Plum Blossoms, Bamboo, and Stone《梅竹石图轴》

Gao Fenghan (1683–1749)
Gao Fenghan, courtesy name Xiyuan and pseudonym Nancun, also known as Nanfushanren, was a native of Jiaozhou, Shandong. He served as the magistrate of She County in Anhui Province and later retired to Yangzhou. At the age of 55, he suffered a debilitating illness that rendered his right hand unusable, leading him to begin painting and writing with his left hand. This pivotal moment marked a dramatic transformation in his artistic style, which became unrestrained, bold, and profoundly innovative. His left-handed works had a significant influence on later painters, many of whom sought to emulate his unique approach. Gao was especially skilled in landscapes and flower paintings, drawing inspiration from Song and Yuan traditions but infusing them with a distinctly personal and expressive style.

“Plum Blossoms, Bamboo, and Stone” (1737)
This painting, created in the Dingsi year (1737), is among Gao Fenghan’s first left-handed masterpieces. The work showcases bold, sophisticated brushwork, highlighting his adept transition to left-handed artistry. In the upper left, two varieties of plum blossoms are depicted: red blossoms rendered with the leaf-dotting method and white blossoms outlined in ink. The branches are twisted and vigorous, with thick ink dots representing moss, symbolizing the resilient and unyielding spirit of the old plum tree.

The lower right of the painting features bamboo and rocks. The bamboo leaves are rendered with scattered, dynamic strokes, evoking elegance and vitality, while the rugged, angular rocks convey strength and resilience. Together, the elements create a harmonious balance of opposites, with the plum blossoms symbolizing endurance, the bamboo embodying flexibility, and the rocks representing steadfastness.

The inscriptions further enrich the painting’s depth. The upper right inscription reads:
“The cold buds are painted with oil but still have a light rhythm, the strong pole breaks the ice but still has a clear sound. Leaning on a piece of stone in the lonely smoke, holding the empty mountain and the worldly heart.”
Gao dedicates the work to the governor of Lu’an, explaining that it was created in the wake of his recent misfortune using his left hand.

The painting is stamped with three seals in white: “Bitter Scholar,” “Dingsi Year,” and “Left Hand,” alongside a red seal, “Laofu,” emphasizing its historical and artistic significance as a testament to Gao Fenghan’s resilience and creativity in overcoming physical adversity.

高凤翰（1683—1749），字西园，号南村，自称南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州，55岁右手病废，改用左手作画。擅画山水、花卉，山水师法宋元，以左手作书画后，风格突变，不加雕饰，奔放纵逸，后世影响颇大，成为许多画家有意模仿的对象。

此画为高凤翰丁巳年右手病残当年所作，是他左手绘画探索最初的精品，用笔奇崛老辣，十分精湛，意义非同寻常。画面左上绘红、白二种梅花，红梅以点叶法写出，白梅由墨笔圈出，变化有致。枝干虬劲，以浓墨点苔，凸显老梅脱俗傲寒之性格。右下绘竹石，竹叶纵横纷披，飘逸灵动。石头造型峥嵘奇特，笔墨纵横，与梅花形成呼应，又与竹子形成对比，形成对立统一。画右上题款：“冷蕊着脂仍淡韵，劲竿折冻尚清音。相依片石孤烟里，别抱空山物外心。乾隆二年丁巳冬题，左手画寄六安刺史。家弟并报向来落拓消息，时十一月廿又八日，丁巳残人凤翰左手并书。”钤白文“苦书生”、“丁巳年”、“左手”三印。左下题署：“南阜。左手学隶。”钤“老阜”朱文印。