{"id":11972,"date":"2026-11-08T02:50:10","date_gmt":"2026-11-08T02:50:10","guid":{"rendered":"https:\/\/www.chinaculturepro.com\/?p=11972"},"modified":"2026-11-12T14:16:31","modified_gmt":"2026-11-12T14:16:31","slug":"xu-wei","status":"publish","type":"post","link":"https:\/\/www.chinaculturepro.com\/ru\/xu-wei\/","title":{"rendered":"Xu Wei: Ink Flowers, Calligraphy and Artistic Legacy"},"content":{"rendered":"\n<section class=\"tcjdi-quick-answer\"><h2>Quick Answer: Who Was Xu Wei?<\/h2>\n<p class=\"p1\">Xu Wei (\u5f90\u6e2d, X\u00fa W\u00e8i; 1521\u20131593) was a Ming-dynasty painter, calligrapher, poet and playwright from Shanyin, now Shaoxing in Zhejiang. His flower paintings turn vigorous brushwork into personal expression. <sup>[1][7]<\/sup> <\/p>\n<ul>\n<li><strong>Approach:<\/strong> Freehand painting (\u5199\u610f, xi\u011b y\u00ec) emphasizes expressive brush and ink.<\/li>\n<li><strong>Connection:<\/strong> Painted forms, handwriting and poems work together.<\/li>\n<li><strong>Range:<\/strong> His surviving flower works vary in scale, format and degree of boldness.<\/li>\n<\/ul>\n<p class=\"p1\">Freedom of execution includes choices about outlines, tonal density and the placement of each mark.<\/p><\/section>\n<figure class=\"tcjdi-infographic\" style=\"width:500px;max-width:100%;margin:24px auto;text-align:center\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.chinaculturepro.com\/wp-content\/uploads\/2026\/11\/Xu-Wei-ink-flowers-museum-works-and-artistic-ranking-illustrated-guide.webp\" alt=\"Xu Wei ink flowers museum works and artistic ranking illustrated guide\" title=\"Xu Wei ink flowers museum works and artistic ranking illustrated guide\" width=\"1440\" height=\"2560\" style=\"width:500px;max-width:100%;height:auto;margin:0 auto\" \/><figcaption>Xu Wei ink flowers museum works and artistic ranking illustrated guide<\/figcaption><\/figure>\n<p class=\"p1\">A broad ink leaf and a quick written line can share a rhythm. Xu\u2019s paintings make that relationship visible, while their poems give familiar plants a particular voice.<\/p>\n<h2>A Literary Life Beyond Painting<\/h2>\n<p class=\"p1\">Xu lived during the <a href=\"https:\/\/www.chinaculturepro.com\/ming-dynasty\/\">Ming dynasty<\/a>. He repeatedly failed the provincial <a href=\"https:\/\/www.chinaculturepro.com\/chinese-imperial-examinations\/\">examinations<\/a>, worked in Hu Zongxian\u2019s secretariat and later returned home in poverty. <sup>[5]<\/sup> <\/p>\n<p class=\"p1\">His <a href=\"https:\/\/www.chinaculturepro.com\/chinese-opera\/\">dramatic writing<\/a> included Four Cries of a Gibbon, a group of four plays. Its stories include <a href=\"https:\/\/www.chinaculturepro.com\/mulan-legend\/\">Mulan<\/a> taking her father\u2019s place in the army and a woman entering the examinations in male disguise. <sup>[7]<\/sup> <\/p>\n<p class=\"p1\">This literary range matters when reading an inscribed painting: the poetic speaker contributes to the work\u2019s character alongside its visual forms.<\/p>\n<h2>Brushwork: Freedom with Structure<\/h2>\n<p class=\"p1\">Cursive script (\u8349\u4e66, c\u01ceo sh\u016b) supplies a model for the moving brush. Shanghai\u2019s Flowers connects written strokes with painted forms and pairs each section with a poem. <sup>[1]<\/sup> <\/p>\n<p class=\"p1\">In Grapes, twisting vines and spreading leaves combine with clusters of fruit. The Palace Museum describes pale ink mixed with glue and alum, producing diffused effects. Its inscription voices frustration at unrecognized talent, while the handwriting recalls <a href=\"https:\/\/www.chinaculturepro.com\/mi-fu\/\">Mi Fu<\/a>. <sup>[2]<\/sup> <\/p>\n<p class=\"p1\">Nine