Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the last years of the Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. For about 200 years in the Qing Dynasty, the authentic literati painting school and the imperial court paintings were gradually declining, and Shanghai and Guangzhou, which were opened as treaty ports, had become new painting centers, and the Hai school and lingnan school of painting appeared.
Representative painters of the Hai School are Ren Xiong, Ren Yi, Wu Changshuo, Xu Gu, and Zhao Zhiqian. Zhao Zhiqian and Wu Changshuo, as literati painters, had major developments in freehand flower and bird painting. The Lingnan School of Painting was formed relatively late, and the late Qing Dynasty Juchao and Ju Lian brothers opened their forerunners, and later Gao Jianfu, Gao Qifeng, and Chen Shuren founded a new school. They drew on the combination of Chinese and Western painting styles formed by drawing and watercolor painting methods, and made useful attempts for the new development of Chinese painting. First of all, let's share the paintings of Zhao Zhiqian, a great painter of the Shanghai School.
Zhao Zhiqian (8 August 1829 – 18 November 1884) was an Ethnic Han Chinese from Huiji (present-day Shaoxing), Zhejiang. The initial character Yifu , the number Leng Jun ; later changed to the word huī ( uncle ) , the number of sorrowful an , Mei An , Wu Min and so on. A famous calligrapher and painter and seal engraver of the Qing Dynasty, the three representative figures of the "New Zhejiang School" together with Wu Changshuo and Li Liangyu, and the "three major painters of the late Qing Dynasty" together with Ren Bonian and Wu Changshuo. Li Zhimin commented: "Zhao Zhiqian learned the North Monument as a self-contained entity. ”
Since his youth, Zhao Zhiqian has devoted himself to the study of scriptures, written exhortations, and the study of jinshi examinations, and has made considerable achievements. Especially fine calligraphy and painting, seal carving. Zhao Zhiqian is good at learning from the predecessors and the famous masters of various schools of the same era, and is not limited to the predecessors and has the courage to innovate. In painting, he is a pioneer figure of the "Maritime School of Painting", and the "Golden Stone Painting Style" created by his calligraphy and printing into paintings has had a great impact on the development of modern freehand flowers; in calligraphy, he is the most powerful practitioner of the theory of epigraphy in the Qing Dynasty, and the formation of his Wei stele style of calligraphy has further improved the technical system of the stele school, thus becoming the first model of the Qing Dynasty to truly comprehensively study the stele in the right, line, seal, and subordinate bodies; in the seal carving, he has widely taken the law on the basis of his predecessors, integrated it, and "sought printing outside the printing" The means creatively inherit Deng Shiru's creative mode of "printing from the book" and open up an unprecedented new realm.
Zhao Zhiqian's seal engraving has achieved great achievements and has a far-reaching impact on future generations. In modern times, painters such as Wu Changshuo and Qi Baishi have benefited a lot from other places. He is the author of the "Six Dynasties Bijie", "Sorrowful Nunnery Jushi Wencun", etc., and there are seal engravings "ErjinDitang Seal".
The main works handed down include "Autumn Color Map of Branches", "Year Dynasty Qing Offering", "Daji Sheep Rich And Noble Map", "Mo Song Tu", "Peony Diagram", "Seal Book Urgent Chapter", "Heart Song", "Ancient Cypress Lingzhi Diagram", "Kaishu Wuyan Lian", "Ammonite Yanlai Red Map", "Eight Words and Yang Lian", "Seal Book Song", "Xu Shi Shu Wen Shu", "KaiShu Fu Ruizhi Four Screens", "Four Hours of Fruit Map", "Jishu Rock Map", "Bi Tao Tu", "Flower Book Twelve Open" and so on
In the middle of the Qing Dynasty, Zhao Zhiqian's "Autumn Color Map of Branches" was analyzed
Qing Zhao Zhiqian "Autumn Color Map of Branches" Scroll color 150cmx48cm is now in the Tokyo National Museum.
In the middle of the Qing Dynasty, Zhao Zhiqian's "Year Dynasty Qing Confession Map" was analyzed
Qing Zhao Zhiqian's "Years of Dynasty Qing Dynasty" on paper, with a color of 137cmx70cm, is now in the Lushun Museum.
In the middle of the Qing Dynasty, Zhao Zhiqian's "Great Ji Sheep Rich and Noble Figure" was analyzed
Qing Zhao Zhiqian's "Daji Sheep Rich And Noble Figure" on silk color 73cmx40cm is now in the Lushun Museum.
