Latest! The popularity index of famous painters in the Chinese painting world was released in January 2022

The history of Chinese painting and calligraphy has a long history, dating back to the pre-Qin period more than 2,000 years ago. Chinese painting and calligraphy through the two Han, three kingdoms, two Jin, the Southern and Northern Dynasties into a new stage, has become the time hub of artistic inheritance; in the Tang and Song Dynasties, Chinese painting and calligraphy has developed to a peak, and is still admired by people; since then, in the Ming and Qing Dynasties, Chinese painting and calligraphy are also frequent masterpieces and have become collectors' favorite collections; modern Chinese painting and calligraphy have been integrated into more new elements, reflecting diversified aesthetic values.

Today's calligraphy and painting art is still flourishing, and famous artists from all walks of life are emerging in an endless stream. Through in-depth analysis of relevant data, we will sort out the popularity index ranking of famous painters in the Chinese painting world in January 2022! The release of this ranking table provides an important reference for today's calligraphy and painting collectors. It has also played a certain leading role in today's chaotic art world, and will continue to be sorted out and released every month, so stay tuned!

Comprehensive reference information sources: China Guardian, Beijing Kuangshi, Christie's, Poly Hong Kong, Sotheby's Hong Kong, Huayi International, Beijing Rongbao, Rongsheng International, Guangdong Chongzheng, Shanghai Jinghua, Shanghai Jiahe, Shanghai Kuangshi, Zhongmao Shengjia, Xiling Printing Agency, heyongbaozhai and so on.

The popularity index of Chinese painters in today's painting world launched this time is mainly based on factors such as the achievements, honors, popularity, influence, network attention index and other factors achieved by painters, and comprehensively refers to Internet-related rankings.

1. Fan Zeng: the style of the ancients, generous and heroic

Fan was once a leader in China's calligraphy and painting industry, and studied in the History Department of Nankai University and the Art History Department of the Central Academy of Fine Arts, and later transferred to the Department of Chinese Painting, where he studied under Jiang Zhaohe, Li Kuchan, Li Keyan, Guo Weiruo and other giants. His paintings are good at white painting, especially like freehand characters, advocating the "one painting theory" of the famous monk Shi Tao in the early Qing Dynasty, advocating "taking poetry as the soul and books as the bone", and the paintings are vigorous, the lines are simple, and the atmosphere is vivid.

Fan Zengren is like a painting, quite an ancient style, generous and heroic, talking about history and Confucianism. "Obsessed with painting, able to book." Even as a rhetoric, quite lyrical. Good reading history, a little through the changes of ancient and modern. This is his comment to himself, his 24 words seem modest, a little bit of pride. Fan Zeng's "arrogance" has long been discussed in the calligraphy and painting circles and academic circles, but in his opinion, this is actually the self-confidence of confucians who are "unyielding", "For example, I once said, 'Domestic white painting, may be compared with me, no one is more than his right', Fan Zeng is too crazy to publish in the newspaper, in fact, this is a fact, isn't it? How is this arrogance? I think a person who seeks truth from facts should be respected and not criticized. ”

2, Huang Yongyu: floating like a dream, for the joy of geometry

"Old child", "old naughty boy" and "ghost talent" are the evaluation of many people. Mr. Huang is over ninety years old, old age, but not at all restless, 80 years old on the cover of fashion magazines, 90 years old to open a painting exhibition, 91 years old to Lin Qingxia, 93 years old to Ferrari, 94 years old to publish a book...

"You're all too serious, I have to be old and unorthodox." "Ask yourself: Be interesting to be alive."

Painting like its people, in addition to the GengshenNian monkey ticket, Huang Yongyu designed the drunkard pottery vase, setting a record for the highest domestic design packaging fee. His comics are a fusion of inner world and emotion, often using a few faint words to reveal the artistic conception of the painting. "Birds are good birds, they are talkative." "I'm ugly, my mom likes it." "Eve asks Adam where the snake went, and Adam says he let the Cantonese steal the wine." It seems that there is no seriousness at all, but after laughing, you can also taste Huang Lao's relaxed and open-minded state of mind. In a flash, it is like life experience, understanding, and freedom.

3. Chen Jialing: The master of abstraction in Chinese painting

Chen Jialing originally studied figure painting, and in the 1980s began to absorb the techniques of ancient Chinese murals and foreign watercolors, and after repeated research and practice, he created a new genre of modern Chinese painting with Chinese philosophical rationality, impressionism, abstraction and expressionism.

