"The Biography of the Painter" ~ 350th
<h1 class="pgc-h-arrow-right" data-track="33" > Qian Hui'an specializes in the creation of figure paintings, which is a school of its own, known as "Money School". </h1>
Text/Lu Xiuhui
Qian Hui'an (1833-1911) character Jisheng, nicknamed Qingxi Qiaozi, retired an old man, because his studio was named Shuangguanlou, so he was also called Shuangguanlou. Born in Gaoqiao Town, Baoshan, Shanghai.
Qian Hui'an was born into a peasant family, but has shown an amazing talent for painting since childhood. Talented Qian Hui'an has drawn nourishment from the photographic skills of folk painters since she was a teenager, and in her early years she paid attention to the painting styles of Qiu Ying, Tang Yin, and Chen Hongshou in the Ming Dynasty, and then studied famous artists such as Fei Danxu, Gai Qi, and Shangguan Zhou.
Qian Hui'an learned photography from folk painters in the early days, and his deep study of portrait painting laid a solid modeling foundation for his future character painting creation. Later, he came to the City God Temple in Shanghai to make a living by selling paintings. In the era of the prosperity of Haipai painters at that time, Qian Hui'an had a strict spirit of self-discipline, and did not just take painting as a transaction, but then formed his own unique artistic style and became one of the pioneer representatives of Haipai painters.
Qian Hui'an was good at women and characters in Chinese painting, and because of his vigorous brushwork and elegant style, his works were deeply loved by people at that time. In order to meet the aesthetic tastes of people at that time, most of his paintings were festive and auspicious images, such as birthday stars, gods and immortals. The faces of his characters are rich in shape, and in terms of shape, the beginning and tail are delicate, and the middle is plump, like a green fruit, which looks very blessed. In terms of lines, his use of thin lines rat tail dry pen, the character's clothing folds are extremely dynamic, generally showing vertical convergence, rarely radiating left and right, his works appear to be insufficient, more than strong. The painting characteristics of these figure paintings were very much in line with people's interests at that time, but their shortcomings were that the works were too stereotyped and lacked certain personalities and typicals.
As a multicultural region, Shanghai's Western painting concepts collided with the traditional ideas of Chinese painters, and Qian Hui'an took its essence and discarded its dross, without completely denying it or fully accepting it. When his works express the facial features of the characters, they are outlined through detailed lines and then rendered in light ink, which makes the texture of the face outstanding, vivid and vivid, and enhances the three-dimensional sense of the work. In the process of drawing the half-sided and lateral contours of the characters, he also cleverly carried out perspective treatment, so as to make the characters' behavior posture and facial expressions more full and natural.
During the Xianfeng period, Qian Hui'an was famous in Shanghai for her portraits and portraits of women. In the first year of Tongzhi (1862), the landscape painter Wu Zonglin presided over the "Pinghua Society Painting Society", and invited twenty-four members of the society, including Gu Chunfu, Zhou Xian, Qian Hui'an, Bao Ziliang, Wang Qiuyan, Tao Cui'an, Zhu Mengquan, Zhu Renfeng, Qin Bingwen, Wu Dayi and so on. Qian Hui'an, Bao Ziliang and Wang Qiuyan, the Pinghua Society Painting Society, co-painted the "Pinghua Society YajiTu", which was envied by the painting world. After the age of forty, Qian Hui'an specialized in the creation of figure paintings, which was a school of its own, known as the "Qian School".
Qian Hui'an lost his wife in middle age. He continued to marry Chu Shi and was also good at painting. Husband and wife both work together, painting together, and for a while their reputation was unparalleled, and Qian's name was called "Double Pipe Building".
In the 26th year of Guangxu (1900), Zhang Nan, Wu Han, Li Shutong, and Xu Kindergarten initiated the establishment of the Calligraphy and Painting Association, with the purpose of "advocating elegance and revitalizing literature and art", and the members included Zhu Menglu, Yang Borun, Pan Feisheng, Qian Hui'an, Gao Yongzhi and so on.
