As a communication, exchange and promotion project funded by the national art foundation in 2020, Jiangsu Provincial Art Museum recently launched an exhibition with the theme of "order of things: 600 years of Jiangsu fine brushwork", which displays nearly 200 works from the Ming and Qing Dynasties to the present. It aims to reflect the intergenerational inheritance and innovative interpretation from tradition to contemporary, from form to concept, and highlight the spirit of fine brushwork that continues to deepen self-cultivation. As a typical form of traditional Chinese painting, meticulous painting not only aggregates the rich spiritual experience of ancient literati, but also provides a genuine perspective of understanding for traditional and current aesthetics in terms of the object of expression and aesthetic ideal. The fine brushwork world of Wu School of painting As the capital of the ancient state of Wu, Suzhou, commonly known as the Wu gate, has always been economically prosperous and full of scholars. In the middle and late Ming Dynasty, the literati painters Shen Zhou, Wen Zhengming, Tang Yin and Qiu Ying, who inherited the painting traditions of Huang Gongwang, Wang Meng and others in the Yuan Dynasty, were called the "Wu men four families", and they and their followers were called the "Wu men painting school". The painting school has the artistic characteristics of poetry, calligraphy and painting, fresh and elegant painting style, and the combination of hardness and softness of pen and ink. The fine brushwork of the "Wumen School of painting" uses pen and ink to penetrate the shape and character of objects, express the free creative emotion and express the will and purport of knowing things and seeking truth on the basis of in-depth description. Qiu Ying's "the painting of tamping clothes" is a fine line drawing, with fine strokes and strong ink, full of the implicit elegance of literati paintings. The trees and leaves in the painting are sparse and bright, creating a sense of leisure. The woman under the tree looks sideways and makes a mashing shape. The character image is natural, showing a sparse and ethereal aura. Wen Zhengming's "ten thousand valleys vie for flow" is another interesting work. In the painting, the green mountains are overlapping peaks, and the springs and waterfalls in the mountains are rushing down. In the middle, there are rocks and rocks, with miscellaneous trees, dense and green eyes. The close-up view is the two banks of the stream, with rocks, slopes, trees and weeds. Several senior scholars can also be seen talking. The green application of the painting of competing rivers is based on the bone of ink. The green is light. The outline of mountains and stones is carefully drawn by light ink lines. You can see that the fine brush is chapped and rubbed, vigorous and mellow, and the fine brush and freehand brushwork are naturally formed. Lu Zhi is the leader of the "Wumen painting school" after Wen Zhengming. Influenced by the "Wumen School of painting", his landscape also absorbs the advantages of the courtyard style and green landscape of the Song Dynasty. His brush is strong, the scenery is strange and dangerous, and the artistic conception is clear. Lu Zhi's "plum stone Narcissus painting" is a fine brushwork heavy color painting. Narcissus, plum blossom, Lake stone and Ganoderma lucidum are relatively independent and constitute a whole. The upper side of the stroke emphasizes the expressive force of lines. Narcissus, Ganoderma lucidum and plum blossom are all painted by the outline filling color method. Narcissus leaves reflect the inner and outer sides in different colors, and strange stones are scratched with a fine pen to create a transition effect similar to halo dyeing. The whole work is neat but not rigid, and the intensity is appropriate. Western learning spread to the east to find a way to improve After the late Qing Dynasty, Western learning spread to the East, and Chinese painting tried to learn from western law and explore an improvement path to remove the disadvantages of Chen Xiangyin. Chen Zhifo, on the basis of going back to the painting academies of later Shu, Southern Tang and even Song Dynasties, integrated the perspective and modeling techniques of Western painting, which influenced a generation of Jiangsu meticulous flower and bird painters. After the founding of new China, the traditional theme has been given more cultural concerns. Jiangsu fine brushwork creation has made a lasting expansion and exploration in content, theme and formal language, the pursuit of artistic conception of refinement and aesthetic ideal in technology, and the integration of diverse and rich features of the times in the context of modern life. Chen Zhifo studied art and design in Japan and was a pioneer of modern fine brushwork in the 20th century. He built a new system of fine brushwork. Its meticulous flower and bird painting is still based on neat and realistic expression. On the basis of traditional techniques, it combines the decorative techniques of patterns with the gentle and beautiful coloring characteristics of Japanese painting, to a certain extent, it has transformed the traditional meticulous heavy color flower and bird painting, formed the transformation from traditional meticulous painting to modern style, and put forward the four character formula of "viewing, writing, copying and reading". The painting of wild geese was created in 1936. It depicts the scene of wild geese flying south after the White Dew. The delicate feathers and textures make the two reed geese ready to appear. In contrast, the reed, snow and sky as the background are treated. Chen Zhifo uses the "ponding method" to make the picture bright and natural as a whole, and the color of the sky gradually transits from cyan to cloud color with rich layers. The painting of pine age and crane longevity is the larger one of Chen Zhifo's meticulous flowers and birds. It is a tribute to celebrate the 10th anniversary of the founding of the people's Republic of China. Ten graceful red crowned cranes roam leisurely on the earth, or hold their heads high in the sky, or look back, or gaze into the distance. The verdant ancient pines stretch into the top right of the picture, with vigorous and simple branches and lush pines, which contain infinite vitality. Based on the traditional line drawing of Chinese painting, Chen Zhifo transformed the lines of Western painting and decorative painting into them, making the expressive force of lines richer. Pluralistic expression in contemporary context Now, through the reference and transformation of traditional text elements and the in-depth perception of the contemporary context, while renewing their ideas, artists comprehensively use all kinds of rich media and materials, and put forward new thoughts and responses to traditional aesthetic experience, classic images and cultural logic, showing the inheritance and exploration of Jiangsu meticulous painting in the contemporary context. As the first batch of college students after the resumption of the college entrance examination of Nanjing Institute of art, Gao Yun showed distinctive characteristics in Figure brushwork. Luo Lun's rush to the examination, which won the gold medal of the sixth national art exhibition, introduced traditional line drawing and "grafted" the creative techniques of artists such as Li Gonglin, Chen Hongshou, Ren Bonian, etc. The composition adopts the unprecedented form of "not relying on all sides", and the expression uses the freehand brushwork in the drama to form a unique style. In 2018, Gao Yun created a series of dialogue with angel, based on the famous paintings of angel, a Western oil painter, and transformed the light and shade system of Western classical painting into the line expression of Chinese painting, which shows his intention in online modeling research and his confidence in the line language of Chinese painting. During the period of reform and opening up, the new literati painting trend rose in Jiangsu painting circle, taking the return to traditional pen and ink and the expression of spiritual psychology as the form. "The rise of new literati painting in Nanjing is actually through the revival of ancient literati painting, reflecting a sense of cultural roots." Shang Hui, director of the art theory Committee of the Chinese Artists Association, said so. Journey to the West · Chechi country is one of Zhou Jingxin's "journey to the west" series, which depicts the scene of Monk Tang's apprentices taking the Sutra and crossing Chechi country on the road, fighting with three monsters, tiger force, deer force and sheep force. In his creation, there is no clear distinction between fine brushwork and freehand brushwork in Chinese painting, which reflects the thinking of "supporting writing by work". The figure shape is compact and solid, and there is no lack of humorous interest. Mountains, stones, trees, houses and even black fog and auspicious clouds have decorative interest. Influenced by the new style of technological development, contemporary meticulous painting reflects certain characteristics of digital media in expression, and has more diversified exploration in emotional expression. (outlook new era)