Orchids, Bamboo, and Thorns《兰竹荆棘图轴》

Zheng Xie (1693–1765)
Courtesy name Kerou and pseudonym Banqiao, Zheng Xie was born in Xinghua, Jiangsu. A celebrated scholar-official, he achieved the title of Jinshi in the first year of Emperor Qianlong’s reign (1736) and served as magistrate of Fan County and Wei County in Shandong Province. He is renowned as one of the “Eight Eccentrics of Yangzhou” and was admired for his mastery of poetry, calligraphy, and painting—earning the title “Three Perfections.”

Zheng Xie was particularly acclaimed for his paintings of bamboo and rocks, characterized by their simplicity and spontaneity. As a calligrapher, he developed a distinctive style that combined elements of Han dynasty clerical script with regular, running, and cursive scripts, a style he humorously described as “six and a half points of calligraphy.”

“Orchids, Bamboo, and Thorns”
This monumental painting, created in Zheng Xie’s later years, showcases his bold and uninhibited style. The composition is dynamic, with orchids and bamboo rendered in rich, dark ink, while the steep rocks are defined with lighter, more delicate strokes. The interplay of thick and light elements creates a visually arresting contrast, embodying both strength and subtlety.

The presence of moss dots on the rocks is noteworthy, as it challenges a historical misconception that Zheng never included moss in his paintings. Zheng himself addressed this in a poem:
“I never add moss flowers, but today I add one or two spots.”
Authentic works featuring moss are exceedingly rare, and this painting is one such example, further emphasizing its importance.

Inscription and Seals
The inscription reads:
“If thorns are not tolerated, orchids will not grow. The demons of the heretics look on coldly. When you see the fish and dragons mixed together, you will know that Buddhism is vast and long. Dedicated to Lu Gong Dahe Shangzheng, Banqiao Zheng Xie.”

The painting bears Zheng Xie’s seals: “Zheng Xie’s Seal” (white text), “Qianlong Dongfeng Calligraphy and Painting History” (white text), and “Zhixin Daochang” (red text). It is dated to the jianzi month of the 22nd year of Emperor Qianlong’s reign (1757) and features additional seals: “Many kinds of bodhi to make good connections” (white text) and “Infinite joy” (red text).

Provenance and Collection Seals
The painting includes collection seals from Zhenjing Book House Examination Collection and Cifutang Master’s Collection of Scriptures, Stone Tablets, Calligraphy, and Paintings (both in red text).

This work exemplifies Zheng Xie’s ability to merge artistic vigor with scholarly refinement, making it a rare and significant piece in Chinese art history.

郑燮（1693—1765），字克柔，号板桥，江苏兴化人。乾隆元年（1736）进士，官山东范县、潍县令，“扬州八怪”之一，有“诗书画三绝”之誉。绘画特擅竹石，构图崇尚简洁，随意挥洒。工书法，用汉八分杂入楷行草，自称“六分半书”。

此图为其晚年力作，尺幅巨大，用笔豪放不羁，气势纵逸，充满了沉稳刚毅之气。兰、竹用浓墨，峭石取淡笔，浓淡虚实相映，妙趣横生。以往学界说他画石不点苔，点苔者为伪作，其实不然。他曾有题画诗云：“从来不作苔花点，今日微添一两斑。”目前所见确实有极少数真迹是点苔的，此作即是，颇为难得。

题识：“不容荆棘不成兰，外道天魔冷眼看。看到鱼龙都混杂，方知佛法浩漫漫。侣公大和上政，板桥郑燮。”下钤三印：郑燮之印（白文），乾隆东封书画史（白文），直心道场（朱文）。画左下方署年款：“乾隆二十二年建子月。”下钤二印：多种菩提结善缘（白文），欢喜无量（朱文）。鉴藏印：枕经书屋考藏之印（朱文），赐福堂主人珍藏经籍碑帖书画记（朱文）。