The core size is 34cmx130cm, with natural yellow spots.

Since the Sui and Tang Dynasties, the Japanese have spared no effort in admiring and learning Chinese culture. What is particularly surprising is that their learning was not limited to when China was stronger than Japan, but was consistent. Even when China was poor and weak under the late Qing government, they still studied innovations in Chinese calligraphy and painting such as Wu Changshuo's Incorporating gold and stone into calligraphy and painting, Qi Baishi inherited the freehand painting style of Ioto Hakuyo and others. He not only studied their techniques assiduously, but also entered China in batches, made friends with these people, and even worshiped them as his teachers, such as Kawai Tsuenlu , Nakamura Fusugu, Maeda Mofeng and others are among them; and Sugikei Rokubashi, which was previously little known in the country, is actually a representative figure among them.

? Sugikei Rokuhashi, also known as Sugitani Rokuhashi, is the son of Yamashina Kanso in Kyoto, Japan. He was adopted into Sugixi's family when he was four years old. Willow Hall. He graduated from Waseda University in his early years, and later studied painting under the famous Japanese Nanzong painter Shigeshuntang, and later became a member of the Japan Art Association. Because of his strong admiration for Chinese culture, he was awarded the title of Baron by the Emperor in 1884, and in 1890 he was appointed as a member of the House of Peers, the Fourth Chief, and the Fourth Honorable Mentor.

? Rokuhashi is a painter of landscapes, flowers and birds, and also a calligrapher. He is as famous as Maeda Mofu, a calligrapher who was good at Six Dynasties calligraphy. In 1908, he collaborated with Maeda Mofu, Nakamura Fusuge, Nomura Soken, Hijikata Qinzan and others. Initiated the establishment of the "Jianpen Club" to study calligraphy of the Six Dynasties and hold related exhibitions. Due to his strong interest in Chinese calligraphy, Liuqiao visited China many times in a short period of time and had many experiences with Wu Changshuo, who was proficient in seal cutting, stone drum inscriptions, and creatively used inscriptions and calligraphy in calligraphy and painting. Wu Changshuo had many experiences during this period. As a gift to each other, this is the "Picture of Plum and Stone".

? Perhaps because the other party studied the calligraphy of the Six Dynasties, Wu Changshuo actually used a very unusual style in this painting: not only the composition is sparse and light, but also only two old plum branches are paired with a strange stone. , and the contrast and contrast between thick ink and light ink are also very vivid. The upper part of the inscription is in thick ink, the middle part of the old plum blossom is in thick ink and light ink, and the lower part of the strange stone is completely different from light ink, especially the two old plum trees, all of them are completely completed. The pitching force, the echo and shadow between the stone drum writing and painting that he is good at have the same interest, which is unforgettable. This kind of treatment, which is almost entirely based on calligraphy style, makes the whole volume filled with a strong epigraphic flavor, and this style seems to be rare in Fu Lao's ordinary works. In addition to the unique "female"-shaped composition formed by the two old plum blossoms, Wu Changshuo made another long title, organically combining it with the two images of plum blossoms and strange stones, and then superimposing it again to form a large "female" composition. This kind of processing method is extremely wonderful, but there is no trace of the axe, which can be seen from the skill of the old Fou master.