In March of the first year of Xuantong (1909), Qian Hui'an, together with Gao Yong, Pu Hua and Yang Yi, founded the Yuyuan Calligraphy and Painting Society, and was elected as the president because of his "painting name for a long time" and "Dun Chonglun Chang". The "Yuyuan Calligraphy and Painting Charity Association" was established in the Deyue Building of Yuyuan Garden, with members gao Yong, Pu Zuoying, Wu Changshuo, Yang Dongshan, Cheng Yaozhuo, Wang Yiting, Wang Zhongshan, Zhang Shannan, Ma Luo, and more than 200 other people, pushing Qian Hui'an as the president, formulating a charter, members selling paintings, half of the money returned to the author, half returned to the savings in the association, and the public discussion allocated; Shi rice sent medicine to help the provinces to relieve floods and droughts, which has been praised by people to this day.
Qian Hui'an pays attention to the cultivation of calligraphy and painting talents, and his disciples have high achievements in painting, including Shen Xinhai, Cao Hua, Xu Xiang, Cao Zhongxiu, and his disciples Xie Xianou, Xu Yunzhuang, Zhu Liangcai, Sun Shoubo, etc., who have inherited the essence of "Qian school" calligraphy and painting.
Qian Hui'an's solid modeling skills and pen and ink cultivation have attracted the attention of the northern folk painting houses, and during the Guangxu years, at the invitation of Yang Liuqing and Qi Jianlong, he went alone on a boat, and in ten years he went to Yang Liuqing three times, and once went for three years, he created more than a hundred paintings, which is rare and valuable for a famous artist on the sea. In the process of creating Yang Liu Youth Painting, Qian Hui'an boldly tried to depict it with "iron lines" with rich decorative artistic conception and twists and turns, making the characters' clothes and folds and other flowers, plants and trees more charming. Under the premise of respecting the creative law of Yangliu Youth Painting, Qian Hui'an did not destroy the artistic characteristics of Yangliu Youth Painting, and successfully integrated the essence and charm of courtyard body painting and literati painting into Yangliu Youth Painting. Because this innovative way of painting was appreciated by the painters at that time and highly praised by people, Yangliu Youth Painting broke through the traditional symmetrical composition mode, and the tone also changed from the original heavy ink and color to light and fresh, giving people a refreshing feeling and bringing great influence to the painting world at that time.
Qian Hui'an is one of the masters of the Maritime Painting School. From the nineteenth century to the first half of the twentieth century, the Group of Haipai painters set off a huge wave in the modern and contemporary Chinese painting world. Ren Bonian, Xu Gu, Wu Youru, Wang Yiting and other leaders of the Maritime School of Painting were good at winning in the fields of figures, portraits, and flower and bird paintings. Among them, figure painting is the most representative. The outstanding person in this regard is Qian Hui'an, and his genres such as customs and fairies and goddesses have become a temporary price.
An important feature of the Maritime School of Painting is the appreciation of elegance and customs from content to artistic expression. This type of painting not only has a vast space and a huge capacity, but also is compatible with the beauty of elegance. Like Ren Bonian and Wu Changshuo, Qian Hui'an also comes from the folk, from the depths of the xishan mountains. Carefully reading Qian Hui'an's picture scroll, the impression is quiet, cautious, clear, elegant, mellow, and the environment is light and clear. His sages, gods, Buddhas, heaven and earth, are omnipotent. In particular, Li Bai, Du Fu and Bai Juyi's themes such as "Gifting Wang Lun", "Thin Sleeves in the Cold Sky", and "Pipa Line" are full of humanity. There are also true portrayals of secular folk customs such as "Sangnong Tu", "Village Children's Learning", "Farming and Reading Heirloom", "Fisherman's Music", etc., and they depict the customs to the extreme.