Appreciation of Zhao Zhiqian's "Mo Song Tu" in the middle of the Qing Dynasty
"Ink Song Tu" axis, Qing Tongzhi eleventh year (1872), Zhao Zhiqian painting, paper, ink pen, length 176.5 cm, width 96.5 cm. Collection of the Palace Museum, Beijing.
According to the painter's own title, this figure uses the writing techniques of seal, li and grass to depict pine trees, and the pen is round and thick, which is the same style as the author's calligraphy style. Tree trunks, branches, and pine needles are expressed in cursive brushwork, adhering to the tradition of literati painting. The painting is strong and vigorous, and its golden stone charm contrasts with the painting method of pine wood, which is full of interest. This painting is worthy of Zhao Zhiqian's representative painting with gold stones and calligraphy.
This section is signed: "In July of the eleventh year of Tongzhi, Mei Pu Ren Brother belonged to the lord. Zhao Zhiqian. "Zhao Zhiqian Seal" Zhu Wenyin. The "Eleventh Year of Tongzhi" was in 1872, and Zhao Zhiqian was 44 years old at the time.
Appreciation of Zhao Zhiqian's "Peony Figure" in the middle of the Qing Dynasty
"Peony Figure" axis, Qing, Zhao Zhiqian, paper, color, length 174.5 cm, width 90.5 cm. Collection of the Palace Museum, Beijing.
This painting is self-titled: "Brother Qing Qing Ren Belongs to the Painting." Uncle Zhao Zhiqian. "In the picture, there is a large stone, next to a peony, the flowers are brilliant, gorgeous and rich. Zhao Zhiqian is a famous painter of the Shanghai School, known for his flowers, who first learned to yun Nantian, and then went to his beauty and brought the pen of calligraphy and the sonorous meaning of gold and stone into the painting, forming a personal style with grandeur and a broad pattern. This work can be called a representative work that embodies Zhao Zhiqian's typical style, the flowers are either boneless or double hooked, the pen is fast and lively, and the emphasis is on "writing" rather than "drawing". The color is strong, the water, ink and hue are blended, and the stone block ink color is thick and the texture is strong. Bright colors and relaxed brushwork, in the rich to see the rugged and bold atmosphere. The overall layout of the picture is dense and sparse, contrasting with each other, and together constitute a complete picture.
In the middle of the Qing Dynasty, Zhao Zhiqian's "Seal Book Urgent Chapter" was analyzed
Seal Book Urgent Chapter Axis, Qing, Zhao Zhiqian Book, on paper, length 112.4 cm, width 46.4 cm. Collection of the Palace Museum, Beijing.
Interpretation: Entering the Gongqing Chuan Servant Xun, often serving the generals before and after. Liehou Yi has a tuchen seal, and the accumulation of learning is not a ghost god.
This axis excerpts Shi You's "Anxious Chapter", and the last knowledge is "Shi You is anxious to write, Yi Zhai Ren Brother Zheng." Zhao Zhiqian. "Zhao ZhiQian Seal". There is no Tibetan print on this canvas. The specific date of creation is unknown, but it is speculated from the style of the book that it is Zhao's later works. According to Kao, the recipient of the book, "Yi Zhai", may be a Shanghainese Chen Yiqian, the character Yi Zhai, Gong Poetry, and also good at writing Lan.
This axis of the book Deng Shi is like a seal method, and also integrated into the Wei Stele penmanship, folding pen from round to square, thick strokes, but fat flat more than round strength. The knot is strict and neat, the tension is relaxed, and the whole width gives people a sense of solemnity and composure.
In the middle of the Qing Dynasty, Zhao Zhiqian's "Ode to the Heart" was analyzed
"Ode to the Heart" axis, Qing, Zhao Zhiqian book, paper, kai book, length 128.5 cm, width 36 cm. Collection of the Palace Museum, Beijing.
Explanation: Turn your right shoulder. Long shu left foot. Pull a corner. Latent half-abdomen. The room is open. Partitioned. Back to each other. Transform scaling. The complexity is subtracted. When the omission is supplemented, it is divided into backs, and it is like a pair of eyes. Loneliness must be great. Serious illness is provocative. Obliquely to the side. To obliquely attach the song. Qin Jing is a word, and the credit is self-sufficient. Looking at the rows, the magic is in the ups and downs. The Sui monk Zhiguo became an ode to his heart, and Yao Zhongyu of Jingde began to mark it, thinking that the true transmission of calligraphy was indeed not easy. Gamber recorded his text and left it around. I wrote happily, and I forgot about the heat. Tongzhi Yi Ugly May Zhao ZhiQian.
