. Sun Kehong’s painting of this bamboo can be said to be ingenious in color comparison and composition. The beauty of bamboo contrasts with the coldness and gloom of beautiful stones. The changes in the color of the bamboo produce a deep artistic conception in the space, making the picture tend to be quiet and steady in its brightness.

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Ming Wang Fu Ink Bamboo Picture Collection of Palace Museum in Taipei, China

Wang Fu (1362-1416), a Fu, also known as Fu, whose courtesy name is Mengduan and his pseudonym Youshi, was from Wuxi, Jiangsu Province. He once lived in seclusion in Jiulong (now Huishan) and called himself Jiulong Mountain. He was a student in Hongwu. Yongle was first recommended for his good books and offered sacrifices to Wenyuan Pavilion and was a scholar in the palace. He is famous all over the world with his ink bamboo, and his brushwork is free and easy, and he has obtained the legacy of Wentong and Wu Zhen. The landscapes are mostly learned from Wang Meng, with a lush style, and the scenery is close to Ni Zan in the distant scenery. His works include "The Intentions of Autumn in Xiaoxiang", "The Picture of Seclusion", "The Picture of Ink Bamboo", etc.

This picture describes the three poles of Hsinchu, with clear charm, rain and dew, branches and leaves swaying, and the elegance of being elegant and out of the world. The painter uses round and vigorous brushwork to paint rods, and uses straight and elegant brushwork to write branches. He writes bamboo leaves casually, and puts down and down, all with the charm of calligraphy; he also uses the thickness of ink and the size of the brushstrokes to represent the three-dimensional sense of space, making the picture elegant and elegant, different from the general.

This picture describes a bamboo branch hanging upside down, with a beautiful posture, quite like the wind and moon. His ink bamboo painting method inherits the traditions of Wen Tong, Ke Jiusi and Ni Zan, and focuses on expressing the meaning of scattered and elegant style. Light ink describes the branches, thick ink presses the leaves and the ends of the leaves gently bent, flipping freely, like a stroke of a magical comedy, showing the movement of bamboo leaves in a quiet state. This picture uses a stroke that shows charming posture in its vigorousness, and is free and easy, and it shows a new style of painting bamboo in the late Kaiyuan and early Ming dynasties.

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Xia Gao Picture of strange stones and bamboos in the Palace Museum in Taipei, China

Xia Gao (1388-1470), whose courtesy name is Zhongzhao, his pseudonym Zizai Jushi and Yufeng, is from Kunshan, Jiangsu. The original surname is Zhu and his name is Gao. He was a Jinshi of Yongle (1415), and was a senior official and was appointed as the Shaoqing of Taichang Temple. He served as an official for more than 40 years. In the first year of Tianshun (1457), he returned home, and spent his life with his calligraphy and painting. He is good at ink bamboo, and his mastery of Wang Fu has slightly changed. The smoke and rain are white and moist, scattered, thick and sparse, and the movements are the best. He is famous outside the domain, and he is known as "Xia Qing, one bamboo, ten gold in Xiliang". He is also good at regular script. Historic works include "Storm and Rain in Xiangjiang River", "Qi Shui Breeze", "Strange Stones and Bamboo and Stone Picture".

In this picture, the strange stones are rugged, two Hsinchus stand together, the branches and leaves are intersecting, and there is also a tall bamboo, inserted in the air outside the painting, showing a majestic momentum. The painting method of strange stones is rough and abbreviated, but Hsinchu uses round and vigorous methods to write the stems and branches with straight brushes, and uses bamboo leaves to describe the charm of calligraphy.The picture is thick ink and light, and the upright and swaying bamboo, the swaying posture with rain and dew is vividly portrayed.

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Mingxia Gao Qingfeng Gao Festival Picture Collection of Palace Museum in Taipei, China

This painting describes strange stones standing on the towering stones and wind bamboos and several rods. The branches and leaves are written in thick and thin ink, and the ups and downs are drawn, and the back and forth are interspersed, and the bamboo is swaying in an orderly manner. Especially when the leaves are lifted and turned, it is like a stroke of a magical stroke that brings the chic and charming charm of the wind and bamboo on the paper.

