Courtesy Name: Tingzhen
Sobriquet: Leyu
He was highly regarded by the Hongzhi Emperor and rose to the post of Commander of the Imperial Bodyguard.
Born in 1477 in the Ningbo, Zhejiang province he passed in the year 1505
Lü Ji was given a lot of opportunities to view and copy famous paintings from the Tang and Song Dynasties. He also learned under the teaching of Lin Liang. He eventually developed his style which showcase very fine brushstrokes and sketch-like strokes which ( I feel ) he had adapted from both of his inspirations Bian Wenjin and Lu Ji. However, embraced his learning and was able to produce remarkable works that dominated the Early Ming Dynasty art scene of painting florals and animals. His works evoke the natural feeling of nature. His idea of painting and representation is emotional and memorable.
He was remembered for his two distinct styles of paintings. One with vibrant bold colours the other with soft and gentle strokes.
Sweet Osmanthus, Chrysanthemum and Birds (Hanging scroll, ink and colour on silk)
The flowers Lü Ji has painted here are a couple of chrysanthemums which are one of the Four Nobles, which represents autumn. The osmanthus which is a flower similar to chrysanthemum, however, compared based on scent and taste have a milder and sweeter note. Osmanthus flowers symbolise love, faithfulness and fertility. Representing peace, they carry the meaning of good fortune, prosperity and nobility. The flowers he has chosen about the paintings take into the perception that he wishes for good fortune and prosperity in the arrival of autumn.
The species of birds that he has drawn includes mynahs which are in the branches of the osmanthus flower tree. While another is the red-billed blue magpie. Magpies in Chinese symbolism often represent joy and happiness.
Therefore, with the relation of the type of birds and flowers, he has used in this piece, the artistic representation and symbolisation of this painting represent prosperity and joy in the arrival of autumn.
Snowy Landscape and Birds (Hanging Scroll, ink and colour on silk)
The birds Lü Ji had drawn include some migratory winter birds including some sparrows, doves and mandarin ducks. Again the use of birds as symbolism in the art represents the different emotions and expressions he wishes to showcase. The duo of dove/pigeons at the top of the willow tree also can symbolise and be associated with long life and fidelity as doves pair for life. They are also known to be tender and caring with their young. Winter is often associated with the birth of something new, like the love and blessing of a child.
Sparrows often represent good luck and also mark the coming of spring. This can be interpreted that he may have drawn this as winter was coming to an end. Painting his hope of a hopeful and auspicious new year.
The ducks, if based on winter migration may be mandarin ducks, but based on the patterns and feathers Lü Ji has painted, they may be females. The mandarin ducks in Chinese culture often symbolise love, devotion, affection and fidelity. Mandarin ducks are believed to be extremely faithful to their partners and mates.
This inclusion of the winter willow tree which represents immortality and rebirth also shapes and creates the atmosphere for the convergence of the different species of birds. If interpreted altogether, I would love to think that Lü Ji painted this as the idea of blossoming love as winter ends. A new beginning, a rebirth of love and a celebration of joy and welcomings as spring arrives. As the snow melts away slowly comes a new beginning as couples come together and maybe celebrate the birth of life, interpreted from the pair of doves. Or those who are single may travel off to find their fated other like female mandarin ducks going to meet their fated mate.
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