Huang Donglei’s personal works

On July 27, 2011, Huang Donglei, the prince of ancient paintings, created the traditional Chinese painting "Minghu Panorama" on site in Daming Lake Park in Jinan. The work was of a huge size of six feet (180cm*98cm). Jinan TV reporter He made a special trip to Daming Lake Park for an exclusive interview, which was broadcast on its news channel on July 30 and 31, 2011. Since August 17, 2011, Huang Donglei's traditional Chinese paintings "Panorama of Minghu Lake" and "Four Sides of Lotus and Three Sides of Willows" have been selected into the "Lagua" news program of Shandong Qilu TV Station. Huang Donglei's work "Four Sides of Lotus and Three Sides of Willows" is hung in the upper left corner of the live broadcast room screen, and "Ming Lake Panorama" is displayed as the background pattern of the news window. On August 18, 2011, the "Lagua" news program reported an interview segment with Huang Donglei and his representative traditional Chinese paintings "Ten Beauties in Journey to the West", "Panorama of Minghu Lake", "Minghu Lake in Jinan through the ages", "Lotus on four sides and three sides" willow".

In his 2007 large-scale personal calligraphy and painting exhibition "Soul of Landscape" at Dayu Art Museum in Jinan New World Mall, Huang Donglei designed the huge screen-wide Chinese painting "Soul of Landscape" and its sister piece "Charm of Landscape". The theme painting for the calligraphy and painting exhibition. The works have both the charm of ancient paintings and the innovation of modern painting schools. Later, he published his representative work "The Soul of Landscape" in the 2007.10 issue of "Academic Theory and Exploration" magazine.

Huang Donglei, the prince of ancient paintings, has huge traditional Chinese paintings "Lingyan Rock on a Snowy Night" and "Selling the Eternal Sorrows with You". This work was created by the author for the famous thousand-year-old Lingyan Temple in Jinan, Shandong Province. The work is a six-foot piece (180cm*100cm), with an inscription in cursive script in the upper right corner, and other parts using traditional ink painting techniques to depict the snowy landscape of Lingyan Mountain.

Huang Donglei's large-scale traditional Chinese painting "Northern Scenery" was composed by the author as a companion to the poem "Spring Snow in Qinyuan". The work is a six-foot sheet (180cm*100cm), with all the lyrics written in cursive script in the upper right corner, and other parts of the work using traditional ink painting techniques to depict the snowy landscapes of northern China.

Huang Donglei created the classic gongbi painting "Ten Beautiful Pictures of Concubine Yang" from February 1 to April 21, 2010. The ten gongbi paintings are all four feet in size (65cm* 135cm), each work is introduced as follows:

1 Yangmen Beauty: Huang Donglei’s meticulous figure painting can be said to be one of the most mature types of painting among the types of paintings he is good at. The objects, moods, and expressions in the paintings are all natural, and the writing style is noble. The picture shows that Yuhuan became the adopted daughter of her uncle when she was ten years old. He also learned music, singing, dancing, and wearing Tang costumes in Luoyang. The characters have full figures, elegant postures, charming movements, and detailed and vivid image depictions.

2 The Couple of the Longevity King: The painting of Yang Yuhuan became charming and flower-like as he grew older, which attracted the attention of the upper class. The work further developed and formed a distinctive feature of the close integration of poetry, calligraphy and painting. .

3 Emotions are hard to describe: The imperial concubine in the painting has the appearance of a fish sinking and a wild goose falling. She looks like a flower shy of the moon, with her clothes and belt fluttering and her expression gentle. There is an inscription on the painting: "The joy of two people creates a deep love, leaving the prince regretful and weeping, but no one said it. During the New Year's banquet in the 27th year of Kaiyuan, Emperor Xuanzong of the Tang Dynasty fell into crazy unrequited love for Yang Yuhuan."

