Part I: Fu Baoshi in a teapot containing liquor "often drunk" state
Good afternoon, everyone! This topic is called "often drunk", mainly to talk about a "drunk" word, Mr. Fu Baoshi, to talk about Mr. Fu Baoshi's works need to have two preparations:
One is the word "drunk" that speaks of "often drunk", and Chinese wine has a close relationship with Chinese poetry and painting. Everyone knows that it is called "Li Baidou Wine Hundred Poems", Fu Baoshi he has such a habit that he is alcoholic, and he is addicted to liquor. In his home, when he used to paint or read or write, his teapot was filled with liquor, not tea, but liquor, especially when painting, when painting he needed to use wine to stir up his spirit. Some of our predecessors would come to his house, and he would take a teapot and pour you a cup, thinking it was tea, and it turned out to be wine. This ancient Chinese is a tradition, a Tradition of China. Many famous calligraphers and painters in ancient times had this situation. Some of the writers of wild grass, Zhang Xu and Huai Su all began to write and paint after being slightly drunk or after being half drunk. It was this time that I went to Beijing to see the preview, and I also saw in the middle of several previews, there were Xu Wei, there were Qingteng, Chen Chun Chen Baiyang, and those works were successfully created in the middle of micro-drunkenness. Therefore, wine has an inexplicable relationship with Chinese cultural people and calligraphers and painters. So why use the title "often drunk"? Because Mr. Fu Baoshi has a party seal engraved with these four words "often drunk". The state of his painting is indeed often after he is half drunk, after the real drunkenness, it is impossible to paint, it is a state of slight drunkenness, he wants to use the power of this wine to make it get rid of the constraints of the world, the kind of constraints formed by society and life, the constraints of natural formation, he wants to break this restraint to paint a new kind of unrestrained, exciting such works.
Then in the middle of his painting process, he often has an eight-word summary of everyone, called bold pen and careful cleaning. He boldly dropped his pen after a little drunkenness, and sometimes his pen would completely scatter the pen edge, and he would even break the paper, he didn't care, he didn't care at all, he didn't care at all, then after he woke up, his first stage of bold pen writing was to create a big situation in the overall painting, a big emotion that he wanted to vent and express. Such an emotion.
The painting itself is lyrical and is meant to express the author's emotions. But this expression of emotion can actually be divided into several levels, for example, we talked about the flower and bird painting in the middle of the green vine poplar, green vine poplar, green vine is Xu Wei, he has entered this stage of emotional catharsis. And Chen Baiyang Chen Chun, he basically we look at his main works are retained in lyricism, he is lyrical, expression to catharsis is a change, but when we see Chen Chun's quite a number of his large calligraphy hand scrolls, wild grass hand scrolls, we know that Chen Chun is actually in the writing of wild grass is also completely cathartic type, but also completely cathartic type, you may find that seeing a number of words and his conventional writing style has changed, has been different, but you look at the weather as a whole, it is in the same vein, that is completely no problem. So when we want to pay attention to the relationship between wine and Chinese painting and calligraphy, we must treat some special characters, that is, special alcoholic characters, you such as Chen Chun, he is Chen Daofu is a student of Wen Zhengming, Wen Zhengming is a very conformist person, his progress in both books and paintings is step by step, his early years are not very smart, he and Tang Bohu went to Nanjing to examine people, he failed and ended, the name fell sun mountain, and Tang Bohu once passed the examination, and won the first place in the examination. So his early years were not smart, but he took one step at a time, and his final overall achievement surpassed Tang Bohu, Tang Bohu died in his 50s, and Wen Zhengming lived to the age of 90 and died without illness. So this is completely two forms of creation, is not the same, so in the middle of the introduction of historical materials, in the middle of the historical materials we can see Wen Zhengming and his student Chen Daofu, this middle seems to have some contradictions, in fact, not, is the difference in their personality, Chen Chun is drunk, so his paintings, including his calligraphy in the middle, he comes from Wen Zhengming, but his degree of unrestrainedness is all more than Wen Zhengming, this is the relationship between character and calligraphy and painting, this middle involves the reason for wine, wine!