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Mingxia Gao Xiuyun Fist Stone Picture Collection of Palace Museum in Taipei, China

This picture uses ink strokes to draw new bamboos from behind the beautiful stones, with lush branches and leaves, and the beautiful stones are rubbed out with folded strips and brushes, showing peeling shape. The new bamboo is clever and charming, with sharp brushstrokes and small branches written in detail, showing the clear and tender appearance of the new bamboo, and contains infinite vitality. The picture is elegant and elegant, timeless and beautiful.

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ming Xiang Yuanbian imitates Su Shi’s longevity star bamboo picture. On the slope in the Palace Museum in Taipei, China, two beautiful bamboos stand upright behind the meridian stone. The pen of the silhouette is round and trivial, with a special style, with thick ink embellishment, vigorous and elegant. The beautiful bamboos are thick and thin, and the artistic conception is ancient and innocent.

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Ming Xu Wei Chrysanthemum and Bamboo Picture Collection of Liaoning Provincial Museum

Pictures depict chrysanthemums standing tall, chrysanthemum leaves hanging, flowers clustered, and full of vitality. The chrysanthemum leaves are written in large brushes, freely scattered. The bamboo is next to it, and the bamboo tips are hanging low, echoing the chrysanthemums, which is very interesting. The bamboo leaves are elegant and elegant. The bottom of the chrysanthemum and bamboo are lined with leaf clovers, which is clear and elegant, and is vivid. The brush and ink are suitable for dry, wet, thick and thin, and they are completed in one go, with a lasting charm.

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Ming Xu Wei Bamboo and Stone Picture Collection of Guangdong Provincial Museum

This picture of rain bamboo, the author seizes the wet form of bamboo and stone in the rain, uses a pen full of ink and water, and writes it with skillful cursive writing techniques on half a lifetime of paper, fully showing the level of skill in controlling ink and washing, especially the stone that dyes the surface with light ink and thick ink, which does have a delicate effect, and is worthy of being Xu Wei's masterpiece.

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Ming Yao Shou Bamboo and Stone Pictures Collection of the Palace Museum in Beijing

This picture is a lake on the hillside, with two green bamboo poles standing in the wind, and orchids under the stone are overgrown. The brushwork of the lake stone is bold and simple, with horizontal strokes and flat dots, and the ink color is suitable for the thickness and light. The bamboo is written in blue in color, with strong and elegant brushwork, with a sense of grace and grace, and a sense of elegance and elegance.

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Ming Yao Shou Bamboo and Stone Pictures Collection of Palace Museum in Taipei, China

After writing about the rocks, several rods of Hsinchu are swaying in the wind. The thick and light ink color and the rapid pen force depict the bamboo flying in the wind, and the clear rhythm is full of paper.

Ming Yao Shou Bamboo and Stone Picture Collection of the Palace Museum in Taipei, China

Yao Shou (1422-1495), whose courtesy name is Gongshou, his nickname is Danqiu, and his also nickname is Gu'an and Yundong Yishi. He is from Jiaxing, Zhejiang. He was a Jinshi in the eighth year of Tianshun (1464), and was appointed as the Censor of Supervision and Administration, and was appointed as the governor of Yongning, Jiangxi. He was good at calligraphy and painting, and was good at poetry. He followed the landscape of Wu Zhen. He also learned from Zhao Mengfu and Wang Meng. He liked to write the scenery of Shaao Water, with the ink color, and the bamboo and stone were written in a casual manner. His works include "Bird Pictures of Osmanthus Chrysanthemum Mountain" and "Bamboo and Stone Pictures". This picture uses bamboo and stone into the painting, and uses wet brush to directly write down the ups and downs of the mountains and rocks. The two new bamboos are written in thick ink, with lush branches and leaves, up and down, with vivid strokes and vivid ink.

