Yun Nantian's poems, books and paintings are all profound, and he has the reputation of "three wonders in Nantian". Yun Nantian's uncle Yun Xiang is a famous painter. Nantian has studied poetry and painting with his uncle since childhood, so he can be regarded as the only teacher. After Nantian returned home, he began to paint landscapes, creating a reputation in landscape painting. The four kings, Wu Yun, were also called "the six Qing families". However, in the face of the decline of flower-and-bird painting, Nantian began to specialize in flower-and-bird painting. He inherited the painting method of Xu Chongsi in the Northern Song Dynasty, and then almost created a "boneless painting" method, which directly painted flowers and leaves with color or ink, without "pen bones". It injected a new vitality into the creation of flower-and-bird painting at that time and made a certain contribution to the balanced development of Chinese painting after that. The flower paintings in the late Ming and early Qing dynasties had "the power of ups and downs" and were regarded as "decent sketches", which affected the whole country. "The Collection of Paintings of the Dynasty of China" uploaded: "In recent days, no matter the south of the Yangtze River and the north of the Yangtze River, every family is in Nantian, and every family is uncle, so there is the purpose of" Changzhou School ". As recorded in the history of China painting, there are as many as 1 Changzhou painters. Nantian's achievements in painting theory are also very high. For details of painting theory, see Postscript of Nantian Painting. His painting theories mainly include: "the theory of taking feelings"; It is necessary to "learn from the ancients" and "learn from nature". There are also "similarity" and "non-similarity". At that time, the mainstream view was that "similarity" was needed, and similarity became vulgar. Su Dongpo once said: "On the similarity of painting, it can be seen in children's neighborhood." Later scholars used this sentence to attack painters who painted like pictures. In Nantian's view, "likeness" and "non-likeness" are not the highest requirements of painting, and the highest realm lies in "vividness". He said: "The whole world thinks it is better not to be alike, while the rest is not, but to be extremely similar, which is called vivid with painting." Selected Works of Yun Nantian
Landscape Articles The landscape paintings created by Yun Nantian have a wide range of themes, seeking "potential" in a big way and "interest" in a small way, and pursuing deep, quiet, fresh and elegant tastes with light ink, light color and wet brush.
Calligraphy articles During the Kangxi period, Dong Shu was all the rage, but Yun Nantian did not keep up with the times, and took his profound knowledge of poetry and painting as his accomplishment, which made him unique. Yun Nantian's calligraphy has profound traditional skills. He widely absorbs the strengths of ancient masters and takes me as his use, that is, the so-called "taking Wang Xianzhi as the body, Chu Suiliang as the face, and Huang Tingjian as the bone", which is integrated and has formed his own style. A large number of poems and paintings he wrote and handed down from generation to generation are all unique and radiant, forming Yun Nantian's poems and paintings.
The flower-and-bird paintings of Yun Nantian are similar in appearance, fresh and elegant in style, and their boneless paintings are all the rage and have many followers. He claimed to be "Xu Jia Chuan Wu Fa". On the basis of inheriting Xu Chongsi's boneless flower painting method, he combined the essence of Huang Quan and Xu Chongsi, attached importance to image sketching, and "vividly expressed with flowers". His painting method is a kind of figure of "painting with chalk and greasing, and then painting with dye". Fang Xun thinks this is a new style that "this method was not passed down by predecessors, but was created by himself". It integrates the essence of meticulous painting with freehand brushwork, which is not only realistic in form, but also vivid in freehand brushwork.