Let's look at some paintings such as the middle of the painting of the four kings, he is step by step, from light to deep, I once saw Mr. Xu Bangda my teacher painting, a 4 foot 3 open painting he had to paint for a week to finish, he added it from a slow little by little, do you say he is lyrical? Of course he is lyrical, but this lyricism is very subtle. You look closely at the middle of his pen and ink is very delicate, this delicacy has his feelings, the kind of pen and ink when he finally formed the work as a whole, this arrangement for emotions, is also very thoughtful, thoughtful, this is a kind of implicit lyricism. So in art, we have to distinguish it when we appreciate art, so today we talk about Fu Baoshi, he belongs to the first type, his main works belong to the first type, belong to the emotional cathartic type, that is, the so-called highest stage of Chinese freehand, the highest stage, this is the first problem I want to talk about is the relationship between wine and character and calligraphy and painting, the relationship between calligraphy and painting. Of course, Mr. Fu Baoshi also ended his life prematurely because of his excessive alcoholism, he died at the age of 61, the day before his death in Shanghai, the secretary of the Shanghai East China Bureau invited him to dinner, because he wanted to ask them to make a batch of paintings for the Shanghai airport, invited them to eat, drank Moutai wine, and the next day when he returned home, he died of cerebral hemorrhage, died! So cheng is also wine, defeat is also wine, he died prematurely, he died at the age of 61 when his energy was the most vigorous, one of the works we want to introduce today is the painting of the year he died, it is a painting painted in June 1965, a big painting "Maoshan Majestic", he died in three months, he died in September 1965, so in fact, when he was most prosperous and mature in his creation, he suddenly left, but this is also because of wine, his success is also wine, His premature departure from people shortened his creative time to only 61 years old, so this is also because of alcohol. This is the first paving.
The second foreshadowing is that there are two periods in the middle of Mr. Fu Baoshi's works that we introduce today, one period is in the Jingangpo period in Chongqing, this period is in the 40s, it is the anti-War period, a few years ago I went to Chongqing to visit the Jingangpo where Mr. Fu Baoshi lived, the ruins of this place are still there, I have been to this place twice. His house owner, the descendants of the previous house owner, were also there, it was a very small farm yard, and Guo Moruo and a group of their cultural people also lived in that neighborhood called the family yard, which is now preserved. This is a small mountain village in the middle of the mountain, because he can't become a village, he only has a few, only a few families, he just rented a concierge of this family as his residence, because at that time he was relatively poor. The poverty of painters in that period was a special feature, and Guo Moruo once wrote such a painting, and others asked him what were the characteristics of Fu Baoshi? He wrote three words in the middle of the article, which three words? Poor, poor, three poor words. Because Mr. Fu Baoshi's paintings on this road are wild and informal, the paintings on this road are very far from the traditional Chinese paintings at that time. Therefore, such paintings were not accepted by most Chinese at that time. So now we see many foreign consulates in Chongqing at that time going to buy his paintings, to buy his paintings. Then some have been brought abroad, and some have returned to China in the middle of the auction recently. Most Chinese collectors were not optimistic about his work at the time. It's because he's personal, he's personal. This personality is the first period is the Diamond Slope period, we probably have two works today to introduce the works of the Diamond Slope period.
The second period was after liberation, he returned to Nanjing after the victory of the War of Resistance, now the Central University, and later after the liberation was the Normal University in Nanjing, and finally entered the Jiangsu Provincial Chinese Painting Academy, first preparing for the Preparation of the Jiangsu Provincial Chinese Painting Academy in the 1950s. When the Jiangsu Provincial Academy of Chinese Painting was established in 1960, he served as the first president of the Jiangsu Provincial Academy of Chinese Painting. From the 50s to the 60s, his contribution to Chinese landscape painting, because this period is a special period, Chinese painting in the 50s is almost canceled, everyone may not know this history, at that time the name of Chinese painting is gone, called color ink painting. Some old painters in Beijing, such as Mr. Li Kuchan, thought that how could he teach students by painting these things? He even told him to look at the door in the concierge, buy movie tickets to be distributed to everyone, and one was to do this kind of work for them. I think That Chinese painting is not scientific, so in this period Chinese painters want to survive, Chinese painting to continue and develop, what to do? A major task in front of us is that we must use Chinese painting to reflect reality, to serve reality, to serve socialist China, to let the people understand, the whole country, including Beijing, including Shanghai, Nanjing, are carrying out Chinese painting, trying the reform of Chinese painting, but some reforms have not been successful. For example, Mr. Wu Hufan painted red and specialized, if the older comrades will know that red and dedicated is a requirement for every intellectual professional at that time, that is, you want to be red politically, you must study in business, and you are red and specialized, Wu Hufan has painted a red brick, a flower, a red flower called red and specialized, this is very far-fetched. Then the real reform of Chinese painting must change from pen and ink to reform, must once again return to the middle of nature, the program of Chinese painting to nature to test, through the likes and dislikes of nature to distinguish their own pen and ink, so as to solve the so-called Chinese painting for the people, to serve the society, to adapt to the liberation of the bias towards the political requirements, then everywhere is trying, Beijing is also trying, Mr. Li Keyan and some other gentlemen are trying, Shanghai also has. But in the end, the first successful attempt was in Jiangsu, in Jiangsu.
