Yuzhiding Bajiao Maiden Picture Axis

[Yu Zhiding’s Banana Maiden Painting Axis]

The Banana Maiden Painting Axis, Qing Dynasty, Yu Zhiding’s painting, paper, ink, 87.5 cm vertical, 35.7 cm horizontal
The title of the paragraph: “The master of the red orchid has a wonderful pen and ink for thousands of years, and loves ivy calligraphy and painting most. Every time she sees that Ru has swallowed the ink without losing her breath, the splashing ink is like flying out of the mold at the bottom of her wrist, and it really shows the heirs of the generation. Sometimes Suo Yu imitates the lady of the plantain in Tianchi, and sincerely asks for advice, but not contemptible. The cartoons ask for advice, and it is necessary to cloth drum ears. Guangling scholar Yu is the tripod.” The next seal is “Shen Zhai Yu’s tripod seal”, “Fisherman on the Guangling Tao”, “Shen Zhai” and other seals are indistinguishable. In modern times, Pang Yuanji’s “Xuzhai Mysterious Play” and other seals were collected and printed in three ways
The Painting of Banana Maiden depicts a woman sitting sideways under a banana tree, looking up from afar and thinking. The lively plantain and the surrounding vines create a quiet and elegant natural environment. From the title above, we can see that this picture was made by the author at the invitation of the owner of the red orchid who loved Xu Wei’s pen and ink. Xu Wei is the representative painter of the splash-ink freehand brushwork in the Ming Dynasty. He uses bold and unrestrained brushwork, and applies ink vividly, which is completely different from the fine brushwork and color baking style used by Yu Zhiding. Yu Zhiding organically combines these two different painting styles with his profound painting skills. This picture has Xu Qingteng’s ink and ink taste, but also the author’s own ink and ink characteristics
In the picture, the plantain and weeds are freehand brushwork. The author does not use his own fine brushwork to depict them, but uses the ivy brushwork to move the brush backwards and forwards, horizontally and vertically, and applies the ink randomly, and the light and the dark are mutually reinforcing. The plantain and weeds are naturally formed in the visible and invisible, and full of vitality. The beautiful lady is a small freehand brushwork. The author imitates the ivy brush technique to draw the five features of the figure. He only uses thick ink to tick and dot, but does not use the micro-erasing and dyeing method he is good at. The accurate and simple brushwork depicts the beautiful lady’s gentle and quiet beauty and the relaxed and comfortable attitude. The author uses the “blue leaf drawing” method he is familiar with in the figure’s clothing pattern, instead of pursuing the straightforward and vigorous straight strokes of ivy. The elegant and varied lines are more helpful to show the lively and romantic inner temperament of young women. This picture can be described as the representative work of Yu Zhiding’s ink painting of ladies.