Shi Taogong is good at poetry and painting. 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 clumsy, especially good at painting, dense, magnificent 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.
Shi Tao (1642—— about 1707) was a painter in Qing Dynasty and a master of Chinese painting. The original name of the law is Yuanji. Formerly known as Zhu, his name is extremely high. The word Shi Tao, also known as Bitter Melon Monk, Big Dipper, Qing Xiang Ren Chen, etc. Quanzhou, Guangxi, settled in Yangzhou in his later years. King Jingjiang of Ming Dynasty.