4 Drunken and infatuated: This picture shows that in 745 AD, Xuanzong officially enthroned Yang Yuhuan as his imperial concubine. The line drawings in the painting are dense and dense, well interspersed, and the changes in line brushwork can be used to meet the needs of the scene and express the author's emotions. The brush used in this picture also typically reflects the exclusive favor of the imperial concubine and the exclusive power of the emperor's uncle, which should be attributed to the drunkenness and lust of Emperor Xuanzong of the Tang Dynasty, which caused irreparable consequences.

5 Three Thousand Favors: The picture shows the character's leisurely demeanor. The character's facial contours and eyebrows are all carefully outlined with a fine pen, slightly smudged with light ink, and the expression is vivid on the paper, natural and vivid. The clothing lines are concise and concise. The background of the work is that after Yang Guifei experienced the second turmoil of leaving the palace in 750 AD, she was extremely favored by Emperor Xuanzong of the Tang Dynasty. Correspondingly, in the winter of the next year, Lishan was lucky enough to be visited, and the Yang family was highly favored. Concubine Yang was naturally grateful to Xuanzong for his great kindness and fell in love with her even more.

6 The Royal Concubine’s Special Favor: The characters in the work have plump faces and moderate figures, with the characteristics of ladies in “Tang Dynasty makeup” and elegant postures, and the depictions are concise and vivid. The painting method is meticulous and light in color. The patterns on the clothes are fluttering with brushes, showing that the imperial concubine was favored by Xuanzong. Everyone in the Yang family enjoyed benefits and gained great power, but eventually the imperial power led to political chaos. This can be said to be the direct reason why the prosperous Tang Dynasty turned to mourning.

7 The Jade Tower Remains: The pen and ink technique of this picture is mainly line drawing, supplemented by dyeing. When shaping the characters, the lines should be concise, the square folds strong, and the density contrast. In terms of performance skills, he has considerable proficiency. The painted expression of the imperial concubine is vivid and her personality is revealed. It depicts that when Yang Guozhong was in power and Anlu Mountain was plotting, Tang Xuanzong and Yang Guifei were not aware of any uneasiness. The Jade Tower was still singing and singing, reciting poems and playing, and the whole scene was peaceful. The work is one of the representative works of Huang Donglei's meticulous figure paintings.

8 The imperial concubine hindered the Eastern Expedition: The painter attaches great importance to the depiction of the relationship between form and spirit, and strives to "take the spirit from the remains". The characters in this painting are vivid, accurate in image and distinct in character. Especially the outline of the characters' clothing patterns is very skillful. It inherited the excellent traditions of the Tang Dynasty and developed somewhat. The writing style is concise and smooth, full of rhythm and strength. It depicts that in the twelfth lunar month of 755 AD, the north of the Yellow River fell into the hands of the Anlu Mountains. Concubine Yang stopped the emperor from going to the east and took no more risks.

Before the Tang army could gather, Anlu Mountain had broken through Henan, and Chang'an's last line of defense was only Tongguan.

9 Tongguan, Beijing: Meticulous painting must pay special attention to artistic conception, virtual reality, poetry, and interest. Only in this way can it be called a painting art, otherwise it will be no different from a photo. The reality of nature is not art. Only the nature recast by the painter according to his own perception is the real art. In this work, the author casts Mount Anlu based on his insights. When he proclaimed himself emperor in Luoyang, the imperial concubine asked: Can Huaqing Pool fall into the hands of the enemy?

10 Hunjuan Mawei: The truth pursued by art is the truth of the painter’s interest and the truth of the painter’s feelings. Painters win with skill. Painters win with thoughts, emotions, and interest. A painting, no matter how detailed and vivid it is, if it has no poetic meaning and no ideological connotation, it cannot be called art. This work depicts through the painter's emotions when Xuanzong and the imperial concubine were preparing to flee Beijing to Shu. In order to obey the Sixth Army, Xuanzong accepted the soldiers' request and ordered the imperial concubine to hang herself in Mawei.

Gongbi painting is a Chinese painting expression that uses precise and delicate brushwork to depict scenes. Huang Donglei's gongbi paintings use "exquisite" methods to obtain the perfect unity of expression and form by "getting the spirit to get the form, using the lines to establish the form, and using the form to express the meaning". Whether it is a figure painting or a flower-and-bird painting, he strives for excellence.