Among the generation of painters who became famous around the 1970s, Chen Jialing can be said to be a very "different" one. Mr. Jialing was not young when he came to prominence in the painting world (by the standard of being able to hold solo exhibitions in his early twenties), but he was able to show the sensitivity and advanced consciousness of young talents in his artistic creation career in the next ten years, completed a big leap from technique to concept, established a strong personality style, and in the early 1990s, he became one of the "modern ink painting" schools in Shanghai.

4, Han Meilin: The good is like water, and the good one steps.

As a first-class artist in mainland China, he not only designed two rounds of zodiac commemorative stamps, but also the designer of Fuwa, who has achieved achievements in painting, calligraphy, sculpture, design, ceramics and other artistic fields.

Han Meilin's art blends into the journey of time and also points to the philosophy of life. The little animals he paints are innocent and cute, and they will be attracted just by looking at them. But who would have thought that this old man, who has experienced poverty, war, and ten years of catastrophe, half of his life can be described as bumpy and difficult, but what he wants to express most in his works is still pure love, which is very precious in the current social environment.

5. Cui Ruzhuo: China's "most expensive" artist at present

Cui Ruzhuo is highly anticipated by everyone in the contemporary ink painting industry, and is most famous for his delicate and unique brushwork. His brush strokes are delicate, the fine points are weaker than the hair, and the original appearance of the figurative is almost completely reproduced. Generally speaking, this is the most difficult to show charm, but his brushstrokes exude a life form, a breath of life, a flower, a grass, a stone, a bamboo, a flowing water, a fold... There is a sense of dynamics.

Cui Ruzhuo often emphasizes: "I believe that there are shortcuts to success, and persistence is a shortcut to success." "He has been painting with his father since he was a child, and he has not changed his original intention for decades, in addition to the refinement of his technique, he also seeks to be embodied in the situation of pen and paper. Inheriting the style of various generations of famous artists, striving for excellence, refining out a personal unique style, and creating a new bureau for contemporary ink painting.

6. Huo Chunyang: Enduring, eternal spirit

Since 1976, when he became famous for his huge work "Mountain Flowers and Flowers", Huo Chunyang has been teaching in the Chinese Painting Department of Tianjin Academy of Fine Arts, immersing himself in flower and bird painting, becoming one of the most representative freehand flowers and birds in contemporary times.

Huo Chunyang pursues the artistic conception of painting, and expresses a deep and broad artistic conception with a simple image. The brush in painting can convey the emotion, and the change of priorities in the line can better present a person's thoughts, emotions and even academic accomplishment. His paintings can have otherworldly artistic conceptions, mainly due to his inheritance of tradition and cultural accumulation. In Huo Chunyang's view, tradition itself is a vast world, enduring, an eternal kingdom of freedom in the spiritual world.

7, Sun Qifeng: weak fame and fortune, willing to be lonely

Sun Qifeng's enlightenment to future generations in artistic practice is: to inherit excellent traditions as their own responsibility. In the continuation of tradition, seek its own development. Sun Qifeng's calligraphy achievements also remind people that only by being indifferent to fame and fortune, being willing to be lonely, and diligently sowing and cultivating in the art garden can they bear fruitful fruits.

While engaging in seal engraving, Sun Qifeng began to study seal books. After completing the historical mission of its written function, the seal book still attracts generations of calligraphers to study and create with great artistic declarative power, from the Qin Dynasty to the Qing Dynasty, most of the seal writers have not come out of the small seal style of Li Si and Li Yangbing, and many people have not been able to cross the door wall of The Second Li. Some seal calligraphers of the Ming and Qing dynasties one-sidedly pursued the neatness and uniformity of small seals, and gradually formed rigidity, which led to the decline of seal books. When Sun Qifeng discussed the seal book, he once said: "From the oracle bone and the golden text to the small seal, and then to Li Yangbing, it is from irregular to the rule, to the Qing Dynasty Deng Rushi, Zhao Zhiqian, He Shaoji, and the modern Jin Shihou, and so on, then from the rules to the 'unruly', it seems that 'things must be reversed' there is a certain reason." ”

8, He Jiaying: High and high, the painting is not stingy

He Jiaying's gongbi characters are always tireless to watch, although the years have passed, the charm still exists. Those quiet and elegant images of young girls always have a transcendent purity and a true purity that is not deep in the world.