钤 "Zhao Zhiqian Seal" and "There was this person before the Han Dynasty and Sui Dynasty" were printed in two directions. In the lower left corner, the "Shi's Treasures" collection is printed one. There is a line of Shi Shou Yu inscription on the side of the frame, and the plutonium "Shi Shou Yu Seal".
The work book is "Ode to the Heart" by Sui Monk Zhiguo. Zhiguo, a monk, lived in Yongxing Temple. Good at writing, obtaining the method of Wang Xi, Zhang Huaihuan's "Book Break" included its subordinate, line, and cursive writing in the noh. Volume 5 of the Chunhua Ge Ti is inscribed with Zhi Guo's book "Commentaries on Emperor Wu of Liang". He will write his experience into "Ode to the Heart" to show the way of writing and writing. This text was later annotated by the Qing dynasty Yao Peizhong (1792-1844, zi Zhongyu, Anhui Jingderen), and became an important calligraphy treatise.
This scroll is Zhao Zhiqian's letter at the request of his friend "Gamble". Gan Bo (1825-1872), also known as Hu Shu (1825-1872), was a native of Jixi, Anhui. Fine seal carving, gong seal book, won the will of the Qin and Han people. Zhao Zhiqian has great respect for him, has been in contact for many years, and has exchanged ideas with his articles, archaeology has been set to the present, searching for odds to win, "non-jun is not happy".
Zhao Zhiqian's calligraphy was first written by Yan Zhenqing, and later devoted himself to the Northern Dynasty tablets, integrating and self-transforming, becoming a family of its own. Books are combined in various forms, with the most distinctive characters in calligraphy. According to this work, "Tongzhi Yi ugly", it can be seen that the work was created in the fourth year of Qing Tongzhi (1865), and Zhao Shi was 37 years old at the time. The brushwork is strong and straight, the body is heavy and square, the ink is thick and rich, and the style is beautiful, which is the exquisite work of Zhao Zhiqian's early master Fa Wei Monument.
In the middle of the Qing Dynasty, the Painter of the Shanghai School Zhao Zhiqian's "Ancient Cypress Lingzhi Diagram" was analyzed
"Gubai Lingzhi Diagram" axis, Qing, Zhao Zhiqian painting, paper, color, length 140.8 cm, width 37.8 cm. Collection of the Palace Museum, Beijing.
It depicts a towering cypress tree with a thick trunk that has endured the hardships of time and scarred. The intertwined leaves are lush and full of spring, so cooper shows tenacious vitality. The low reishi under the cypress tree is strong and full of vitality, with the charm of "showing off the beauty of the crowd, and the crown is mixed and dangling".
This figure depicts the branches with a strong and powerful calligraphy technique, and is outlined with scorched ink rubbing, vividly showing the great shore of the ancient tree. The leaves and the grass under the tree, the boneless method of reishi imitation Yun Shouping, the brushwork is flexible, quite charming and interesting, and the trunk is rigid and soft, so that the painting has a multi-level visual space, which is a representative work of Zhao Zhiqian's painting with books. Department: "Zhu Jun's brother Ishi, Zhao Zhiqian's painting." 钤 "Zhao Zhiqian" white text seal.
In the middle of the Qing Dynasty, the Painter of the Hai School, Zhao Zhiqian, was analyzed in the "Five Words of the Book of Letters"
"Five Words of the Book of Letters", Qing, Zhao Zhiqian, on paper, 189 cm in length, 56.5 cm in width. Collection of the Palace Museum, Beijing.
The previous sentence of this album is Lian, Lianyun: "Mengzhiyi is all over the world, and Qiling Mai is five dragons." "Shanglian Zhiyun:" Collects poems and verses written by Tao Zhengshi Guo as the Book of Yizhai Zun Brother. "The next link of the clouds:" Tongzhi nine years old in the middle of the summer month of Geng, Zhao Zhiqian. "Under the paragraph" will audit Zhao Zhiqian seal letter longevity" and "Dingguang Buddha reincarnated and fall like a mortal in the world" to print two parties. No Tibetan seal. In the ninth year of Tongzhi (1870), Zhao was 41 years old.