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Ming Zhu Zhanji Wuhou's picture of high lying in the Palace Museum in Beijing

Zhu Zhanji (1399-1435) Zhu Yuanzhang's great-grandson was founded in Xuande, Jianyuan, and reigned for ten years, and was named Xuanzong of the court. Called himself Changchun real person. Elegant and elegant calligraphy. He is particularly good at painting things, and he is all wonderful in landscapes, characters, animals, flowers, birds, grass and insects. He once painted and presented to the important officials. The works of the legendary figures include "The Picture of the Marquis of Wu Lying Highly". This picture depicts Zhuge Liang's chest is exposed, his head rests on the book box, and lying on his back under the bamboo bushes, his behavior is wild. It was the image of Zhuge Liang living in seclusion in Nanyang and working for himself before he helped Liu Bei. The characters are lying high and wildly, and are portrayed vividly and have a refined line. The ink bamboo is elegant and elegant, and it is the charm of the Yuan people. Zhu Zhanji wrote this painting at the age of 30 and gave it to his old minister Chen Xuan, reflecting the royal family's desire for talent in the early Ming Dynasty.

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Qing Li Fangying Xiaoxiang Feng Bamboo Picture Collection of Nanjing Museum

Li Fangying often likes to depict bamboo and stones with wind and rain as the background. Wind is an abstract thing, and it is quite difficult to express without a concrete image. In this painting, the painter boldly created it, writing several bamboos, leaning against the stone, straight and straight. Sweep straight with a bald brush, the bamboo leaves are flat and square in an inclined direction, which powerfully shows the violent wind. The author not only seems "unsense" in the depiction technique, but also shows that the bamboo is not afraid of strong wind, and every stroke of the branches and leaves shows the strength of unyielding. The writing is like wind and rain, just like expressing the anger in the painter's heart. Because Li Fangying offended the powerful and dismissed from office in his career, he was successively imprisoned and dismissed, but never surrendered. This painting can be said to be a reflection of his mood.

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Qing Luo Pin Bamboo and Stone Pictures Nanjing Museum

Luo Pin (1733-1799), a painter in the Qing Dynasty. His courtesy name is Dunfu, his pseudonym is Liangfeng, Huazhisi monk, and Monk Yiyun, he is from She County, Anhui Province, and lives in Yangzhou, Jiangsu Province. Jinnong disciple. He is good at painting characters, Buddha statues, flowers and fruits, plums and bamboos, and landscapes. His brushwork is ancient and elegant, his thoughts are profound and elegant, and his own style is created. It is one of the eight weirdos in Yangzhou. His works include "The Prayer of the Immortals", "The Picture of Bamboo and Stone", "The Picture of the Gourd" and "The Picture of the Sword Pavilion".

In this painting, the branches and leaves of bamboo poles are described in thick and thin ink, and the ink is stripped off and sprinkled at will. The changes of thick and thin, dry and moistness are fully displayed, and the bamboo wind is full of the charming state, giving the feeling of clouds and mist. The painting is ethereal and moist. On the bank of the stream, there are strange rocks, and they are drawn with dry brushes and wet ink, which is solemn in color and full of volume. This painting reflects the author's superb level of brush and ink, and is a rare masterpiece of bamboo writing.

Qing Luo Qing Orchid, Bamboo and Stone Picture Collection of Guangzhou Art Museum

Luo Qing (1821-1899), whose courtesy name is Xuegu, is from Panyu, Guangdong. He is good at finger painting, and in his later years he was blind and could still draw orchids and bamboos with his fingers. When painting fingers, you often hide a little cotton wool in your nails to store ink and wash, which is no different from painting with brushes. His works have different brushwork and ink, blending thick and thin, which is of unique interest.

This picture uses a finger painting to stand tall, with a majestic spirit, bamboos grow on the stones, and strong and upright. Only the orchids painted by King Keqin County are blooming in the east and west, and they are not coordinated, and they feel a little insufficient. Finger paintings are generally seen with simplicity, but this painting has dense leaves like clouds, with suitable thickness and lightness; they are slanted toward the back, showing their postures and fully exerted. The ink is swung freely, without the disadvantage of stagnation and slippage. On the right, he has a friend Zhong Dai's title.