Ho believes in one thing, painting is the expression of the mind. In the moment of loneliness, the heart is clear, a dozen eyes, the image is reflected in the eyes, the painter has a strong or slight emotional touch in his heart, the inner touch collides with the accumulation of the past, and he resorts to the tip of the pen to form a picture.

He Jiaying has created a new road of modern craftsmanship that not only loses tradition but also has the aesthetics of the times, and has been recognized by all walks of life with a new classic posture, and is highly sought after in the art circle. Although the identity of "teacher" is now more and more tightly wrapped around him, in He Jiaying's heart, he is still a student who desperately draws nourishment from art, faces a new artistic language and life feelings, and strives to make himself a little more progressive...

9, Fan Yang: spontaneous and free, self-contained

The innate literary atmosphere in his blood gave him a unique and spontaneous understanding of calligraphy and painting. In many of his works, although he is wanton, he is free and lawless, although he is straight and straight, but he does not violate the law, and the pursuit is a kind of freedom, a kind of nature, and he does not want to be decent or pursue techniques.

Of course, such a unique style will also be controversial, but these Fan Yang himself do not care, he once said that painting for him is not a career but a life, painting is a part of life. It is also because of this free mentality that Fan Yang can "make things happen and adapt to the convenience of the situation", get the law at every turn, and swing the vitality of the image in the scattered knots.

10. Long Rui: Paranoid talent, inclusive

Long Rui is not a paranoid talent, but an integrated painter with a neutral quality. From his performances since his debut in the 80s, it is clear that he has an inclusive temperament. He can be an important member of the avant-garde "Experiment of Tension - Expressive Ink Painting Exhibition", or he can be the object of the "New Literati Painting" that adheres to the traditional pen and ink taste, or he can be the backbone of the "Heshan Painting Society" whose concepts and language are plain and correct. It seemed that no one wanted to miss him, and he didn't want to live with anyone. When his work is needed in the main theme painting exhibition or commemorative occasion, he can paint the magnificent splendid China and let the former sages not be spared the awe-inspiring righteousness of the motherland's rivers and mountains. When the little brother of the game's pen and ink let him show some lighthearted and happy fringe life, his witty humor can also come in handy. When avant-garde painters were distressed that ink painting lagged behind the world trend in concept and language, he also felt a deep sense of responsibility, so he planned in the secret room and unveiled the wall in the exhibition hall.

Long Rui is not a person who is satisfied with the status quo and eats the old, he has an active mind, high understanding, strong ability, and broad vision. In the words of the critic Lang Shaojun: Long Rui is one of the few painters who is very promising to achieve breakthrough achievements. Because he has gone through a tortuous and repeated journey, he has a clearer understanding of the whole art of the East and the West, and is more conscious and mature. As a powerful painter, Long Rui wordlessly expounded his ideological propositions and value orientation through his obvious creative achievements. At a time when the development of Chinese painting requires a special historical situation in which it needs to be regrouped in deep reflection, his artistic pursuit especially suggests a rather exemplary way of practice.

11, Han Tianheng: meticulously pushed, meticulous

It is a decorative beauty. He thinks that after the Qin and Han craftsmen, it is difficult to work hard from the most natural place, and the artificial breath may not necessarily contradict art, but it is a certain deliberate natural interest in pregnancy, making beauty appear more mellow, more intriguing, and more condensed. If the decoration of Ding Jingshen and Deng Shiru is a kind of technical decoration, while Wu Changshuo and Qi Baishi are from an inadvertent point of view, so in a certain sense they intentionally or unintentionally abandon the surface effect of formal beauty, then Han Tianheng wants to try to return and return to decoration. But this is no longer the decorative meaning of the Qing people. The conditions of combining calligraphy and painting make his decoration more inclined to form- the precision of space cutting and the rigor of counting white and black; of course, it also includes the meticulous promotion and meticulousness of red and white.

With a kind of flat composition, his vision is not in the classical form of calligraphy, he seems to be using a Western-style form to examine this small printing surface, but the method of expression adopted is authentic Chinese: the lines are round and thick; the emphasis on the stability of the center of gravity; and there is also a kind of fun.