Huang Donglei’s 18-meter-long extraordinary scroll "Ming Lake in Jinan in the Past Dynasties" immediately attracted great attention from the calligraphy and painting circles and the whole society. Every detail in it focuses on the author's observation and perception of Jinan's Daming Lake for nearly half a century, which is an extremely valuable asset that the author will leave to future generations. On December 19, 2010, at the Shandong Provincial Library's auction of calligraphy and painting works by contemporary famous artists, 300,000 yuan was sold.

After reading a large amount of historical data and combining it with his own observation and experience, the author created a long scroll of color and ink Chinese painting "Jinan Daming Lake in the Past Dynasties" from June 12 to July 17, 2010. The whole volume is divided into *** points Three parts: First, write the title of the volume in official script, and write the preface in regular script; then, ten four-foot-long (70cm*140cm) banner color and ink freehand landscape paintings depict the history of Daming Lake in Jinan from ancient times to the Republic of China. The original appearance of the ten dynasties; the final postscript is written in cursive script.

In July 2012, Huang Donglei created a ten-meter-long Chinese painting scroll called "Minghu Scenic Area Picture", also known as "Along the Lake at Qingming Festival". This work is a companion piece to his classic work "Ming Lake in Jinan through the ages". Through the creation of a ten-meter long Chinese painting scroll, it continuously displays the main scenic spots around Daming Lake. As a calligraphy and painting artist who grew up on the edge of Daming Lake in Jinan, Huang Donglei has devoted all his energy to the creation of calligraphy and painting works.

The long scroll of traditional Chinese painting "Minghu Scenic Spot", also known as "Along the Lake at Qingming Festival", is Huang Donglei's 2012 masterpiece. The work is ten meters in size (1000cm*44cm). The overall effect of the work is a bird's-eye view of Jinan's Daming Lake. The partial effect of the work is to depict the beautiful scenery in a certain corner of the park. The main scenic spots depicted are centered on Tiegong Temple on the north shore of Daming Lake, and there are also lake and mountain reflections, weeping willows along the coast, lotus flowers on four sides and willows on three sides, Tiegong Ci, Arctic Pavilion, Huibo Tower, and Chaoran Tower. The most prominent content of this painting is the special scenery of "one city with mountains and half a city with lakes". Nowadays, more and more high-rise buildings are being built, and gradually Daming Lake and Qianfo Mountain are completely isolated. The so-called lakes and mountains can only be captured through this work. Watch. The South Bank New Area depicted in the work includes: Seven Bridges with Wind and Moon, Autumn Willows with Smoky Willows, Mingchang Morning Bells, Jiaxuan's Graceful Rhythm, Zhugang Breeze, Transcendent Zhiyuan, Zengdi lingering on the water, and birds chirping in the green shade. The overall effect is to use ten-meter ink and light color paintings to depict eight major landscapes in the new and old areas of Daming Lake.

Mao-style calligraphy scroll

"22 Meters of Wild Grass" Mao-style calligraphy scroll is the 2008 representative work of the famous calligrapher and painter Huang Donglei. The work uses Mao calligraphy style to write famous poems from the Tang and Song Dynasties, with a total length of 21.9 meters and a height of 67 centimeters. Most of the words are written in cursive style, and a small number of words are written in cursive style. While using Mao style, it also incorporates the author's personal writing style. After the creation was completed in November 2008, it appeared three times across the country and was highly praised by the calligraphy and painting circles, especially the Mao-style calligraphy circles.

"Crazy Grass 22 Meters" appeared three times across the country. Introduction:

1) On November 22, 2008, it appeared at the fifth anniversary celebration of the Chinese Painting and Calligraphy Trading Center in Jinan Antique City.

2) On December 14, 2008, he appeared at the Beijing Red Star Shaoshan Health Club Mao Style Calligraphy Pen Contest.

