One of the "Four Monks in the Early Qing Dynasty" in the Late Ming and Early Qing Dynasties. Painters in China in Qing Dynasty. Monks. Zhu, whose real name is Ruoji, has a thin word length. After becoming a monk, he changed his name to Yuanji, Chaoji, Yuanji and Daoji, calling himself a bitter gourd monk. When he traveled to Nanjing, he got a long pole, and because of its number, he got many nicknames such as long branch, blunt root, mountain guest, monk, Taoist, pavilion, and Dida. The tenth grandson of Amin's imperial clan Jingjiang Wang Zanyi, his ancestral home is Guilin, Guangxi, and he is from Quanzhou, Guangxi. Shi Taogong is good at poetry and painting. His paintings are good at mountains and rivers, and they are also called Lanzhu. His landscape painting is not limited to learning from a certain genre, but widely imitates the strengths of painters of past dynasties, changes the traditional pen and ink techniques, pays attention to imitating nature, draws creative sources from nature and improves expression techniques. The brushwork of the works is smooth and dignified, soft and clumsy, especially good at painting, dense, magnificent and colorful; The ink is thick and dry, or the pen is lighter than Jian Mo, or the ink is thick, hearty and varied; Novel composition, or panoramic view, or local close-up, the scenery is prominent and changeable. The painting style is novel and peculiar, vigorous and unrestrained, and full of commercial atmosphere. Its flowers, birds and orchids are also eclectic, self-expressive, refreshing, dripping and moist, and full of personality. Shi Tao's paintings were famous in the world at that time. Because he enjoyed the famous mountains and rivers, he "searched the peaks and made drafts" and formed his own unique style. Shi Tao is good at using ink method, combining dry and wet light, and especially likes to use wet pen. He showed the atmosphere and profundity of mountains and rivers through the infiltration of ink and the integration of pen and ink. Sometimes the ink is thick, dripping, and has a strong sense of space. Technically, he writes flexibly. Or sketched with a fine pen, rarely rubbed; Or thick lines together. The pen is sometimes fluent and sometimes clumsy. The combination of Fiona Fang and Xiuzhuo is mutually beneficial. There are several masterpieces handed down from generation to generation, such as Searching for the Qifeng, Qiu Jie in Huaiyang, Night Flooding in Huiquan, Clear Scenery, Drizzle in Songtao, Plum Bamboo, Mo Hetu and Bamboo Jushi. He wrote Quotations on Paintings by Bitter Melons and Monks, expounded his understanding of landscape painting, and put forward painting theories of "borrowing the past to open up the present", "I use my own method" and "gathering the wonderful peaks to complete the manuscript", which is of great significance in the history of painting in China.