This joint book is majestic, the folding pen is wide and the ink is warm, and the will of Yan Lu Gong Kai fa is still retained, but its dashing and smooth trend has been deng shi like a book rhyme. It is said that it is the third change of the Deng Sect, and the letter is not false. This link is a typical example of epigraphic calligraphy in the late Qing Dynasty, and it is also a fine work in Zhao Zhiqian's middle-aged period. The "Yizhai" in the preceding paragraph should be the same person as the recipient of his book "Seal Book Urgent Chapter", that is, Shanghai Chen Yiqian.
In the middle of the Qing Dynasty, the Painter Zhao Zhiqian of the Hai School admired and analyzed "Ammonite Yanlai Red Map"
"Ammonite Yanlai Red Map" axis, Qing, Zhao Zhiqian painting, paper, color, length 139.6 cm, width 37.5 cm. Collection of the Palace Museum, Beijing.
The title of this painting reads: "The Painting of the Five Brothers of Zaizhi, Zhao Zhiqian." "Zhao Zhiqian" seal.
The flowers painted in this picture, such as chrysanthemums, hydrangeas, and wild geese, are all traditional painting themes loved by Chinese literati. Chrysanthemums have a metaphor of purity and purity, hydrangeas contain a light and elegant meaning, and wild geese come red with a lonely and fresh wind. The author paints these three kinds of flowers on a piece of paper with elegant meaning.
This brush and ink are exquisite, the branches in the painting are calligraphy, wide and thick, ink blending, and the colors are gorgeous. The author uses the inscription of the North Stele Line book that he is good at, and organically integrates with the picture.
In the middle of the Qing Dynasty, the Painter zhao Zhiqian of the Hai School was an appreciation of the "Eight Words and Yang Lian"
"Eight Words and Yang Lian", Qing, Zhao Zhiqian Book, Paper, Xingshu, 168.3 cm in length, 33.7 cm in width. Collection of the Palace Museum, Beijing.
Interpretation: The articles of Mo Yi Xuan Ang are vast, and the art of music is auspicious. Bofu Grand Brother genus. Zhao Zhiqian. Shiren commented on the calligraphy characteristics of Zhao Zhiqian: "Uncle Shu first taught Yan Pingyuan, and then deeply understood the method of Bao's hook to send ten thousand millimeters of qi force, and the seal was consistent." This work incorporates a variety of calligraphy elements into the book, both the grace of the seal book, the wave of the pen and the breadth of the knot, and contains the square thickness of the north stele, showing Zhao Zhiqian's rich calligraphy connotation.
In the middle of the Qing Dynasty, the Painter of the Hai School, Zhao Zhiqian, admired the "Seal Book Song"
Seal Book song volume, Qing, Zhao Zhiqian book, on paper, length 32.5 cm, width 36.8 cm. Collection of the Palace Museum, Beijing.
Interpretation: The Upper Hui's Zhongyi Summer will be to the north to chengyue quan palace cold summer de shi guan guan wang kingdoms moon branch xiongnu obedience order from the hundred officials to drive thousands of autumn long live le wuji Shangling He Meimei lower jin wind with cold ask guest He never said from the water central laurel tree for the jun boat Green silk for the jun zhen ma yu Far as expected, as expected, as if shou was in the left side of the heavens, Da Le Wan and Tian Wuji Yale Chen Jia Zhao were in a single way to move like a shock to the heart of the Great Jia Ten Thousand People also came to the Gurudwara Introduction Qing Hall Chen Lai Shi had not tasted the Zeng Shou Long Live also sincerely Han Zhen Han Song Three Chapters
Tongzhi Jiazi June SuiSheng Shu Seal Law is not based on this authentic sect, but this kind of enlightenable four-body book is suitable for silent meeting
This seal book records the three chapters of "Shangzhihui", "Shangling" and "Yuan as scheduled", counting 12 kai, 74 lines, and 3 characters. Final Knowledge: "The Sixth Month of Tongzhi Jiazi is the Book of Suisheng, and the Seal Law is not authentic, but this kind of enlightened four-body book is combined, and it is appropriate to meditate on it." No stuffiness. The humble seal letter of the "lower plutonium" is "sealed." There is no Tibetan seal, no bibliography.