3) On December 17, 2008, he appeared at the main venue and reception hall of the Diaoyutai Mao Style Calligraphy Awards Conference in Beijing. The author also received the honorary certificate of "Top 30 Mao Style Calligraphers in the Country" issued by the conference.

"The Blessing of the Master" is a long scroll in regular script

The long scroll in regular script of "The Blessing of the Master" was created by the ancient painting prince Huang Donglei in February 2006 using the writing style of "Yan Qinli Stele", with a total length of 6.2 meters. 0.7 meters high, it is the author's 2006 calligraphy masterpiece. The long scroll is divided into two parts, namely the first volume "The Preface to the Master" and the second volume "The Back to the Master".

In this work, Huang Donglei's brushwork is vigorous and powerful, with sharp and thick stipples, light horizontal and heavy vertical strokes, broad structure, and majestic momentum throughout the text. He uses the brush strokes of Yan style calligraphy to press, close, and draw strokes. Analyze pens, transitions, etc.

In addition, "turn it to make a circle, and you will get a perfect roundness" and "fold it to make a square, and you will get it square." You can accurately write the characteristics of the turning and folding strokes and the shape of the turns in the Yanti calligraphy. "Before and After" is Huang Donglei's representative work in regular script calligraphy.

Huang Donglei’s Taishan snow scene series of traditional Chinese painting works Daizong Ten Scenes

Taishan Snow Scenery series of traditional Chinese painting works Daizong Ten Scenes was created by Huang Donglei, the prince of ancient paintings, from January 1 to 18, 2010 Another new freehand painting by Taishan. Through ten works in the style of snow scenes, the author once again shows the Chinese people the image of China's number one mountain in the minds of painters, including five works each with effects in the snow and after snow.

The ten works created this time are Beiguo Silver Equipment, Dai Temple, Red Gate, Changshou Bridge, Zhongtian Gate, Yingke Pine, Shiba Pan, Nantian Gate, Daiding, and Bixia Temple. All works are three-foot-large (55cm*100cm), in ink and light color style. An unprecedented new concept was used in the creation, focusing on describing ancient pines, ancient cypresses, ancient pavilions, boulders, clouds, mountain roads, and mountain springs.

Ten Scenes of Mount Tai, a series of traditional Chinese paintings from Mount Tai

During the twenty years from 1985 to 2005, Huang Donglei, the prince of ancient paintings, visited Mount Taishan in Dongyue five times and recalled five times. What he heard and saw while climbing the mountain made the artist unable to restrain his creative feelings. Within ten days from (2009-05-24) to (2009-06-03), he completed the Taishan series of traditional Chinese paintings Ten Scenes of Mount Dai,** *Completed ten freehand landscape works, all of which are ink painting effect, and the size is four feet (138cm*68cm), fully displaying the majesty and magnificence of China's No. 1 mountain.

Huang Donglei’s Taishan series of traditional Chinese paintings first use ink lines to outline the outlines of the rocks and tree trunks of Mount Tai, then use various chaffing techniques to draw the light and dark effects of the rocks, then render them with light ink and paint, and finally use ink or paint to point them out. trees. Some works are freehand paintings and at the same time they are ink landscapes, so they do not use color, but use the shades, dryness and wetness of ink to express the scenery of mountains and rocks. The style of Huang Donglei's ink paintings is simple and abstract, and is full of suggestive features. Ink painting is a monochromatic painting, a "sketch" expressed with ink lines. This painting technique uses chaffing to express the effect, and then adds a little cyanine and ocher pigments to make the mountains and rocks more majestic. At the same time, he moderately absorbed modern splash-ink freehand brushwork, sprinkled ink on paper, and developed the technique of ink painting. Huang Donglei's ink painting belongs to traditional Chinese painting. It is self-contained in the field of painting and is the representative technique of his traditional Chinese painting.