Jiangsu at that time there was a big move called twenty-three thousand miles of travel sketching, when organized a group of landscape painters from Nanjing to go around the country, walked twenty-three thousand miles of road, the west climbed Mount Hua, to Yan'an, all the way down, this sketching process, for example, when they sat down to watch Mount Hua, while sketching, while discussing, for example, they can relate to tradition, contact Wang Lu, this is a great painter in the early Ming Dynasty He painted "Huashan Tu", "Huashan Tu" Now in the Shanghai Museum, the Forbidden City seems to have several paintings of "Huashan Map", he used this kind of lotus leaf to express Huashan, then these painters we Jiangsu painters in Huashan to see Oh, this method is really lotus leaf wrinkle ah! So it can be confirmed that the "Huashan" painted by Wang Lu of the Ming Dynasty is very much with the real Huashan, his spirit is very realistic, very similar, so this to confirm the Chinese tradition, the traditional landscape in the middle of the method is not fabricated, completely from nature, is a refinement of nature, because of this understanding, so they use traditional brushwork to express a new realm, most of these painters have not crossed the Yellow River, and even some of the Yangtze River has not crossed, so the vision is greatly broadened, In the face of this fresh nature, he changed his old traditions that he already had, and after returning for several months of creation, he came to Beijing to hold this exhibition the following year, the name of this exhibition was "New Look of Mountains and Rivers", at that time a group of leaders of the central government went to see it, and many famous figures in the cultural circles went to see it, Guo Moruo and Chen Yi all went to see it, chen Yi said a sentence that this pot of raw rice for the reform of Chinese painting had been cooked in this exhibition of "New Appearance of Mountains and Rivers".
We can talk about mr. Wu Hufan, who I introduced earlier, who said that the painting is red and specializes in painting a red brick, and painting a red flower is definitely immature and very naïve, so it is completely mature at this time. Even some of our painters in Beijing are greatly impressed by this new realm expressed entirely by some of our traditions with traditional brushwork. Because there was a mr. (Yu Tongpu) among them, who was the oldest of the twenty-three thousand miles of travel sacrifices, he was a Suzhou native, he had taught at the Shanghai Art College, so he had accepted a little bit of open things relatively early, so he completely used the kind of pen and ink that he had formed that basically belonged to the tradition, expressing new things, completely coordinated, not a little out of place. There is no sense of far-fetchedness and attachment, so after this Jiangsu in the middle of this group of painters represented by Mr. Fu Baoshi is a landscape painter, nine people, Fu Baoshi, Qian Songxue, Yaming, Song Wenzhi, Wei Zixi This is the five that everyone knows, and there are several relatively early deaths are Yu Tongfu I talked about earlier, he is one year older than Qian Songxue, of course, more than Fu Baoshi, Yu Tongfu, Zhang Jin, these two are suzhou, Zhang Jing is a modern and very outstanding person who uses the brush to express landscapes, and is also a very outstanding person. There is also a Ding Shiqing is from Zhenjiang, he used to be a weaver, but he used Tang Bohu's small axe to show the new landscape is also completely innovative, these painters may not have heard the name, let alone seen their paintings, of course, there is a mr. Zhang Wenjun, Mr. Zhang Wenjun, he is the last of this group of painters to die, live to the age of 90, live to the 21st century. Then these painters formed a new school of painting, which is basically recognized by the history of painting after liberation a school called the New Jinling School, which is Mr. Fu Baoshi's landscape painting as the representative, a great contribution to Chinese landscape painting, then these two need to know one is the relationship between wine and calligraphy and painting and the relationship between Fu Baoshi.