(A.D. 1483- 1544) Ming Dynasty painter. At the beginning, it was named Chun, the word Dao operator, and later the word line was changed to operator, and it was named Baiyangshan in Changzhou (now Wuxian County, Jiangsu Province). I study painting and calligraphy in Wen Zhiming. Good at painting flowers, pen escape, self-contained Later generations called him and Xu Wei "Ivy Poplar": landscapes, calligraphy and poetry. He was very talented since he was a child, and he was proficient in Confucian classics, ancient prose, poetry and calligraphy. He is also very talented in painting and his writing style is extraordinary. Every time Wen Zhiming talks about him, he always smiles and says, "I am a teacher, and I have my own way of writing and painting. I am not a disciple. " So who did Chen Daofu learn from? In fact, it was from Wen Zhiming that he learned the basic elements of literati painting: pen and ink, artistic conception and tradition. However, some flower-and-bird paintings emphasize orchid and bamboo, so to trace the origin of Chen's freehand brushwork flowers, we must quote Shen Zhou, the founder of Wu Pai. Shen Zhou's flower-and-bird paintings were very original in the early Ming Dynasty. He first used "freehand brushwork"-the method of writing its theme to sketch flowers and birds. Compared with the realism in Song and Yuan Dynasties, it is plain but thought-provoking. Chen Daofu combined cursive script with freehand brushwork, creating a new style of freehand brushwork flower-and-bird painting. And Xu Wei, who was a little later than him, was also called "Ivy Poplar".
Flower-and-bird paintings in Song Dynasty are generally precise in outline and bright in color. In the early Ming Dynasty, Shen Zhou created a small freehand brushwork, emphasizing ink over color, while Chen Daofu created a large freehand brushwork, with simple pen and pure ink. In his Ink Painting Book last year, he once said, "What he has done in recent years is to play with ink painting, and no longer set colors ..." "Being drunk and at a loss" is the best state of this "game ink painting". The long title on the picture is a fanatical worship of former teacher Shen Zhou: "... I can still remember the romantic life of my predecessors, but I still have that piece of danqing paper. When the water dries up and the flowers wither, you have to worry. As long as it floats, there is no need to rock the boat. Mr. Ishida tasted a bottle of lotus pictures with this word on it, which was transferred to Linjiang Xian. Today, boys are effective and the pursuit of peace is correct. Dawu "He called Shen Zhou" sir "and called himself" little boy ". The picture he painted was drawn according to his words, but it was "effective".
Although both Chen Daofu and Xu Wei say that they have successfully integrated cursive brushwork into their own paintings, there are still obvious differences in their painting styles. If we compare their calligraphy together, we can find the difference. In history, cursive scripts were divided into two categories: big grass and small grass. Big grass, Huai Su's galloping, while dragon and phoenix dance; Wang Xizhi, the mowing man, is polite and gentle. Although later generations attributed Chen and Xu's calligraphy to cursive script, we can still see that Chen Daofu's pen is cautious and neat, which seems to be leisurely; Xu Wei's brushwork is wild, his ink is dripping and his brushwork is messy, which is commensurate with his madness. I think it is more appropriate to call it "wild grass". This is their difference in painting.