"Ten Pictures of Mountains and Seas" (traditional Chinese painting works)

Huang Donglei's series of traditional Chinese paintings "Ten Pictures of Mountains and Seas" on Mount Laoshan. Laoshan is the only seaside mountain in China with an altitude of more than 1,000 meters. She Combining the vastness of the sea and the majesty of the mountains, Huang Donglei, the prince of ancient paintings, started to create the Laoshan series of traditional Chinese paintings "Ten Pictures of Mountains and Seas" on the afternoon of July 4, 2009. The series of works was completed on the afternoon of July 19. The ten ink paintings are all four feet in size (137cm*68cm).

The modeling of freehand animals must first focus on the whole, secondly focus on the characteristics, and thirdly convey the spirit. Huang Donglei's freehand animals first start from the overall image of the object, and use concise brushstrokes to express a highly generalized image. He grasps the typical characteristics of the object and expresses them. Sometimes in order to depict the spiritual personality, he also deliberately strengthens the individual characteristics, so as to successfully depict a specific image of a specific animal. The animal Chinese paintings that Huang Donglei is good at include flying eagles, tigers and lions. The Dream of Red Mansions The Twelve Hairpins of Jinling

On April 20, 2009, Huang Donglei, the prince of ancient paintings, launched the standard portrait of the characters in Dream of Red Mansions - The Twelve Hairpins of Jinling in fine brushwork. This work adopts the method of coexistence of pictures and text, and is drawn in the way of meticulous painting. The standard appearance of one of the beauties is shown, and the life and experience of the beauty are explained in official script above. Each of the Twelve Beauties of Jinling created a work (135cm*48cm), and the complete set totaled twelve works.

The creation of this work can be divided into six steps:

1. Draft: first use a pencil to draw the characters of Twelve Hairpins on the familiar paper, and then modify them to perfection.

2. Hooking: There are two methods of hooking. One is called the hooking method, which is to first use light ink to hook the outline, and then use heavy ink or heavy color to repeat the main lines after coloring. Hook once, this method is not afraid of covering up the original lines when coloring, and it is more convenient to draw. The other is called the hook and fill method, which is to use dark and light ink colors to hook the inside of the outline of the lines. Do not cover the ink lines with the color. The lines drawn by the hook method are smooth, and most of Huang Donglei's figure paintings are the former.

3. Separate and dye the base color: In order to express the uneven changes of the face and clothes folds, firstly divide and dye a heavy color in a dark place. The face can be dyed with ocher color by dipping a pen into it. For ocher, dip a pen in water and use a color pen to partially dye it. That is, use a water pen to push out Twelve Chai's cheeks and dye them with magenta first.

4. Coloring: The coloring method of the Twelve Hairpin characters is similar to the makeup of Peking Opera characters, which is called the three-white method, that is, the three parts of the forehead, nose and chin are white and pink. The color of the eye sockets and cheeks is more exaggerated, and magenta is often used. For Garcinia, add a little white powder. Use ocher vermilion and Garcinia for the face, and add a little white powder.

5. Cover color: After rendering and coloring, in order to unify the tone or remedy some incongruous parts, such as the face, light ocher is often applied flatly once or twice.

6. Color enhancement: Before finalization, reprocess the key parts, such as the corners of the eyes, mouth or nose, etc., to make them more prominent. Paint the Twelve Hairpins on the face and add white powder to the three white parts. Sometimes White powder can be dyed from the back of the paper to enhance the whitening effect of the powder on the face. The dyeing methods commonly used by Huang Donglei in meticulous and heavy-color figure paintings are: cover, narrow dyeing, wide dyeing, and cheek dyeing. When coloring, rotate the pen to make the color Gradually fades away and disappears without leaving any traces.

Journey to the West

In the Chinese classic "Journey to the West", the images of the four masters and apprentices are well-known to every household, but not all of the ten beauties described in the book are familiar to everyone. . For this reason, on the evening of May 2, 2009, Huang Donglei, the prince of ancient paintings, will start to create a large-scale ancient painting series "Ten Beauties in Journey to the West", also known as "Ten Banshees in Illustrated Journey to the West". Each of the ten beauties is extremely beautiful and has attracted everyone's attention. People love.