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Qing Dynasty Sun Kai Bamboo Picture Fan Xu Beihong Memorial Hall

Sun Kai, his life is unknown, a painter in the middle and late Qing Dynasty. This fan uses light ink to describe bamboo poles and rocks, and thick ink to sprinkle leaves. Although there are only a few strokes, the clear wind is full of the paper. The layout of the picture is timeless and steady without losing the meaning of ethereal and profoundness. It’s a pity that this fan has some defects.

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Qingyuanji, bamboo, stone, chrysanthemum pictures. The Palace Museum in Beijing

This painting describes strange stones, beautiful chrysanthemums, and fine bamboos, with a unique technique. Strange stones are chopped with thick lines and folded with brushstrokes. They use fewer strokes, but they use changing lines to outline the texture to form a unique effect. Chrysanthemums and bamboo are written randomly with changes in thickness and light ink, fluent and flexible, with flexible writing, and full of unrestrained and elegant charm.

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Qingyuan Ji (Shi Tao) Bamboo Pictures of bamboo shoots in Tianjin Museum of Art

This painting describes two bamboo shoots breaking out of the ground, and the new bamboos on the side have begun to grow branches and leaves. Yuan Ji is good at painting ink. In this painting, he uses both dry, wet, thick and thin, and carves the wet and undulations of the ground quilt, the fresh and vigorous bamboo shoots, and the green leaves and fine branches of the new bamboo, which is very vivid and has a wonderful freehand technique.

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Qing Dynasty Zhao Zhichen Double hook bamboo and stone picture Collection of Zhejiang Provincial Museum

Zhao Zhichen (1781-1860) has a name Cixian and is a pseudonym Xianfu. He is from Qiantang (now Hangzhou). He is good at calligraphy and is good at painting landscapes and flowers, and likes to write Buddha statues. The landscape masters of the Yuan Dynasty, Ni Zan and Huang Gongwang used their pens to be faint and quiet. The flowers are elegant in brushwork and elegant in color. His works include "Plum Blossoms and Bamboos", "Pineapple and Rabbit", "Pineapple and Rabbit", "Pineapple of Double Hooks and Bamboo and Stone".

This picture describes three bamboos on the slope, all of which are drawn with double hooks, and the bamboo leaves are lightly dyed with juice green. The lake stone is exquisite and thin, and the brushwork is sharp and vigorous. The colors are elegant and the arrangement is very dangerous. It is a work of intention in his later years.I realized: "The third brother of Xinpei was written in Buluojia, and it was the first day of the tenth month of Guimao. I was idle."

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Qing Zheng Xie, the thorny orchid picture, the long scroll of the Nanjing Museum

This scroll is titled orchids and bamboos, and is surrounded by mountains and rocks. The painting method is brilliant and elegant, and the orchids are drawn with long vertical strokes in cursive script, with different heights and sideways, and the flowers are different in shapes and colors. The bamboo bushes are ethereal and moist, and all the charms are complete. At the end of the scroll is a cluster of orchids growing in thorns, and the flowers bloom far more than ordinary orchids. It is in the meaning of the author's own title, "No villain can become a gentleman, so the orchids in the thorns are even more lush" reflect the painter's outstanding and honest character.

Zhang Daqian (1899-1985), whose original name was Quan, was later renamed Yuan, whose courtesy name was Jiyuan, his nickname was Daqian, and his zhai was named Dafengtang. Born in Neijiang, Sichuan, his ancestral home is Panyu, Guangdong. Zhang Daqian's lifelong creation has reached the state of "inclusiveness of the body and the prosperity of the two Songs of the north and south". He combined literati paintings and writer paintings, court art and folk art into the same furnace, reaching the artistic height of both the elite and the masses, vigorous and elegant, soft on the outside and hard on the inside, and unique style.

The branches in "Spring Branches and Birds" are old and straight, with neat texture and neat rubbing. The green wind bamboo that accompany it is thin and powerful, free and easy to use, with a unique charm. A long-tailed bird stands proudly on the branches, not afraid of the wind and frost, walking alone, with a magnificent appearance and a vivid and vivid sight. It can be seen that the painter can do everything, including landscapes, flowers and birds, fine brushwork, and freehand painting.

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