【Editor's Note】
The light of The Mindu passed on the torch.
On March 24 this year, General Secretary Xi Jinping came to Fuzhou Sanfang Seven Lanes to inspect, listened to the introduction of the protection and restoration of Fuzhou Ancient House and Sanfang Seven Lanes, and also inspected Nanhou Street and Langguan Lane on foot to visit Yan Fu's former residence. General Secretary Xi Jinping has repeatedly stressed that it is necessary to "let history speak and let cultural relics speak" and "let the cultural relics collected in the Forbidden Palace and the heritage displayed on the vast land come alive."
This year, the 44th World Heritage Conference was held in Fuzhou. It is imperative to protect the historical and cultural heritage, retain the cultural roots, keep the soul of the city, build the international brand of Mindu culture, and consolidate the cultural foundation for accelerating the construction of a modern international city.
To this end, "Minsheng" magazine launched the "Qingfeng to the Deceased - The Ink Of Fujian Celebrities in recent times", which is the physical evidence of the Collection of Fujian Calligraphy and Painting, more than 40 famous artists old ink, 200 pages and 200,000 words, more than 100 pictures, involving the late Qing Dynasty and the Republic of China academic circles, political circles, business circles, calligraphy and painting circles, collection circles, religious circles, education circles, literary circles and other fields, with historical and artistic value that cannot be underestimated.
This book is a monograph on Mr. Lan Ruo's calligraphy and painting collection, involving many knowledge sections such as original works, interpretations, small notes, examinations, appreciation, and reviews. We will continue to publish the wonderful content of "Qingfeng To the Past - InkBlot Talk of Fujian Celebrities in recent times", return to the "old bright moon" with you, touch those words with history, temperature and interest, and appreciate the profound and profound spiritual outlook of Fujian culture.
Li Geng (1885 - 1964), initially known as Li Shijian, Character Yannong, No. 1 Qin Daoren, DaMaoshan Ren, etc., Tang No. Cai Gen Jingshe. Fujian Xian tourists. Famous painter, good at classical figure painting, especially Buddha painting. Landscapes and flowers are also deeply skilled, and they are also familiar with calligraphy, poetry and sculpture. He is the author of "Vegetable Root Essence House On Painting" and so on
Fujian calligraphy and painting began to flourish during the Ming and Qing dynasties. Wu Bin, Li Zai, Zeng Whale, Hua Yan, Shangguan Zhou, and Huang Shen all wrote in the painting world. In modern times, traditional figure paintings represented by Li Xia and Li Geng have more regional characteristics. They are born in cloth clothes, and their painting style is rough, straightforward, vivid and cheerful, and the local atmosphere is strong. In particular, the talented Li Geng boldly dissolves personality, interest and emotion in pen and ink, and has distinct characteristics.
Li Geng was gifted and enlightened, and since childhood he liked to draw, often using rubble as a pen to make paper on the ground, and the characters depicted were exquisite and beautiful, and the villagers called him "God Painting Child". He only attended private school for two years, and because his family was poor, he dropped out of school at the age of nine and studied painting with his father. His father, Li Qi, excelled at murals and portraits. Li Geng, who was deeply rooted in family tradition, followed his father to Puxian and other places, making murals for the temple corridor and also painting portraits for the people. Li Geng gradually emerged from a folk painter to a literati painter, and he once dipped ink only once and painted a Maitreya Buddha with eighteen strokes in one breath, which was very interesting. The painting was awarded the first place in the 1925 Exhibition of Paintings from the Five Southeastern Provinces. Xu Beihong spoke highly of Li Geng's works: "There are those who are strangely clumsy, the first to recommend Li Geng, with any wantonness, can track down the gall scoop, and his talent is not available in the Central Plains!" Xu Beihong also enthusiastically recommended Li Geng to teach at Nanjing Central University, but eventually due to the war, he did not succeed. At that time, Master Hongyi, who was promoting the Fa in southern Fujian, saw Li Geng's paintings, compared him to Qi Baishi in the north, and promoted the two as "Northern Qi Southern Li".
