Legend has it that when Cao Zhi was young, he had a love affair with the daughter of Zhen Yi, a county magistrate, who was later married to his brother Cao PI, and that Zhen was killed by slander after giving birth to Emperor Cao Rui。Cao Zhi had a dream after getting Zhen, so he wrote "Zhen Fu" as a memorial, and Cao Rui changed it into "Luo Shen Fu" and handed it down to the world。

Luo God is the daughter of Fuxi in the legend, drowned in Luo water as a god, the world called Mi Fei。Comparing Queen Zhen with Roselle is actually a kind of remembrance and sustentation for Queen Zhen。"Luo Shen Fu" beautiful words throughout the description of emotional, the love of God and man lingering sad, touching the soul。Gu Kaizhi was greatly moved after reading it, and then he concentrated and formed the Ode to the Goddess of Luo.。

Gu Kaizhi is the ancestor of Chinese figure painting, his brushwork is like spring silkworm spinning silk, light and smooth, which is called "iron line drawing" by later generations.。The Tang Dynasty Zhang Yanyuan of Gu Kaizhi painting evaluation is: "tight and strong together, the cycle of super sudden, easy to tune, wind toward thunder disease, meaning to save the pen first, painting in the meaning, so the whole God also" Gu Kaizhi is Wuxi, Jiangsu Province, a famous painter in the Eastern Jin period。There are "talent, painting, crazy" three wonders, good at character painting。Today, some copies of Gu Kai's works circulating in the world include "Ode to the Goddess of Luo", which praises the love between Cao Zhi and Zeng Shi, "Proverbs Map of Women's History", and "List of Women's Benevolence and Wisdom".。The whole volume of "Ode to Roselle" is divided into three parts, mainly writing the sincere and pure feelings of Cao Zhi and Roselle。The arrangement of characters is appropriate, and it is very natural to alternate and overlap in different Spaces. In the depiction of various scenery of mountains and rivers, it shows a kind of space beauty。The landscape painting of mountains, rivers, trees and stones is naive and simple, which reflects the characteristics of early landscape painting。

From the first time Cao Zijian met the Roselle, he painted a sad picture with very extreme and vivid images。The protagonist Cao Zhi in the weeping willow bank very inadvertently found a graceful goddess floating on the edge of the Luoshui above, with a look of ecstasy, in contrast。He was afraid of alarming the goddess, and subconsciously stopped the enthusiastic eyes of the attendants with his hands, and his eyes were full of surprise and confusion when he first saw the Roselle。The brilliant point of this painting is that Gu Kaizhi, when dealing with Cao Zijian's attendants, painted them in a very programmatic manner, using the dull eyes and wooden expressions of the attendants to set off the mood of Cao's joy, so that the picture forms a sharp contrast。At this time, people saw Cao Zhi's expression was both focused and surprised, and the complicated mood of inner excitement and outer reserve was difficult to express in words。

Then he painted "Feng Yi Ming Drum"."Nuwa Qing Song" and the part of the gods game, the plot is also very delicate and rich。Not the same as Roselle's full of worries, but also in sharp contrast to Cao Zhi's doubts。Using the technique of "iron line drawing" to show the world the scene of Cao Zhi and his concubine playing in the Luo River。Singing and dancing, happy, unconsciously has arrived at the time of sunset。

The last part depicts Roselle on his journey。After Roselle left, Cao Zhi remembered her and did not give up。Cao Zhi took the boat to catch up with the cloud car, hoping to see the figure of Roselle again。But helpless between man and God, has long since seen no sign of Roselle。The feeling of missing and sadness can not be controlled, leading to sleepless nights, tossing and turning, waiting for dawn at the Luoshui edge, lingering scenes。Until his followers drove on the road, Cao Zhi still kept looking back, and finally, with a feeling of impatience and helplessness, he embarked on the road to return to the fiefdom。Cao Zhi's sense of loss is vividly presented on the scroll, making the viewer infected by the sincere feelings between the Roselle God and Cao Zhi。

In his Ode to the Goddess of Luo, Gu Kaizhi also created many gods, strange birds and beasts according to the descriptions in Cao Zhi's Ode to the Goddess of Luo。In fact, these divine beasts do not exist in real life, and are completely visual images drawn by the artist by integrating the characteristics of various animals into one body。For example, the sea dragon he painted has a pair of long antlers, a horse-shaped face, a snake neck and a body like an antelope, and the strange fish he painted has a head like a leopard。Although they are running on the river, there is no splash, just like taking off in the air。This ancient painting technique sets off the liveliness of the picture and enhances the legend and mystery of the story。For thousands of years, it has been favored by people。

A total of 61 characters are painted in the whole work, which is divided into several scenes. The segmented paintings show the whole process from Cao Zhi's meeting with Roselle to Cao Zhi's return from Roselle's departure, reflecting the happy and sad emotions of the characters。The painter lumped different plots together in the same painting， Roselle and Cao Zhi appear repeatedly in different scenes of a complete picture，In the background of rocks, trees and rivers，Divide the scene into different plots，So that the picture is both separated and connected，Harmony and unity，There is no sign of comic-strip description，On the way, the rocks and trees reflect the expression techniques and features of the early landscape painting。