Han Tianheng's calligraphy, seal, affiliation, kai, line, grass and other bodies are good, and the characters are full of atmosphere and ethereal style, with their own unique appearance. Judging from his works, it comes from tradition, benefits from tradition, and is not limited to tradition, very soberly takes his own aesthetic trend as the starting point, takes his own favor in the inscriptions of the sages of the past, earnestly and diligently practices and ponders, and in the process of borrowing, thinks deeply and uses it for me. He believes that innovation is the eternal theme, the ancient and the present, the new and the old, the middle and the outside, are not opposites, but a process of pushing out the old and the new, the essence of which is to push the new out of the new, that is, to push the new of the past masters, and out of the new today and the future.

12. Shi Guoliang: After the mountain is a chanting

Only those who have received the "Three Great Ordinations" can become formal monks. Before ordination, the ordination (men and women waiting to be ordained) lived a more rigorous life than in the barracks. Each person is given a number in place of their respective name. All the ordinations were organized into several classes, and Shi Guoliang was designated as the head of the third class of bhikkhus. Every day at 4 a.m., there is only 10 minutes to tidy up and wash up; a squatter's room (the room where the monk lives) for nine people and only two toilets in the bathroom. In order not to be punished for being late in line, the morning "toilet battle" was extremely tense and intense.

The first lesson of the morning class is to face the mountain, starting from the foot of the mountain, chanting a Buddha trumpet, lying on the ground and prostrating your head, taking a step towards the mountain; another Buddha trumpet, another prostration of the head, and then standing up... Knock all the way to the top of the mountain, even if it rains and the ground is completely wet. In the hot summer, the ordination still has to wear six layers of monk's robes according to the rules, and even if it does not rain, the whole body will be soaked with sweat from the inside out. In Tibet, Shi Guoliang had seen and painted groups of Tibetans of men and women carrying their bags and shaking bells, taking a long step and tapping their heads straight to the place where the Buddha lived.

13. Feng Yuan: Climbing the mountain, enterprising

When it comes to Feng Yuan, his most distinctive label is the creation of character paintings with major historical themes and contemporary real-life themes. The 9 years of hard and confused life of Zhiqing are like the imprint of life, providing Feng Yuan with a rich life experience at the bottom of society, deepening his understanding of history and people, laying the foundation for his creative attitude of paying attention to society, paying attention to life and paying attention to people, and giving his works enthusiasm and majestic, profound and vast style characteristics, as well as a unique Chinese spiritual atmosphere.

"When I paint history, I intend to erect monuments for the nation; when I write, I feel that the beauty of the abstract structure of calligraphy and the origin of painting are the same. Dahua flows, the sea is a drop, the painting art is endless, and it takes a lifetime to peep into the mysteries of its hall. In this way, each painting is no longer just a small life experience and fun pursuit, but a pursuit of a grand ideal realm and a worship of beauty.

14, Jia Youfu: A drop of ink contains the whole world

Jia Youfu is an accomplished landscape painter in mainland China, who has devoted himself to the artistic creation of landscape painting and the theoretical study of Chinese painting for decades, and has gone deep into the Taihang Mountains more than 30 times to observe life and nature, and his paintings have gradually formed a mysterious aesthetic style and language style of landscape painting. At the same time, Professor Jia Youfu has also been engaged in the teaching practice and research of landscape painting for a long time, and gradually established a set of landscape painting teaching system that meets the requirements of the progress of the times.

This teaching system is not only the inheritance and development of the excellent teaching tradition represented by Master Li Keyan, but also the re-creation of the fundamental development law of Chinese painting rooted in the Chinese painting tradition. Its basic framework is a composite teaching model of "strengthening traditional teaching, deepening the teaching of sketching, and emphasizing the creative teaching of pioneering spirit". Jia Youfu's teaching ideas on landscape painting embody the consistent seriousness and integrity of the academic system of the academic school, marking the germination and growth of the new academic concept of landscape painting.