According to self-title, this book was written in the third year of Tongzhi (1864), when Zhao Zhiqian was 35 years old, when it was the work of his early years of writing style. In addition, from the analysis of the inscription, this volume should be a model book written by Xishu disciples, which is of the same nature as the "Xu Shi Shu Wenshu" volume. This volume uses the Han seal method, and there is also a combination of calligraphy and brushwork, and the starting pen is multi-faceted, reproducing the characteristics of Weibei calligraphy, which shows the unique calligraphy of Zhao's calligraphy that integrates ancient and modern, mixes all bodies, and finally uses it for itself. The knot is slightly longer, the center is with a pen, deep and thick, and the spirit is introverted, which is one of the representative works of Zhao Zhiqian's seal book.
In the middle of the Qing Dynasty, the Hai school painter Zhao Zhiqian's "Xu Shi Shu WenShu" was analyzed
Xu Shi Shu Shu Shu, Zhao Zhiqian Book, on paper, 32.4 cm in length and 57.5 cm in width. 10 lines per page, 4 words. Collection of the Palace Museum, Beijing.
(Xu Shi Shu Wen Shu Shu "Signature: "Zhi Qian", the money is stamped with "Zhao Shi Zhi Qian". There are no collection marks, no bibliographies.
From Zhao Zhiqian's words, it is speculated that this book should be a model book for disciples to learn characters, and the "square pot" in the above paragraph should be for his disciples or those who love his books. The calligraphy structure of this volume is rigorous, the seal method is exquisite, and the hidden edge is not used in the starting place, which means to make it easy for the disciples to see the traces of the brushwork, but it has obtained an unexpected effect, making it different from the rounded beauty of the general seal book, and has its own characteristics. At the same time, this volume is strong and energetic, making the transformation free, integrating the calligraphy of the North Monument into the seal book, and is also one of the major features of Zhao's calligraphy. The specific time of writing of this volume is unknown, but judging from the calligraphy style and the situation of writing models for disciples, when it is a work of Zhao Shi after middle age, it is one of Zhao Zhiqian's representative seal works.
In the middle of the Qing Dynasty, the Painter of the Hai School, Zhao Zhiqian, was analyzed in the four screens of fu ruizhi
"Four Screens of Fu Ruizhi", Qing, Zhao Zhiqian, on paper, 175.4 cm in length and 43.1 cm in width. Collection of the Palace Museum, Beijing.
This screen excerpts four verses of the "Book of Song and Fu Ruizhi", the first three screens each have 3 lines, and the last one has 4 lines, self-knowledge: "Verse Song Shu Fu Rui Zhi Language, the book presents the Xiangwen Grand Duke Zu Fa Jian, Tongzhi Ding Qiu Qiu August, Zhi Zhao Zhiqian." "Zhao Zhiqian Seal" and "There is this person before the Han Dynasty and Sui Dynasty" are printed in two directions. No Tibetan seal. It can be seen from the zhiyu that this screen book was in the sixth year of Tongzhi (1867), the author was 39 years old at the time, when Zhao Shi was still an official, judging from the tone of the inscription, it should be a book given to the superior, and the book was to be examined by the book xiangwen.
Zhao Zhiqian has a very deep attainment in calligraphy, and people sometimes comment on his book cloud: "Xingkai goes in and out of the North Monument, and the manners are all over the place." "His calligraphy first learned Yan Lugong, and then fused the hardness of the North Monument with the thickness of the Yanshu, thus forming a unique style of calligraphy. In Zhao Zhiqian's writings, one of the works uses more prints "There was this person before the Han Dynasty and sui", from which it can be seen that his book takes more Wei and Jin calligraphy between the Han and Sui dynasties.
This screen calligraphy is strong and hard with a pen, storing the will of the book, showing the characteristics of the calligraphy of WeiBei's external expansion and squareness, and the knot body is changeable, which is a typical work of the early period of Zhao's calligraphy.
In the middle of the Qing Dynasty, the Painter zhao Zhiqian of the Hai School of Thought", "Four Hours of Fruit Diagram" screen appreciation
Qing Zhao Zhiqian "Four Hours of Fruit Diagram" screen, paper, ink. Coloring. Length 243.9 cm. Width 60.2 cm. (Japanese) Osaka Municipal Museum of Art Collection.