Sections of Ink Flowers combines splashed ink (\u6cfc\u58a8, p\u014d m\u00f2), dry ink and outlines. Each section has its own seven-character quatrain. <sup>[3]<\/sup> <\/p>\n<p class=\"p1\">These are different <a href=\"https:\/\/www.chinaculturepro.com\/chinese-painting-techniques\/\">technical choices<\/a>. Compare a wet mass with a sharp edge, then follow the branch linking them. Its direction holds the composition together even where individual forms are abbreviated. The broader distinction between <a href=\"https:\/\/www.chinaculturepro.com\/gongbi-vs-xieyi\/\">detailed and freehand painting<\/a> becomes clearer when applied to an actual mark.<\/p>\n<h2>Four Museum Works to Compare<\/h2>\n<p class=\"p1\">All four works below are ink on paper. Their dimensions help distinguish a long, gradually viewed handscroll from a vertically displayed hanging scroll.<\/p>\n<div style=\"overflow-x:auto;max-width:100%;max-height:800px\">\n<table>\n<thead>\n<tr><th>Work<\/th><th>Collection<\/th><th>Format and image size<\/th><\/tr>\n<\/thead>\n<tbody>\n<tr><td>Grapes<\/td><td>Palace Museum, Beijing<\/td><td>Hanging scroll; 165.4 \u00d7 64.5 cm. <sup>[2]<\/sup> <\/td><\/tr>\n<tr><td>Nine Sections of Ink Flowers<\/td><td>Palace Museum, Beijing<\/td><td>Handscroll; 46.6 \u00d7 625 cm. <sup>[3]<\/sup> <\/td><\/tr>\n<tr><td>Flowers<\/td><td>Shanghai Museum<\/td><td>Handscroll; 33.5 \u00d7 522.8 cm. <sup>[1]<\/sup> <\/td><\/tr>\n<tr><td>Flowers and Bamboo<\/td><td>National Palace Museum, Taipei<\/td><td>Hanging scroll; 337.6 \u00d7 103.5 cm. <sup>[4]<\/sup> <\/td><\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<h2>Flowers, Seasons and Written Voices<\/h2>\n<p class=\"p1\">Flowers and Bamboo combines sixteen kinds of plants from different seasons, including plum, lotus, chrysanthemum and narcissus. It mixes outlines with directly washed forms; Xu added his song Dance of Sixteen Flowers at the left. <sup>[4]<\/sup> <\/p>\n<p class=\"p1\">The gathering is an artistic arrangement rather than a record of plants blooming together. A viewer can move between distinct flower shapes, differences in ink weight and the written passage. Ask how the spacing of the inscription balances the denser painted areas.<\/p>\n<p class=\"p1\">In Shanghai\u2019s handscroll, the repeated pairing of a plant image with a poem creates successive encounters. Its calligraphic forms invite comparisons with <a href=\"https:\/\/www.chinaculturepro.com\/chinese-calligraphy-styles\/\">Chinese scripts<\/a>. <sup>[1]<\/sup> <\/p>\n<p class=\"p1\">Reading <a href=\"https:\/\/www.chinaculturepro.com\/chinese-painting-inscriptions-seals\/\">painting inscriptions<\/a> therefore adds more than a name or date: a poem can change how a plant\u2019s visual character is understood.<\/p>\n<h2>An Influence Beyond the Ming Dynasty<\/h2>\n<p class=\"p1\">Xu drew on flower-painting traditions associated with <a href=\"https:\/\/www.chinaculturepro.com\/liang-kai\/\">Liang Kai<\/a>, Lin Liang and <a href=\"https:\/\/www.chinaculturepro.com\/shen-zhou\/\">Shen Zhou<\/a>; his calligraphy also engaged with <a href=\"https:\/\/www.chinaculturepro.com\/su-shi\/\">Su Shi<\/a> and Mi Fu. Alongside Chen Chun, he advanced expressive ink flower painting. <sup>[6]<\/sup> <\/p>\n<p class=\"p1\">His legacy extends through Bada Shanren, <a href=\"https:\/\/www.chinaculturepro.com\/shitao\/\">Shitao<\/a> and <a href=\"https:\/\/www.chinaculturepro.com\/zheng-xie\/\">Zheng Xie<\/a> to <a href=\"https:\/\/www.chinaculturepro.com\/wu-changshuo\/\">Wu Changshuo<\/a> and <a href=\"https:\/\/www.chinaculturepro.com\/qi-baishi\/\">Qi Baishi<\/a>. These are connections across generations, rather than a chain of personal apprenticeships. <sup>[8]<\/sup> <\/p>\n<p class=\"p1\">Compare how each later painter transforms the earlier vocabulary: the weight of a stem, the handling of a leaf, or the balance between ink and empty paper.