15. Zhu Motherland: "Breaking the situation" in the contemporary Chinese painting world with comprehensive and versatile strength

Painter Zhu Guoguo, character: Moke, number: Qiao Gengshan people, cattle herding baby, Xijiangshan people (born in 1964), Zhejiang Yongjia Nanxijiang people. Living in Shanghai. Researcher of the Academic Committee of the Chinese Academy of Management Sciences, Vice President of the Shanghai Sino-Foreign Cultural and Art Exchange Association, Consultant of the Shanghai Chinese and Western Art Integration Association, Consultant of the Chinese Chronicle Report, Poet, Calligrapher, Chinese Painter, Finger Ink Painting Art, Collector, Calligraphy and Painting Connoisseur, Good at Landscape and Water Cow Eagle and other animal paintings, his calligraphy works have won the Milan World Expo Gold Medal, and his original style has been transcribed by the painting world as a painting art master. The finger ink painting created by Mr. Zhu is another finger ink painting artist after Mr. Pan Tianshou, and his works have been collected by Mr. Ban Ki-moon, the former Secretary-General of the United Nations, and other well-known people.

Mr. Zhu herded cattle in his hometown as a child, and used sand dang paper to make pens and paintings with his fingers, and his huge landscapes were admired by the world. Yu Xi paints animals, and the cows he paints are cute and cute. It was commented by a famous critic that "the cow of view is both agile and sees that the cow is talking, and the cow painting is alive, and it is a prosperous cow". Teacher Zhu has traveled for decades in the mountains and mountains of Daze, inspired by nature, and his works are free and convey the long-term voice of an artist. Its unique artistic value is highly sought after by collectors. His unique state of mind and self-created painting style will have a far-reaching impact on the Chinese painting world. Zhu Motherland's works have won many awards, and have been selected as the inheritors of national treasures and selected as the art ambassador of the Winter Olympics, and his Eagle Stone works have performed well in auction, and they have been collected by famous auction houses for many times and are well-known in the painting world.

16. Jia Guangjian: Unrestrained and indulgent, unique

Reaching the realm of purity, Jia Guangjian's one reality and one shape and most of them are large scenes, with an extremely wide focus, and it is easier to create the clear and clear realm in the painting. In addition to the technical aspects of the treatment, it is also necessary to choose the subject matter. His lotus series of works in particular reflects his creative achievements in this realm. The lotus flowers painted by Jia Guangjian are mainly compound petal lotus flowers, and this kind of painting image reproduces a pure world.

That's where his success comes in. In this way, his works are both real everywhere, vivid, clear and transparent, embodying undisguised magnificence, reaching the meaning of beauty and saltiness; also seeing the picture floating and steaming, rising and falling, more vivid. To do this, in addition to the need for solid painting skills, painters must have a broad vision, look at nature, have no stagnation in their chest, and communicate with the ancient state of mind. Sprinkled with the bosom, it is transcendent with the idea of dust, the pen and ink are exquisite, and the fragrance is emitted from the heart.

17. Lu Yushun: Luxurious and rich creative state

Lu Yushun is not only an outstanding artist, but also an excellent manager and leader. Under his leadership and coordination, the relevant work of the National Academy of Painting has stepped up to a new level in the past year, and in the summer of 2007, the number of students increased from more than 180 in the previous year to more than 340, and the scale of teaching almost doubled. Due to proper management and good education, at present, the National Academy of Painting of China has become the most popular and most remarkable non-academic teaching professional art institution in the country, which has received widespread attention and praise from all walks of life, and has achieved multiple harvests of social benefits, academic benefits and economic benefits.

Yu Shun's three series not only express three different humanistic dimensions, but also three aspects of his style and schema exploration process. From the perspective of diachronicity, we can roughly outline the trajectory of the evolution of such an idea: from the chenghuai taste of "Contemplating the Eight Wilds", to the classical spirit and homeland narrative of "Tang Poetry", and then to the exotic humanistic beauty of "European Sketching", Yu Shun has completed a mysterious spiritual reincarnation in a large number of works, and at the same time completed the construction of the new landscape style system; from the perspective of synchronicity, these three series are still in a state of continuous advancement, secretly bypassed in spirit, interdependent in language, Together, it presents Lu Yushun's energetic and luxurious creative state.

18. Zhang Lichen: Attaches importance to the excellent tradition of Chinese painting

Mr. Zhang Lichen is famous in the department, and in the year of the weak crown, he took the responsibility of seeking advice in front of the famous Chinese painting teachers of the Zhejiang Academy of Fine Arts, and then took charge of the post of head of the Chinese Painting Department of the Central Academy of Fine Arts, and now serves as the doctoral tutor of the Chinese painting major of the Central Academy of Fine Arts and the China Academy of Art, which can be described as the true spiritual inheritor of the academy.