Qian Hui'an relies on the characteristics of the character painting works that are not flashy, exquisite and elegant, combined with work and writing, part-time work, plain and shallow, elegant and elegant, vulgar and elegant, customary and elegant, elegant and popular appreciation, easy to understand, close to life, and has been widely praised by the painting circle at that time and loved by the city class, thus forming its own unique style. Qian Hui'an's painting stage in Yang Liuqing was the peak stage of his creation. During this period, he combined the traditional Chinese paintings, Western figure paintings and folk New Year paintings, and through their careful study, took their essence, integrated the advantages of the three together, trinity, complemented each other, and created the "Qian School" Yangliu Youth Painting, which was widely praised by later generations. Important works such as "Listening to the Oriole Diagram" and "Yilan Ningdaitu" that have been handed down today were born during this time. During this period, his works have broken the traditional mode of Chinese object painting, combined with the characteristics of Western figure oil painting at that time, and gradually began to improve the painting techniques of Chinese objects, by strengthening the realism of figure painting and some changes in line depiction methods, as well as the use of perspective methods in Western oil painting, thus forming a unique style of Chinese painting.
In the eleventh year of Guangxu (1885), the "Ten Famous Artists' Paintings (Part I)" was released, containing ten works by Dai Xi, Qian Hui'an, Zhang Xiong, Hu Yuan, Ren Xiong, Ren Yi, Zhu Menglu, Sun Zishu, Yu Zhuxiu, and Zhou Beisheng.
Qian Hui'an's characters and ladies, although with ancient appearances and crowns, beautiful and humorous, but the picture is flowing with a sense of pure and auspicious, vividly expressing and responding to the life interest of the metropolis that rose on the banks of the Pujiang River in the nineteenth century, with a distinct style of the times. On the back of its joy and peace, Qian Hui'an also has deep praise and hidden worries. A famous example is his painting of Zhong Kui's blue face, red nose and blue eyes, which is a satire and whipping of the devils in the Ten Mile Ocean Field, indicating that Qian's paintings are not blindly auspicious, but have a real conscience, and there is also a side of the needle hidden in the cotton. His popularity can feel the pulse and heartbeat of the folk.
Qian Hui'an has a distinct personality in art. His pen and line drawing can be said to be a whirlwind, and the virtual reality in the line is dull and quite flavorful. He is good at using dry brushes to light colors, and it is not easy to grow old in dry. Just like his room name "Double Pipe Building", it may have multiple meanings, but in art, he can be indifferent, left and right, can be impatient, and be handy, which is indeed his own skill. His dryness is not the same as the scorched ink dry pen of the void valley. The dry, cold, wise and deep of the void valley. Qian Hui'an's withering was warm and joyful. If people used to call The Void Valley "a sound of clarity" in the orchestral field, Qian Hui'an is the Jiangnan silk bamboo in the Maritime School, and his line drawings and pictures flow out of the continuous blowing of the clear sound. His dullness and Ren Bonian's wet pen and ink form a meaningful contrast.
In the baking of the characters, Qian Shi constantly felt the leap of the times, and his pen also absorbed the light and light and shade treatment methods of the faces of western paintings, integrating the new wind of Convergence between China and foreign countries at that time. He created his own style of highlight whitening and dark baking on the face of the character. Although the comparison is sometimes too unnatural, his artistic attempts are also the first to open up the atmosphere, and his experience is worth learning from and summarizing for future generations.
Lu Xiuhui has a song "Song for Qian Hui Anji", shiyun:
The East and West painting methods are newly integrated, and the pen has been transcendent.
The wind and acid moon are cold and autumn thinking of people, and listening to the willow shade report crowing.
The number of clear tones in the orchestra field, the beautiful girl Hides jade snow muscle days.
The snow from the small window penetrates into Fengshan Mountain, silently sending guests to the ancient and modern unions.
The righteous qi is boiling, and the self-tree xun industry is connected.
The double pipe upstairs money is sent away, and the mood is full of knots.
The old ruins of the Mingyue Court are there, and the Hanmo Thousand Silks are bustling.