Painters in China in Qing Dynasty. Monks. Zhu, whose real name is Ruoji, has a thin word length. After becoming a monk, he changed his name to Yuanji, Chaoji, Yuanji and Daoji, calling himself a bitter gourd monk. When he traveled to Nanjing, he got a long pole, and because of its number, he got many nicknames such as long branch, blunt root, mountain guest, monk, Taoist, pavilion, and Dida. The tenth grandson of Amin's imperial clan Jingjiang Wang Zanyi, his ancestral home is Guilin, Guangxi, and he is from Quanzhou, Guangxi. Born in the 9th, 14th and 15th years of Chongzhen in Ming Dynasty (1636, l64l, 1642), he died in the 44th, 49th and 57th years of Kangxi in Qing Dynasty (1705, l7 10, 17654). After the Ming Dynasty, Zhu Hengjia claimed to be in charge of the country, and was executed in Fuzhou by Zhu Wang of the Tang Dynasty. Shi Tao was taken away by eunuchs when he was young and became a monk. His legal name is Yuanji, the word Shi Tao, and his alias is Didazi, the old man Qing Xiang, the bitter gourd monk, the blind venerable man and so on. He once visited a famous monk as a teacher this month. He likes roaming. I visited Jingting Mountain, Huangshan Mountain, Nanjing, Yangzhou and other places many times, and lived in Yangzhou in my later years. He not only suffered from the ruin of his country, but also knelt down twice to meet Emperor Kangxi. He had many contacts with high-ranking figures in the Qing Dynasty, and his heart was full of contradictions. Shi Tao claimed to be from an imperial clan. He was only three years old when he died in the Ming Dynasty. His becoming a monk is more of a political gesture, which is different from Jianjiang's "natural loneliness". Shi Tao's personality is full of "dynamic" factors, so he is in Buddhism but his heart is in the world of mortals. During Kangxi's southern tour, Shi Tao took the coachman twice, greeted him for a long time, and took the initiative to go to Beijing to make friends with dignitaries in an attempt to get ahead. But the dignitaries thought that he was a monk who could paint and ignored him, so he was defeated. So he spent his whole life in the contradiction of lofty self-esteem and unwilling to be silent. Fortunately, he is extremely clever and skillfully vented this contradiction into his own paintings, so his works are full of movement and tension, which is what distinguishes him from ordinary people. ) Shi Taogong's poems are good at painting and calligraphy. His paintings are good at mountains and rivers, and they are also called Lanzhu. His landscape painting is not limited to learning from a certain genre, but widely imitates the strengths of painters of past dynasties, changes the traditional pen and ink techniques, pays attention to imitating nature, draws creative sources from nature and improves expression techniques. The brushwork of the works is smooth and dignified, soft and elegant, especially good at coating, dense and colorful; The ink is thick and dry, or the pen is lighter than Jian Mo, or the ink is thick, hearty and varied; Novel composition, or panoramic view, or local close-up, the scenery is prominent and changeable. The painting style is novel and peculiar, vigorous and unrestrained, and full of commercial atmosphere. Its flowers, birds and orchids are also eclectic, self-expressive, refreshing, dripping and moist, and full of personality. Shi Tao's paintings were famous in the world at that time. Because he enjoyed the famous mountains and rivers, he "searched the peaks and made drafts" and formed his own unique style. Shi Tao is good at using ink method, combining dry and wet light, and especially likes to use wet pen. He showed the atmosphere and profundity of mountains and rivers through the infiltration of ink and the integration of pen and ink. Sometimes the ink is thick, dripping, and has a strong sense of space. Technically, he writes flexibly. Or sketched with a fine pen, rarely rubbed; Or thick lines together. The pen is sometimes fluent and sometimes clumsy. Fiona Fang combined it to make it beautiful and clumsy.

Shi Tao's painting composition is novel. Whether it is the clouds in Huangshan Mountain, ink paintings in the south of the Yangtze River, cliffs, dead trees in Western jackdaw in the west, or flat, far-reaching and lofty scenery, we strive to have a novel layout and a new artistic conception. He is especially good at using "interception method" to convey profound realm with close-ups Shi Tao also talks about momentum. His brushwork is unrestrained, dripping and free, regardless of minor flaws. His works have a bold and unrestrained momentum and win with bold and unrestrained momentum. It had a far-reaching impact on the development of China painting in Qing Dynasty and even in modern times. There are several masterpieces handed down from generation to generation, such as Searching for the Qifeng, Qiu Jie in Huaiyang, Night Flooding in Huiquan, Clear Scenery, Drizzle in Songtao, Plum Bamboo, Mo Hetu and Bamboo Jushi. He wrote Quotations on Paintings by Bitter Melons and Monks, expounded his understanding of landscape painting, and put forward painting theories of "borrowing the past to open up the present", "I use my own method" and "gathering the wonderful peaks to complete the manuscript", which is of great significance in the history of painting in China.