I have the manuscript of ancient Chinese characters painted by the painter Cha Qi Dian. Is the seal of the color printing manuscript clear and collectible?

He stabbed greed, disturbed honesty, and used calligraphy and painting to fight corruption and promote honesty. In the picture of Shuoshu, two mice were detained for swallowing the state treasury. His title was "Shuoshu Shuoshu, I have no food." Inscription "Who said the mouse had no teeth, then why did it wear me?" Exposing corrupt officials makes people happy. In the drunken regret picture, Zhong Kui lies on the altar, his boots fall off and his clothes are blue. With simple and plain pen and ink, he vividly portrayed the body of an alcoholic who was full of alcohol and looked regretful. The poem on the painting reads: "I received a gift of good wine yesterday, and I was so drunk that I woke up to find that my sword had been stolen." Why did I lose my ghost? " It is thought-provoking to flog corrupt officials who accept bribes and dereliction of duty. "Every grain is hard" seems to inadvertently leave a few long leaves with different shades. It uses rouge and vermicelli, and uses the method of ink storage to draw five kinds of rich red high grain patterns. The theme is clear and the thinking is simple. The title in the lower right corner is: "Don't underestimate a grain, how much sweat is poured into it. Every time I think about the banquet, when can I not eat or drink? "

Being close to life and learning from nature is the second way for Cha Qidian to study by himself. Cha Qidian lived in the land of northern Shandong, and he laughed at himself as a "Lubei person".

Zhaqidian works

It is closely related to the lives of the broad masses of people in the Yellow River Delta. It is good at expressing the scenery in northern Shandong and the feelings of the local people. Throughout Mr. Cha's paintings and calligraphy works, what we see is the scene, scenery, rich life atmosphere and strong people's feelings in the countryside near the Yellow River Estuary, which is permeated with natural and simple "Kung Fu from painting" everywhere. At the age of 67, he made a field trip to the Yellow River Estuary, tramped on mud, trudged on swamps and beaches with reeds and thatch, and enjoyed the scorching sun. After several drafts, a masterpiece "Tianshui Huihai" came out, the Haihe River met and the waves washed the sky. There are seabirds playing in the water nearby, and the offshore oil drilling derrick is faintly visible in Xia Hong and Tianshui in the distance. The work not only reflects the warm scene of developing offshore oil fields, but also implies the enterprising spirit of oilfield workers who are brave, brave and majestic. This painting was collected by Shengli Oilfield Management Bureau and awarded him the title of honorary oil worker. Jiao Da, Penglai Wonderland, and the cornices and arches of Xingtan are all "used" pens, and it is difficult to achieve this picture without the skills of building carpentry. In the picture of two chickens, one hen has just got up and the other is still lying in the nest. Both sides look forward to love. The poem in the upper right corner reads: "The farmer answered in the backyard, and the old man smiled." Although no eggs were painted, the viewer thought of the joy of the old peasant woman who was going to pick up eggs outside the painting. There is also a picture of a chicken in a melon shed. Under the shadow of melon, two chicks with immature feathers just slipped out of the cage and watched the red ladybug on the loofah jump and chase. The poem on the right reads: "Loofah is planted in the garden, and two crops are picked in three days, and chickens are called by the partition wall, which sounds like ErNian." The interior and exterior of the painting blend together, which is cordial and natural. After reading it, the reader seems to be immersed in this nostalgic embrace. The sickle, millstone and red and white hollyhock in the picture of "hollyhock" are combined into fun, and the poem "Three days of planting, wheat stubble everywhere, no need to fertilize and water, pungent temperament, accompanied by farmers" is written. It can be seen that the author's understanding of farm life is thorough. When he created "Made the Sea with Armor", he and Zhanhua fishermen went out to sea to sketch, fully realized the broad mind of all rivers flowing into the sea, observed and captured the living habits of marine creatures, and accumulated a lot of materials for future creation of marine themes. He once said affectionately, "I have lived by the Yellow River all my life. This is my unique creative source. Only a wild fox like me can enjoy this special treatment through adventure. "

Seeing the sage Si Qi and learning from others is the third way for Cha Qidian to learn from others. "There are hundreds of rivers and rivers, and there is great tolerance." Teacher Cha Qidian walked along the old man Baishi.

