How to Paint Xieyi Peonies

Author: Li Chengyi
Publisher:
Publishing Date: 2005-06-01
Features: Peony, also known as tree peony, king of flowers, or, is a precious flower species native to China. Over two thousand years ago, peony was used as traditional Chinese medicine. In general books, it is mentioned that during the Southern and Northern Dynasties, peony was introduced from wild to cultivated form. However, the author once visited the Han peony in Baixiang, Xingtai during his visit.
Historical Records: Between the Han and Wei-Jin periods, Wang Mang drove Liu Xiu into exile, and Liu Xiu fled to this place. Seeing the blooming peonies, he composed a poem, saying:
"Su Wang fled from chaos through a desolate village,
Wells and temples alike, filled with great desolation.
Only a few peonies remained,
Loyal to their king, unchanging."
This is how the name "Han peony" came to be. Since the Han Dynasty, generations of scholars and literati have written poems about it, all recorded in the county annals. Therefore, the exact time when peonies were first planted may not be much different from when they were used as medicinal plants.
Peony belongs to the Ranunculaceae family, a deciduous sub-shrub that can grow up to 1-2 meters tall. It blooms in late spring, with large, plate-like flowers that are magnificent and luxurious. The leaves are spread out in various shapes, and the stems are thick like large brushes. They are rugged and vigorous. To this day, there are hundreds of varieties, with red being the most common, including silver red, pink, peach red, and purple red. There are also yellow, green, white, purple, and black peonies; additionally, there are dual-colored peonies like the Erqiao peony. The black peony is actually a very deep purple-red, almost black.
The flower shapes of peonies include single-petaled, double-petaled, and layered peonies. At the end of spring, when the flowers bloom, they are a riot of colors, dazzling and vibrant. Since the Tang Dynasty, peonies have been deeply loved by the Chinese people and are hailed as "the national beauty with heavenly fragrance," symbolizing wealth, auspiciousness, and beauty. The great Tang poet Bai Juyi's "The flowers bloom and fade in twenty days, the entire city goes mad," and Liu Yuxi's "Only peonies are truly the national beauty, their blooming season moves the entire capital," perfectly capture the Tang people's obsession with peonies. Poets and painters from various dynasties have created countless famous works featuring peonies.
In painting, we see from Zhou Bo's "Painted Women with Peony Fans" from the Tang Dynasty that maids hold fans depicting peonies, with the flowers adorning the women's heads. During the Song Dynasty, scholars like Wen Tong and Su Dongpo emerged, representing the development of literati painting. As literati painting evolved, peonies also became another beloved subject for painters, following the "Four Gentlemen" (plum, orchid, bamboo, and chrysanthemum).
In the Ming Dynasty, Chen Chun (styled Daohou, known as Baiyang) and Xu Wei (styled Wenlang, known as Tianchi, also as Qingteng Laoren) built upon the ink-wash painting techniques of Xu Xi from the Five Dynasties and Southern Tang periods. They inherited the expressive and spiritual traditions of literati painting and fully utilized the unique qualities of ink on Xuan paper, elevating freehand flower-and-bird painting to a new height. From their peony paintings, we can see their unrestrained brushwork and ink application, integrating the charm of Chinese calligraphy into the art. The dots, lines, and planes naturally intertwine, creating a bold and expressive melody that fully captures the essence and rhythm of peonies. Xu Wei, in particular, used this to express emotions and showcase his personality, much like Vincent van Gogh's works. He can be considered a pioneer of expressionism in Chinese flower-and-bird painting.
During the Qing Dynasty, when landscape and figure painting became repetitive, flower-and-bird painting flourished, with numerous masters and schools emerging. The main representatives of freehand peony painting include:
1. Yuan Shouping (styled Nantian) of the early Qing Dynasty. He inherited the observational traditions of the Song and Yuan dynasties and creatively developed Xu Xi's ink-wash technique, vividly capturing the spirit and color of peonies. His near-executive style influenced the early Republic of China for over two hundred years.
2. Ren Yi (styled Boyan) of the late Qing Dynasty. Using a small freehand technique, he combined Chinese ink with Western colors, creating dynamic compositions with light and harmonious hues, forging a new path for freehand peony painting.
3. Wu Junqing (styled Dangshuo) of the late Qing and early Republic of China. A master of large freehand peony painting, he excelled in poetry, calligraphy, painting, and seal carving. He incorporated traditional stone and metal calligraphy into his art, with bold brushwork and ancient, vibrant colors. His daring use of Western red and the strong contrast between ink and leaves created a lively and scholarly atmosphere, establishing a strong personal style and elevating freehand flower-and-bird painting to a new peak.
All three left behind many precious peony ink works.
Contemporary masters of peony painting include Qi Baishi, Chen Bading, and Wang Xue. Qi Baishi used extraordinary large freehand techniques, with vigorous and concise brushwork, capturing the essence between resemblance and dissimilarity. His colors drew from the rich and contrasting traditions of folk art.
With so many varieties of peonies, detailed depictions in meticulous ink-and-gold or ink-wash techniques reveal their features, even with selective emphasis. Freehand painting, however, does not demand strict adherence to specific varieties but instead focuses on capturing their spirit through concise, refined, and comprehensive expression. Like Qi Baishi's shrimp, Li Kechan's eagles, and Wang Xue's peonies, they are no longer realistic depictions but artistic interpretations of shrimp, eagles, and peonies.
This does not mean freehand painting allows for reckless scribbling. Instead, it requires a deeper understanding of peonies' basic structures, growth patterns, colors, and environments. The artist must grasp their spirit, character, and essence—first by mastering their physical, emotional, and aesthetic qualities. Only with rigorous practice in brushwork and ink can one achieve confidence and mastery.