Reminiscences of Pine Pot Paintings by Qian Du of the Qing Dynasty: "In the Tang Dynasty, the identification of paintings was just small characters, hidden in tree roots and stone fissures. Those who were not good at writing usually left them on the back of the paper. In the Song Dynasty, there were records of years and months. , but the calligraphy is still in fine regular script, and there are no double lines. However, the inscriptions on Dongpo are all in regular script, and there may be three or five lines of postscript, which is already in the Kaiyuan style. There is no inscription on the painting, and those who have the inscription are just inscriptions on the stone corners of the tree cavity." The two said that they don't bother to get proof. For example, the Chinese painting "Landscape" in the collection of Takatongin in Kyoto, Japan, was once considered to be the work of Wu Daozi, a great painter of the Tang Dynasty. Later, a small inscription - "Li Tang Painting" - was found above the central pine tree. Fang Shiduan was painted by Li Tang, a court painter in the early Southern Song Dynasty. The inscribed pictures began with Su Shi and Mi Fu, and gradually increased in number during the Yuan and Ming dynasties. He is highly sentimental and relaxed, but if the painting is not enough, he will express it with an inscription. The painting has a certain place for inscription, and the number of lines may be long or short, double or single, horizontal or straight, and there are many changes. Therefore, paintings are inherently better and better depending on the title, but there are also paintings that fail because of the title. The handmade calligraphy of the Yuan and Ming dynasties, although it invades the painting position, is still meaningful. For example, Ni Yunlin not only wrote postscripts, but also included poems, often with more than a hundred characters, making the paintings even more elegant. When it comes to the Qingteng and Baiyang generations, their style is wild and elegant, and they are suspected of "stealing the spotlight". But one poem is sublime, such as the poem "Ink Grapes" inscribed by Ivy: "Having been down and out for half a life, I have become an old man, and my independent study whistles in the evening breeze. There is nowhere to sell the pearls on my pen, so I throw them away among the wild vines." The theme is used to express emotion. Relying on nature; the calligraphy is wild and free, very harmonious with the picture, and can complement each other. The style of painting has reached a state of complete maturity by modern art masters Wu Changshuo and Qi Baishi, and has become an organic part of the painting. It not only expresses the meaning of the painting, expresses emotions, but also shows the perfection of the composition of the painting. Until Mr. Pan Tianshou, there has been a huge change. The knowledge of painting inscriptions is indispensable from the following three aspects: first, literary proficiency, that is, the self-composed poems are exquisite, or adapted from ancient poems; second, calligraphy proficiency, not only is the calligraphy of the inscription itself excellent, but it must also be coordinated with the picture, such as wild cursive writing. No matter how precise it is, it is still very difficult to make fine brushwork paintings; thirdly, the composition is precise, as mentioned above, "paintings have a certain place for inscription".