Huang Binhong's landscape paintings are different and superior. Pan Tianshou said that he "can paint seven or eight times and more than ten times in one painting, and the result is that the picture is lush and lush, the weather is vigorous, and the richness is extremely rich without losing ethereal"; Li Keyan said that "Huang Binhong's paintings have everything from a distance and cannot find anything up close"; Fu Lei said: "Huang's freehand writing, rounded pen and ink, Hua Zi Cangrun, avoiding the rules of the Northern Song Dynasty" "The pen is condensed like a golden stone, lively like a dragon and snake, and the color is beautiful but not charming.".
His painting techniques in his early years were as good as Li Liufang, Cheng Yi, as well as Jia Yan, Hongren, etc., but also combined with Fayuan and Ming families. The work attaches great importance to the unity of the virtual, simple, and dense rules; the use of the pen is like a seal, vigorous and powerful, and in the strict writing, there is a strange interest in vertical and horizontal. The influence of the xin'an school's sparse and elegant painting style on Huang Binhong is lifelong, and before the age of sixty, it is a typical "white Binhong".
69 to 70 years old, Huang Binhong has a trip to Bashu. This was the opportunity for him to make a leap forward in painting. His greatest achievement was to realize the "principle" of his transformation of the Fa in his later years from the true landscape.
After the age of seventy, the works he painted will be full of excitement and thick Huazi, and he likes to use ink accumulation, splash ink, broken ink, and ink to make the mountains and rivers deep, magnificent, and very upright. The so-called "black, dense, thick and heavy" painting style is the remarkable feature of his gradual formation. This remarkable feature also elevates Chinese landscape painting to a supreme realm.
So where is the depth of Huang Binhong's paintings?
1. Draw with books. "Painting by writing" is a phrase often said by teachers in painting teaching, and the instruction method is important for learning Chinese painting. Chinese calligraphy has a long history, starting from pictograms and slowly developing through the great seal, small seal, Lishu, cursive, Xingshu, and Kaishu, during which many genres have been formed, creating calligraphers like Wang Xizhi, Yan Zhenqing, Su Dongpo, and Zhao Mengfu. In a practical sense, the change of writing from seal to letter is an evolution, but from an artistic point of view, it is a regression. In the early writing, the oracle bones belonged to the ancient clumsy innocence; then the grass line, unrestrained and beautiful; and the Zhiyi book, although strict in law, ultimately lacked vitality. Huang Binhong's landscape and water admired the most artistic seal brushwork, which was in line with the artistic ideas of the ancients. Judging from the techniques of writing, the seal is simpler and more flexible than the cursive script. This simple and flexible, simple and natural beauty from calligraphy is exactly the "inner beauty" that Huang Binhong pursues. But for ordinary admirers, the seal is unfamiliar after all, they are more familiar with the smooth and beautiful lines, grass and dignified and neat calligraphy. In painting, he does not use the scenery as the object of description, but lets the pen and ink as the protagonist, which is one of the reasons why Huang Binhong's landscape is difficult to understand.
Second, the contour line is not determined. The reason why Huang Binhong Landscape "has everything from a distance and can't find anything up close" is because he usually does not have a definite contour line stereotype. For modeling, using a line to determine the size and shape of the object is the simplest way to express it, and it is also the common way. Huang Binhong does not use this way because he feels that this is too straightforward and simple, it is a foreign beauty, and he cannot fully display the beauty of calligraphy and ink. With his rich and varied brushwork and simple and simple dotted lines, he depicts everything in the painting, and expounds the "inner beauty" idea of his calligraphy and painting method. This is not a curiosity, but a breakthrough in traditional painting, and it is his breakthrough that pushes the expression of Chinese landscape painting to the extreme, leaving xiaoya with nowhere to start.
Third, the pen and ink are spicy, and the concealment is clumsy. There is a seal called "anxious seal" in the ancient Chinese seal seal, the seal method is simple, the knife method is smooth, and the uninhibited rope rules are respected by the Indians. Throughout his life, Huang Binhong has studied Chinese seals deeply, and he has consciously or unconsciously expressed the natural artistic style of the general seal in landscape paintings, such as the fragmentation and overlap of pen and ink, and the inadequacy and disharmony of the scenery. Therefore, if we look at his paintings with the existing aesthetics, it is difficult to understand his "inner beauty". On the pen, he used the power of cast iron to transport soft, ten thousand millimeters, eight sides out of the front. The bone line made is like Shang Yi Qin Quan, condensed and slow. Do not seek local smooth and appropriate, sometimes there are unexpected brushes, or dots or paintings, or gathering or scattering, not in harmony with the vulgarity, to get unexpected beauty. In the use of ink, the ink color is not expressed in a smooth and uniform way, gradually thickening and fading, and let the thickness and lightness do their best. Shi Tao saw five colors in one stroke, the "Four Kings" drew thick and light layers with dry brushes, while Huang Binhong used the ancient clumsy brush to dip the extremely thick and light ink and sprinkle it arbitrarily. Although a thousand strokes are not disorderly, the pen and pen see the pen; overlapping and overlapping and the ink is divided into seven colors, thick and huazi, far better than the ancients. And its color is like using ink, but it is spicy to survive, and seek harmony with the yin to the anode, how can the "inner beauty" in this "inner beauty" be "clear at a glance" for those who think that they have studied with the master for a few days and regard themselves as masters?
Huang Binhong once said that the steps to be followed in studying the tradition: "First imitate the Yuan painting, and use the pen and ink to use it; the second imitation of ming painting, with its stable structure, is not easy to enter the evil way; then imitate the Tang painting, so that the learning can follow the ancients; and finally copy the Song painting, with its method preparation for many changes." "The Song paintings that Huang Binhong talked about, in addition to the people of the Northern Song Dynasty, often included the five generations of Jing Hao, Guan Tong, Dong Yuan, and JuRan.
Source: Calligraphy and Painting Micro-newspaper