Simple Exposition on Woody Flowers, Volume One

In spirit, they aligned with the ancients; this was truly a peak of prosperity for that era. Li Zhu and Xu Rong of the Jin dynasty, and Qian Shunju original: Qian Shunju (錢舜舉), the courtesy name of the famous scholar-painter Qian Xuan, Wang Yuan, and Chen Zhongren of the Yuan dynasty, were all acclaimed as Great Masters. Each had their own lineage of teachers. Those who studied Shunju followed the style of Zhao Chang. Shen Mengxian also followed Shunju, while Wang Yuan followed Huang Quan. Regarding Chen Zhongren’s paintings, Zi’ang original: Zi'ang (子昂), the courtesy name of the polymath Zhao Mengfu marveled that they were like Huang Quan reborn—was this not because he had truly grasped the master's "mind-method" xinfa: the core spiritual principles and artistic secrets transmitted from teacher to student?

Sheng Mao studied under Chen Zhongshan, and Lin Boying studied under Lou Guan. Both were able to transform their masters' methods; they were truly "indigo blue surpassing the plant from which it came" a Chinese idiom meaning a student has surpassed the teacher. Chen Lin and Liu Guandao adopted the methods of the ancients and created a great synthesis of styles. Zhao Mengyu, Shi Song, Meng Yujian, and Wu Tinghui were all recognized as highly skilled hands. Although Yao Yanqing was meticulous, he could not entirely escape the common habits of his time. Zhao Xueyan’s method of applying color followed strict principles, and Wang Zhongyuan’s use of ink was warm and moist. Bian Lu and Bian Wu were both masters of "playful ink" original: ximu (戲墨), a spontaneous and informal style of ink painting favored by scholars; all were celebrated artists of their day.

In the Ming dynasty, Lin Liang and Lü Ji were as famous as Bian Wenjin, while Yin Hong occupied a middle ground between Bian and Lü. Shen Qingmen original: Shen Qingmen (沈青門), referring to the great Ming master Shen Zhou...

...initially studied Xu Xi and Zhao Chang. Huang Zhen captured the "brush-intent" of Huang Quan, while Tan Zhiyi captured the subtle wonders of both Xu and Huang. Yin Zicheng was able to follow in the footsteps of Zhiyi. Fan Xian, Zhang Qi, Wu Shiguan, and Pan Xuan were all called skilled hands; Pan, in particular, captured the delicate posture of flowers "facing the wind and catching the dew."

Zhou Zhimian, Chen Chun, Lu Zhi, Wang Wen, Zhang Chou, Xu Wei, Liu Ruozai, Zhang Ling, Wei Zhihuang, and Wei Zhike were all masters of "ink plants" mohui: the depiction of flowers and flora using only ink washes and lines, avoiding heavy pigments. Of those skilled in ink plants, it is said that after Shen Qinan another name for Shen Zhou, none could compare to Chen Chun and Lu Zhi. Chen’s work is marvelous but lacks true realism, while Lu’s is realistic but lacks the "marvelous" quality. Only Zhou Zhimian managed to combine both.

Theirs are the brushes of literati "lodging their interests" jixing: using art to express one's personal emotions or intellectual state rather than for mere decoration. They do not rely on "grease and powder" a metaphor for gaudy or excessive coloring; they convey the spirit through ink alone. Because of this, their works are highly valued in the "forest of art" original: yilin (藝林), the community of artists and connoisseurs, and their reputations far exceed those of their contemporaries.

For a student choosing a model to follow, one must look upward to the foundation of Huang Quan and Xu Xi. Study their foundational standing zige: the historical prestige and stylistic lineage of a master, while also seeking broadly across other styles. If the work is aided by a sense of "wind and spirit" vitality and character, it will be meticulous without being vulgar, and free without being wild. In this way, one’s skill advances toward the Way Dao: the ultimate truth or natural order of the universe.