This lecture will be held on September 21st (Saturday) at 3:00 pm in the lecture hall on the second floor of Guanshan Yue Art Museum. At 10:00 on September 12 (Thursday), reservation registration is open. Please pay attention to the WeChat official account reservation information of "Shenzhen Guanshanyue Art Museum". This series of lectures has always been loved by everyone, and registration is enthusiastic. Please make an appointment at 10:00 on the opening day to avoid missing out.

Wang Qi, graduated from the Department of Arts and Crafts at the Central Academy of Arts and Crafts, is currently a research curator at the Palace Museum. Mainly engaged in the research of Chinese calligraphy and painting, he has published papers such as "Portrait of Emperor Kangxi and Related Issues", "On the Reasons for Yu Zhiding to Draw Multiple Portraits of Wang Shizhen", "A Brief Study on the Transmission of Qiu Ying's' Tribute to the Imperial Household 'Volume", and compiled catalogs such as "Han Mo Hua Guang - Modern Famous Artists' Paintings in the Palace Museum Collection", "Fu Baoshi", "Zhang Daqian", etc. I have hosted and prepared exhibitions such as the "Exhibition of Famous Painters in the First Half of the 20th Century" (2005), the "Zhao Mengfu Painting and Calligraphy Special Exhibition" (2017), and the "Immersive and Rich Exhibition of Fu Baoshi's Paintings in the Palace Museum Collection" (online exhibition).

Yu Zhiding (1647-1716), also known as Shangji (Shangji, Shangji), Shenzhai, and Taoshang Fisherman, was a painter from Xinghua, Jiangsu Province during the Kangxi period of the Qing Dynasty. He was a member of the ninth ranks Honglu Temple imperial examination. Regarding his life, the records in art history are extremely brief, possibly due to his non literary and non official status.

Yu was skilled in painting figures and landscapes, especially in "photography". He was proficient in white drawing, ink bone painting, and Jiangnan painting, and his characters were both vivid and lifelike. He was also skilled in placing the subject in the midst of hills and forests to enhance the subject's high emotions and ease. He has outstanding brush and ink skills, and is quite knowledgeable in both literature and theory, which makes him a favorite among literati and ink artists. He was known as the master of portrait painting during the Kangxi period, and Wang Shixun praised him as "famous under the carriage", indicating his great reputation. There is even a saying that modern people rely heavily on the achievements of their predecessors to witness their appearance. Yu's cauldron is also good at mountains, waters, flowers, and birds, and draws on the methods of the Song and Yuan dynasties to create new ideas.

Xingle paintings with portraits of literati as the main theme have become the mainstream carrier reflecting the lives of literati by the late Ming and early Qing dynasties. Xingle Tu not only carries the function of recording character images, but also serves as a medium for expressing personal aspirations and social images, widely accepted by the literati class. The Yu Zhiding  painted Xingle paintings created for many literati and officials at that time. It not only vividly depicts the scene, but also uses landscapes, gardens, trees, rocks, and plants to create an atmosphere, showcasing the spirit and elegance of the protagonist, and has been widely recognized. In the 21st year of the Kangxi reign (1682), Yu Shi painted the "Chengnan Yaji Tujuan" (collected by the Tokyo National Museum) for the Minister of Justice Wang Shizhen and others. The painting depicts a corner of Chen Tingjing's Chengnan Mountain Villa, with Xu Qianxue, Wang Maolin, Wang Youdan, Chen Tingjing, and Wang Shizhen standing or sitting from left to right. The red railing in the painting is winding, the pool water is clear, the paulownia tree is shaded, and the lake stones are exquisite. In addition, the Palace Museum has a collection of "The Painting of the White Pheasant" in which Wang Shizhen ordered Yu Zhiding to write the painting. In the painting, tree shadows sway, buildings appear and disappear, the crescent moon hangs high, and distant mountains are bright and dim. The boy opens the bamboo cage and releases the white pheasant. The owner sits firmly on the chair, and his heart follows the soaring white pheasant.

The portrait of Yu Zhiding is elegant and graceful, favored by literati and scholars. From the existing paintings, it can be seen that Yu Zhiding has depicted literary leaders and famous artists such as Gao Shiqi, Zhu Yizun, Wang Chong, Song Lao, and Wang Yuanqi. He is skilled at integrating poetic emotions into the painting. With a thorough understanding of the connotations of poetic lines and the artist's exceptional brush and ink skills, he creates an excellent artistic conception in portrait paintings, making him one of the most cultured portrait painters.

In addition to being proficient in depicting the form and spirit, Yu Zhiding is also skilled in mountains, waters, flowers, birds, and figures, with excellent craftsmanship and freehand brushwork, all of which have remarkable qualities. In the past, there was relatively little attention paid to the landscape paintings of the Yu family. The speaker of this lecture, Mr. Wang Qi, a researcher at the Palace Museum, has conducted in-depth research for many years and provided a comprehensive view on the creation and brushwork techniques of Yu Zhiding's landscape paintings. He believes that there is a type of ink landscape that was highly praised by the tide at that time in the Yu family's landscape paintings. However, it cannot be ignored that there are also ancient green landscapes in the Yu family's landscape paintings, and his Jinliang is Qiu Ying from the four families of the Wu family in the Ming Dynasty. The Yu family's "Inscription on the Fan" in the collection of the Palace Museum is a copy of Qiu Ying's "Right Army Calligraphy Fan" (collected by the Yunnan Provincial Museum). The two not only share the same theme, but also have almost identical composition and painting techniques.