On the afternoon of August 15, 2011, a reporter from Shandong Qilu TV Station found Huang Donglei, the prince of ancient paintings, for a special interview. On August 18, the "Lagua" news program reported the interview clips of Huang Donglei and his The representative Chinese painting work "Ten Beauties in Journey to the West" and other related contents. The author uses meticulous painting to draw the standard appearance of one of the beauties, and above it uses official calligraphy to explain the beauty's life experience and landscape background. Based on the extensive copying of ancient famous sites, the work's techniques have gradually matured, forming a deep and dignified personal style. , and has won praise from the world for his rigorous creative attitude and superb painting techniques. The painting characteristics of the ten works are as follows:

1. Fairy Chang'e: The strokes used in this picture are round, centered, powerful, and thick in contrast. The smudge is mainly distributed in the blood color of the face and hands, as well as the hair area, and there is also a small amount of smudge on the cheeks and arms. She has a very elegant classical beauty temperament, a representative of the gods, good at singing and dancing.

2. The Bone Lady: Also known as the Bone Lady, she is a beautiful seductress. The rendering of the character's hair is muddy when it should be, and transparent when it should be. The flesh color is adjusted according to different skin colors. The rouge and white powder used in this piece are heavier, and after the hand mask is dyed, some raised parts are dyed white, and then the flesh color overlay is used to remove the powder. Black clothes Use heavy ink to repeat the hook. This is the most famous female fairy in Journey to the West, which is also the representative of the evil image in the book.

3. The King of the Daughter Kingdom: The expression method of depicting characters relies on color. First of all, focus on the entire picture. While composing the picture, you have already anticipated which color will be used as the main color and which color will be used as the secondary color - the color that is an auxiliary foil to the main color. In this way, it is possible to have the colors in a picture match and respond to each other. The beauty depicted is one of the most beautiful women in Journey to the West. She is as gentle as water and so considerate. She is the beauty that all men want to pursue.

4. Lianlian: Hooking is to use ink lines to draw the outline of an object, and drawing is to draw out the outline (ink line) that is covered by color, but the drawn line does not necessarily still use ink. Instead, it is drawn in other darker colors. It is not allowed to violate the original ink line, nor is it allowed to be some distance from the ink line, and the color filled in is not necessarily a flat application, but must also be differentiated into thick, thin, light, light and dark. The use of color in the filling method requires more proficiency than the outlining method. The coloring method of outlining and filling. It is widely used in this work. The beauty created is smart and lovely. She is known as the most delicate and beautiful woman. .

5. Jade-faced fox: Traditional meticulous painting pursues vivid brushwork, rich rendering levels, and delicate and lifelike images. As a representative Chinese painting subject, artists need to continue to innovate, so that gongbi painting will have eternal vitality. Specific to meticulous painting, the main change is the concept of modeling, drawing on the sketching methods of Western painting, especially the creation of figure paintings. In addition, contemporary meticulous painting also incorporates some expression techniques of watercolor painting. This figure painting uses the above methods to create the golden branches and jade leaves-like appearance of the most beautiful enchantress in the book "Journey to the West".

6. Xingxian: The characters in the painting are accurate in shape, strong in generalization, beautiful in image, smooth in lines, slender in figure, white and tender in skin, charming, and the character background design appears in Xiaoleiyin Temple.

7. Mouse Spirit: The outline is not to use thin lines to "draw" along the outline, but to use the pen to "write" the image in calligraphy. The work does not pay attention to the fine workmanship, but more importantly, pursues the strength and beauty of the lines. The so-called "workmanship with both finesse and fineness" is opposed to slender and weak lines. The mouse spirit in the bottomless pit painted in this way is also very beautiful, but the beauty is more coquettish and a bit sinister.

8. Dragon Princess: This is the only picture of a beautiful princess in the water, the wife of the little white dragon, who is in love with the nine-headed worm. He seems quite unruly, but his eyes are particularly bright.

9. Jade Rabbit Essence: Decoration is especially an indispensable factor in this work. From the composition, line drawing, coloring to the detailed processing of the image, there is a certain sense of planeness and decoration. In addition, Wearing Indian style clothes makes people envious of her beautiful clothes.