In the field of contemporary Chinese painting, Mr. Zhang Lichen is the banner of freehand painting, the leader of freehand flower and bird painting, and the teacher who has achieved great results in rebuilding the inheritance system of Chinese painting.

Since he studied under Pan Tianshou fifty years ago, he has continuously studied ancient methods, paid attention to fresh feelings, absorbed the new opportunities of the times, and taken both the stones of his mountains, wu Changshuo's qi, Qi Baishi's love, Pan Tianshou's reasoning, the wantonness of the green vines, the eight wonders, the western plane composition, with the depth of the pen and ink, the thickness of cultural accumulation, the intensity of rhythm contrast, the breadth of cultural cultivation, consciously pulling away the distance from Western painting, showing full spirit and full of feelings, giving the large-scale freehand flower and bird painting a high-pitched and interesting inner spirit.

The reason why he was able to push freehand flower and bird painting to a new situation on the basis of his predecessors was first of all because of the firmness of his cultural stance, and at the same time, on the basis of inheriting the ideas of Huang Binhong and Pan Tianshou, he seriously reviewed the pros and cons of the development of Chinese painting in the past hundred years, and got rid of the misleading theory of Westernization with a sober mind and keen understanding. From the perspective of cultural development strategy, we can combine the excavation of the essence of tradition with modern interpretation, and integrate the theoretical thinking on the ontology of Chinese painting with the reconstruction of the inheritance system of Chinese painting.

19. Yu Jigao: Vision becomes a reality

Yu Jigao grew up in the countryside of northern Jiangsu, his family was poor, and he worked in agriculture since he was a child, honing his strong will and love of labor, and also cultivating his deep feelings for nature and flowers, birds, fish and insects. The artistic seeds in his heart sprouted on this fertile soil, fell in love with painting, and because of his hard work, he was finally admitted to the Fine Arts Department of Nanjing Normal University in 1951 and began an artistic journey of herding cows. He caught up with the good world, met the good teacher, Mr. Fu Baoshi's profound knowledge of art history and Mr. Chen Zhifo's outstanding achievements in painting flowers and birds, guided him into the door of traditional painting, and chose the major of heavy color flower and bird painting. Childhood visions become reality.

Yu Jigao's heavy colored flowers and birds painting close to Mr. Chen Zhifo, a distant ancestor of five generations and two Song Dynasties, directly took the creation as a teacher, and cast it with personal life feelings. From his paintings of flowers and birds, you can feel the vigorous vitality of nature and the high poetry of the new era. He rarely depicts rare flowers and grasses, rare birds and animals, but focuses on the flowers, fruits, insects and birds common in life, giving people a simple and intimate local feeling. His paintings do not have the idyllic and distant seclusion and jianghu flavor of ancient courtyard paintings, but they belong to the world and belong to the art of the new era and the people. Flourishing, full, abundant, joyful, radiant, elegant and beautiful, flowing, lively and innocent, graceful and open-minded, yangyang and generous, this is the tone and style of the heavy color flowers and birds paintings of Gao Gong's pen. Reading his paintings is like listening to a colorful music, or a Jiangnan silk bamboo that is urgently in charge, an ode to nature, a praise for life, a lament for beauty and love, evoking people's love of life, love of labor, love of the countryside, love of the people's beautiful feelings and noble sentiments, because the flowers and birds, spring and autumn fruits, are the gifts of nature, but also the green life of the fertile soil of the motherland that generations of working people have watered with blood and sweat. Painting is a silent poem, in the silent place to feel the pulse of the times beating, to hear the voice of the painter, this is a people's artist's fiery heart, he loves the motherland's grass and trees so persistently and deeply, every stroke is full of feelings.

20. Wang Xijing: All my life I have been an ascetic of art

As one of the representative figures of the Chang'an School, Wang Xijing has created nearly 10,000 paintings in his painting career of more than 60 years, and has also shown everyone his amazing artistic height.

Wang Xijing's works are to paint works with deep Zen meaning with wild grass brushstrokes, reduce the brush strokes of character paintings, open up a new atmosphere, and create a large brush splashing method, becoming a modern representative painter of freehand figure painting, and his works use bold and concise brush and ink to vividly show the charm of the characters. Ink freehand figure painting gradually formed a major trend of Chinese object painting.