<\/p>\n<h2>FAQs About Xu Wei<\/h2>\n<h3>Was Xu Wei mainly a painter or a calligrapher?<\/h3>\n<p class=\"p1\">His talents crossed several arts. He ranked his own calligraphy first, then poetry, prose and painting; this was his own assessment of his talents. <sup>[5]<\/sup> <\/p>\n<h3>Are all his flower paintings equally wild?<\/h3>\n<p class=\"p1\">No. The National Palace Museum describes the eleven-plant Sketches from Life as less boldly unrestrained than some of his other flower scrolls, while retaining force and fluency. <sup>[5]<\/sup> <\/p>\n<h3>Do the flowers represent one actual season?<\/h3>\n<p class=\"p1\">Not always. Flowers and Bamboo deliberately gathers plants from different times of year into one composition. <sup>[4]<\/sup> <\/p>\n<h2>Sources<\/h2>\n<p class=\"p1\">[1] Shanghai Museum. <a href=\"https:\/\/www.shanghaimuseum.net\/mu\/frontend\/pg\/article\/id\/CI00004408\" target=\"_blank\" rel=\"noopener noreferrer\">Flowers<\/a><\/p>\n<p class=\"p1\">[2] Palace Museum. <a href=\"https:\/\/www.dpm.org.cn\/collection\/paint\/231318.html\" target=\"_blank\" rel=\"noopener noreferrer\">Grapes<\/a><\/p>\n<p class=\"p1\">[3] Palace Museum. <a href=\"https:\/\/www.dpm.org.cn\/collection\/paint\/234370.html\" target=\"_blank\" rel=\"noopener noreferrer\">Nine Sections of Ink Flowers<\/a><\/p>\n<p class=\"p1\">[4] National Palace Museum, Taipei. <a href=\"https:\/\/digitalarchive.npm.gov.tw\/Collection\/Detail\/3608?dep=P\" target=\"_blank\" rel=\"noopener noreferrer\">Flowers and Bamboo<\/a><\/p>\n<p class=\"p1\">[5] National Palace Museum, Taipei. <a href=\"https:\/\/digitalarchive.npm.gov.tw\/Collection\/Detail\/5633?dep=P\" target=\"_blank\" rel=\"noopener noreferrer\">Sketches from Life<\/a><\/p>\n<p class=\"p1\">[6] Palace Museum. <a href=\"https:\/\/www.dpm.org.cn\/lemmas\/243347.html\" target=\"_blank\" rel=\"noopener noreferrer\">Xu Wei<\/a><\/p>\n<p class=\"p1\">[7] National Museum of Taiwan Literature. <a href=\"https:\/\/collections.culture.tw\/Object?RNO=Tk1UTDIwMTUwMjcwMTI3&amp;SYSUID=26\" target=\"_blank\" rel=\"noopener noreferrer\">Wang Jiacheng\u2019s Biography of Xu Wei: Four Cries of a Gibbon<\/a><\/p>\n<p class=\"p1\">[8] Shaoxing Museum, via Chinese Museums Association. <a href=\"https:\/\/www.chinamuseum.org.cn\/detail.html?contentId=12037&amp;id=14\" target=\"_blank\" rel=\"noopener noreferrer\">Qi Baishi and Xu Wei\u2019s Legacy<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Explore Xu Wei\u2019s expressive ink flowers, calligraphy and poems through museum works, with clear comparisons of grape, flower-scroll and bamboo compositions.<\/p>","protected":false},"author":1,"featured_media":11973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[389],"tags":[399,400,391],"class_list":["post-11972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts-crafts","tag-chinese-painting","tag-hub-chinese-painting","tag-material-culture"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO Pro 5.0.3 - aioseo.com -->\n\t<meta name=\"description\" content=\"Explore Xu Wei\u2019s expressive ink flowers, calligraphy and poems through museum works, with clear comparisons of grape, flower-scroll and bamboo compositions.\" \/>\n\t<meta name=\"robots\" content=\"max-image-preview:large\" \/>\n\t<meta name=\"author\" content=\"Anthony\"\/>\n\t<meta name=\"yandex-verification\" content=\"a48113a626715129\" \/>\n\t<link rel=\"canonical\" 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