Zhaqidian works

Wu Changshuo, Xugu, Shi Tao, the Eighth National Congress, as well as Ivy and Poplar are all here. In order to pursue the "true spirit" of traditional Chinese painting, he learned the exquisite brushwork of Fangyuan from the north, realized the quiet and profound charm, felt as agile as a donkey, and learned his vigorous, lightning, romantic and frank temperament from cursive scripts of past dynasties. Xu Wei's transcendence and deification, Zhu Da's simplicity and elegance, Shi Tao's dripping changes, and Wu Changshuo's vigor and ancient thickness will all be remembered, melted into the pen and sprinkled in the painting. Qi Baishi's wild escape, Huang's vigor and Pan Tianshou's imposing manner have all become his own wrists. He has made friends with famous philosophers such as Liu Kaiqu, Shu Tong, Li Kuchan, Yuan, Qi Gong,,, Shan Li, Feng Qiyong, Ouyang Zhongshi, Lou Shibai, Tian Shiguang, Qin Lingyun, Jin Fen, Fang Rongxiang, Jiang Fengbai, Yu Xining, Heibolong and Wei Qihou. And they became bosom friends and made a love story.

Cha Qidian was influenced by folk art since childhood, and sculpture, painting, New Year pictures and folk art were absorbed by him as artistic nutrients, especially for Beijing opera. Until his later years, he insisted on watching Peking Opera for half a day. The singing, stage arrangement and characterization of Facebook in Beijing Opera Sanchakou, Picking up Jade Bracelet and Three Chapters Trial are the same as those in painting, and they are the characteristics of traditional art in China. When talking about the influence of Beijing Opera on painting, he pointed to a Chinese cymbidium on the screen and said: These seemingly empty pens, such as the kneading cavity in Beijing Opera, are the places where Kung Fu is seen the most. Sing naturally and listen to changes beautifully. In painting, what is important is verve and sense of rhythm, and it is necessary to write freely. Cheng Pai's singing is deep and euphemistic, which is memorable, just like hiding the peak with a pen, and rowing against the current with Qi Li with a pen.

1964 Attended the East China Art Seminar in Shanghai. Some representatives suggested that "Shandong paintings have a common feature: rich brushwork, but lack of moist atmosphere, which may be related to the climate in Shandong." This touched the heart of Cha Qidian. During the exhibition, he paid attention to the analysis of the works of southern painters such as Zhou Lunmi and began to pay attention to the operation of "water". After years of exploration, the charm is vivid, and ink painting has become a major feature of Chaqidian painting. Clever use of water, deification of ink and wash, flowers, birds, fish, insects, stones, flowers, plants and trees leap from the paper, showing their charm and temperament. Real armor makes a scene in the sea, rich fairy and dripping water are his typical works of water use. Spitting, dripping ink, full of vitality in chaos: swimming crabs pinch each other, struggle and puff; The angelfish is carefree, dancing, shining and colorful; Lotus in chaos

Zhaqidian works

The jade posture is beautiful, the sound drops in the silence, and the heron is leisurely. Cha Qidian took water to the extreme, drawing not only aquariums, but also rocks and jujube trees in northern Shandong. These themes with the temperament of dry and cracked autumn wind are outlined with dry brush Jiao Mo and wrinkled brush, and their souls and spirituality are touched by water. From the beginning, the teacher made good use of pen and ink, grasped the relationship between water, ink, color, dryness and wetness, and writing speed, so as to be handy and comfortable. Ink is as thick as dark gold, as light as cicada's wings, thirsty and flying white, or broken with ink, creating a wonderful realm of pen and ink blending and color and ink reflecting. This is the refreshing, dry and humid wind that he tried to find and create.

Doing well, working hard and deliberately innovating is the fourth way for Cha Qidian to become a self-taught. Diligence is a good teacher. Since ancient times, outstanding talents have always been "chickens in the middle of the night", and Cha Qidian is a model of "learning from the pool, and the pool is dark". So far, he has created thousands of works, sometimes more than 700 a year. After seventy years of age, he worked hard, as he wrote in the poem "Painting Orchids": "My eyes are closed and my hands are numb, and I am constantly striving for self-improvement. It is easy to learn to draw when you are old, and you know that there is a rule that cannot be changed. " This indomitable enterprising spirit of performing art in spite of illness embodies the unswerving pursuit of art by a knowledgeable old man.