10. Spider Spirit: Actually, there are seven women. They are all beautiful, so they are considered as a whole.

Qilu TV’s August 18, 2011 "Lagua" news content clip:

Program commentator: Some people watch "Journey to the West" to see Sun Wukong's 72 transformations in the clouds and fog, while others watch "Journey to the West" "It's about watching Monk Tang go through many hardships to obtain Buddhist scriptures from the West. Brother Huang (calligrapher and painter Huang Donglei) from Jinan is also a fan of Journey to the West, but people watch "Journey to the West" for the beauties in it.

Huang Donglei: Even if she is a monster, she is still very beautiful after the transformation of a beautiful woman.

Program Narrator: The fairies in Journey to the West are graceful and graceful, and the witches in Journey to the West are charming and moving. Brother Huang (calligrapher and painter Huang Donglei), who loves traditional Chinese painting, drew "Ten Pictures of Beautiful Women in Journey to the West" based on his imagination. Look at the murderous aura in the softness of the White Bone Lady; look at the greed in the shyness of the Jade Rabbit; look at the loneliness and sadness in Chang'e's eyes. The Journey to the West written by Brother Huang (calligrapher and painter Huang Donglei) Beauty has a different flavor.

Huang Donglei: Her identity is a king, but her heart is still the heart of a mortal, that is, a virtuous and kind-hearted character. (Explanation of the Daughter King)

Liao Zhai

Huang Donglei, the prince of ancient paintings, started "Ten Beauties and Ghosts of Liaozhai" on July 21, 2009. All ten works were completed on September 7, 2009. . Including: 1 Nie Xiaoqian 2 Fourth Sister Hu 3 Lin Siniang 4 Qiao Niang 5 Lianxiang 6 Xin Shisi Niang 7 Hua Guzi 8 Ying Ning 9 A Bao 10 Xiao Cui.

The Chinese painting series "Top Ten Beauties and Ghosts of Liaozhai" follows the original work and puts women into the background of love and society. Through the drawing of traditional meticulous figure paintings and the illustrations of face calligraphy, it is vivid, realistic and realistic. It describes in detail how beautiful the Liaozhai women are, how true they are, and how good they are, as well as their unremitting pursuit of truth, goodness, beauty, and independent personality in their love life. There are many beauties in Liaozhai. Each one drawn through the author's imagination is either "beautiful" or "beautiful". If you were to select beauties from Liaozhai, which ones would you choose? The artist thinks it should be the character in the above-mentioned Chinese painting. Because each of them is a sincere, persistent, and beauty pursuer, and they are the winners of physical beauty and spiritual beauty. What is beauty? The standard is this: a simple face is called "beautiful", a more complicated face is called "beautiful", and a more complicated face is called "turning one's eyes and speaking gracefully". People who pay attention to this work should know that the traditional Chinese painting "Ten Beauties and Ghosts of Liaozhai" uses pictures and texts to describe beauty. For example, Nie Xiaoqian stood outside the window in the middle of the night and said, "I can't sleep on a moonlit night. I wish Xiu Yan is well." When Sister Hu saw the scholar surnamed Shang wandering in the Qiuye Kongyuan, she climbed over the wall and said, "How can a scholar think deeply?" When you are born, you will be as beautiful as a fairy. When Lin Siniang saw Chen Baoyue, an old handsome man from Fujian, she said, "How can you not be lonely just sitting there in the clear night?" However, Lin Siniang still had Chen Gong undress her on her behalf, but the beautiful woman Qiao Niang was very different. She built a house from a tomb. , and even dragged seventeen-year-old Fu Lian to sleep with him because there was only one bed in the room. He was ashamed and wanted to get out of bed. The original work "Strange Stories from a Chinese Studio" successfully created many artistic models with vivid and vivid characters. By closely combining the original works, the Liaozhai Chinese paintings revealed the social phenomena at that time and expressed some of the people's wishes from another perspective.