Zhao Zhiqian's heavy color large-scale freehand flower painting skillfully integrates the literati freehand brush and ink techniques with the coloring principle of writing flowers and birds in the Ming and Qing dynasties, which is innovative and innovative. These four screens can be described as its masterpiece. The flowers and fruits and trees painted are thick and simple, and the colors are rich. The composition is dense and contrasting, and the inscription calligraphy is also clumsy and thick, so its style is rich in gold and stone, and its personality is strong. A screen title: "Hundred sons and thousands of houses strange tree legend, receive the prime minister for ten years." Pseudo-uncle. The second screen question: "Long live the whole world." Uncle. The three-screen question: "The real flowers are hanging in the autumn, and the thousands of gold are straight in the middle stream." Uncle Shu. Four-screen question: "Don't punch the Force, and put the rulai arm." Tan Zen turned to the Heavenly Dragon and realized that it was not a finger. Zhi Qian is a painting of Zi Pei's brother. Tongzhi 9th December. ”
In the middle of the Qing Dynasty, the Hai school painter Zhao Zhiqian's "Jishu Rock Map" screen appreciation
Jishuyan Tu (Chinese painting) 69.5×39 cm Qing Zhao Zhiqian Collection of Shanghai Museum.
"Jishu Rock Map" is a landscape painting created by Zhao Zhiqian, a representative painter of the Late Qing Dynasty Jinshi School, for Pan Zuyin during the Tongzhi period. Zhao Zhiqian gave it to Pan Zuyin, which is not only a praise for Pan Zuyin's rich collection of books, but also a confirmation that the two have a common hobby in academics and collections, and also shows the academic atmosphere of the Qing Dynasty literati scholars who are keen to examine and compile.
The upper part of the "Jishu Rock Map" is a complex picture of mountains and stones, forming a thick volume of "airtight", and below it is outlined with lines of water, and the gentle temperament of "loose horses" contrasts sharply with the dense mountain. The large stone in the foreground on the left side stands tall, the stone chamber looms between the cliffs behind the pine trees, and the foothills are triangular into the water, which aggravates the overall tilting to the right; and the mountain stone that only reveals one corner not only resists the pressure of the left mountain stone with the help of the right middle scene, but also achieves the danger of composition in the balance of one virtual and one real scenery.
In the middle of the Qing Dynasty, the Hai school painter Zhao Zhiqian's "Bi Tao Tu" tuan fan appreciation
Zhao Zhiqian's "Bi Tao Tu" is fanned, 25 cm longitudinally and 25 cm in width, and colored on silk. Collection of Wuxi Museum. The colors are light and elegant, and the shape is flexible. Several branches stretch from the right to the left, and the green leaves on the branches are fluttering, the flowers are clustered, and there are buds dotted with buds, which is a beautiful scene of spring. The flowers are rendered in pink, and the few flowers in the middle are relatively concentrated, one of which is the most colorful, and there are two peach blossoms behind this flower, revealing the fragrance of the picture. To the right of these three peach blossoms, there are also smaller flowers and new flowers, above and below them, there are buds and flowers echoing each other, making the picture full of warm breath.
Zhao Zhiqian's "Bi Tao Tu" is made of boneless techniques, the size of flowers, flower bud postures are different, the petals are rendered in white powder or pink, with a three-dimensional sense, the flower buds are outlined with thin strips, and the line inspiration is changeable. The leaves are fresh and tender, the leaf tendons are outlined in brown, the upper parts are colored with light green, the branches are all brown, and the branches are covered with small brown dots of moss before and after the branches, which are used as buds to express the peach. Although the canvas of the work "Bi Tao Tu" is small, the layout is simple and tasteful, the painting style is heroic and natural, and the pen strength is calm and heroic, which can be seen in the painter's sincere emotions for nature.
In the middle of the Qing Dynasty, the Painter of the Hai School, Zhao Zhiqian, was analyzed in the "Twelve Openings of the Flower Book"
Qing Zhao Zhiqian, "Twelve Openings of the Flower Book", Shanghai Museum Collection.
In terms of compositional layout, Zhao Zhiqian's flower works are "strange and clever in stability, seeking stability in danger, and the layout of thickness, weight and density is unique", and the organic combination of poetry, books, paintings and printing is deeply rooted in the magic of calligraphy and seal engraving. Zhao Zhiqian's paintings strive to be dense and harmonious in the overall pattern, seeking unity in diversity, and living in harmony with virtual reality and rigidity and softness. His flowers, often full of paper, but not crowded, dense but not mixed, complex but not chaotic, in the precision to see the dashing, so that the flowers and leaves, leaning softly, each to the fullest, all have the state of welcoming the sun.