Li Geng's "Lushan Waterfall" axis color on paper
After liberation, Li Geng energized his passion and persevered in his exploration of the art of painting. In November 1961, Li Geng, together with the famous Fujian painters Chen Zifen and Li Shuoqing, held a joint exhibition of the works of the three Fujian painters in Beijing, which was well received. When the Great Hall of the People in Beijing was completed, Li Geng was invited to make huge works such as "Songqing Crane White Oriental Red" and "Eternal Green", which were deeply cherished by the world. Later, he created masterpieces such as "Yugong Moving Mountains", "Nuwa Patching Heaven", and "Lihu Flying Waterfall", which became famous in the art world. He enthusiastically passed on the skills to promote the later learning, and the Li Geng Chinese Painting Research Institute named after him, Danqing was a good hand, and the "Li Geng Painting School" was gradually formed in the Puxian area.
Li Geng devoted his life to the creation of historical figure paintings, and his works are mostly based on historical classic stories and folklore, and he has the strengths of both folk painters and literati painters, and can use the most refined brush and ink to create a realistic look, and has the interest of literati painting. He rewrites his intentions, emphasizes "sending affection for things", and enters the place where the gods are mysterious, with only a few strokes, that is, people have both physical and physical forms, vivid images, and vivid charm. The exaggerated figures are almost distorted, but they give people a rich imagination.
People and utensils, in the darkness, seem to have a destiny. Yu collected Li Geng's "Lushan Waterfall Map" in his later years, which was passed out from behind the famous door, and it was quite painstaking. Li Geng's freehand landscape painting is a wonderful and wonderful place, which is actually a masterpiece of his later years. The theme of the work is the ghost tour of Gaoshi in the deep valley of the giant peak, which is intended to depict a quiet and quiet atmosphere, with a hidden thought and self-amusement atmosphere, which is quite "nothing in the empty forest, but a white look at the spring life." Sunset river clouds, forget the spring and forget me". This composition is peculiar, he is ingenious and good at taking advantage of the situation. The vast majority of the depictions of Kuang Lu's steepness, the main body is prominent, and the picture is not capped on the mountain, as if beyond the painting, the body of the mountain is more prominent. Then the peaks of the mountains are like a cover, layered on top of each other, the springs and waterfalls are hanging alone, the clouds are swirling around them, and the virtual reality of mountains and clouds, stones and springs is interspersed. It not only increases the thickness of the mountain, but also adds the agility of the cloud spring. Between the heavy mountains and the clouds and mist waterfalls, the solemn silence contrasts with the light fluttering, resulting in the aesthetic interest of the clouds and waters moving more and the mountains more quiet.
Li Geng's "Bamboo Forest Qinglai" axis color on paper
What's more, a huge peak protrudes from the lower left end, which can be described as a sense of movement that is permeated with steepness, and the steepness further contributes to the momentum of the mountain that stands up, so that the whole picture is extremely dynamic visual effect. At the lower end of the picture, a large area of emptiness, supported only by a corner of the hillside, sits on it, watching the waterfall and meditating, completely immersed in the clear sound of the landscape at this moment. This Coats figure is accurately shaped, a few strokes of the hand hook, but the magic is beautiful, and the painter's outstanding character modeling skills can be seen. This kind of object arrangement of upper and lower weight, upper and lower virtual is obviously contrary to people's usual visual habits of seeking a stable center of gravity, but it makes people have a "strange", "dangerous" and "moving" pattern feeling, this composition method and object form, obviously not only a subjective construction, but the painter's natural nature after the accumulation of mountain and river sketching. The peculiar but not crazy, dangerous and stable layout shows Li Geng's skillful ability to manage the cloth, and also reflects his pursuit of movement and momentum in the landscape.
Another painting in Yu's collection, Li Geng's middle-aged painting of the Seven Sages of the Bamboo Forest, depicts the Seven Sages of the Bamboo Forest, with seven different looks, high lines and pale colors, which are more elegant and elegant. This masterpiece not only reflects the traditional kung fu of the painter, but also has the characteristics of personality, which is a masterpiece!
Today, although this painter from the countryside has gone away, his works still seem to be covered with the shadow of Mr. Wang. Yu respects this simple, generous and tolerant old man who lives in the countryside, he has a beautiful soul, he is a true creator of beauty.
Source: Minsheng Media