Second, Huang Binhong's artistic practice of "Jin Wen into Painting"
As Huang Binhong, who has a high cultivation of calligraphy and painting and Jinshi, "Jin Wen" has played a vital role in his painting creation. Since the Qing Dynasty, "golden stone into painting" has formed a trend in the painting world, and Huang Binhong is undoubtedly the most outstanding representative of it. Compared with Wu Changshuo's "Hunting Jie into Painting", Huang Binhong is "Jin Wen into painting". "Jin Wen" is Huang Binhong's most representative achievement in the field of calligraphy and academic research, and has also had a profound impact on his landscape painting creation.
1. Tai Chi Brushwork: The brushwork path of "Jin Wen into the Painting"
Huang Binhong's "Self-Titled Landscape" said: "The beauty of the brush lines used in the painting method is purely from the gold stone, calligraphy and painting, bronze, stele, and statue, and the rigidity is soft, and the brushwork starts and turns, and cares about the strength." He summarized the penmanship into the five methods of "flat, round, retaining, heavy, and changing", which is actually a high degree of refinement of the "golden text" brushwork. Huang Binhong's calligraphy works are mostly in golden text, and "golden text into painting" is logical. Of course, the lines of Jin Wen are also the lines of painting in a sense, and they are quite related. It is no exaggeration to say that "Jin Wen" has made Huang Binhong.
Later, Huang Binhong regarded the dots and lines as semicircles with a pen and summed up the Tai Chi pen method. He described the Tai Chi brush diagram of "one wave and three folds" in the "Illustration of The Illustrated Illustration of the Painting Method". "Three twists and turns" is generally considered to be a calligraphic method. Huang Binhong's view of "three twists and turns" comes from his research on Jin Wenzhen. "The pen should have twists and turns, and avoid straightness." The Western Han Dynasty Lishu still has the will of the seal, and the twists and turns are clear. The small seal of the script, used for painting plates, suppresses the ups and downs, contains twists and turns, and is the most sufficient method. Painting should be like writing, and the pen and ink used in Chinese painting come from calligraphy. "One wave and three folds" style of outlining with pens, interlocking, pen brush hair, forming a continuous echo and rhythm, forming the main pen form of Huang Binhong landscape painting.
Huang Binhong found out the pen rules of calligraphy from the golden text and the deed carving knife method, and through the demonstration of the "Taiji Brush Stroke Diagram", it was transformed into the "three twists and turns" in the landscape painting method, which was transformed from calligraphy brushwork to landscape brush method, and Jin Wen undoubtedly played a crucial intermediary role in it.
2. Uneven triangle: the modeling path of "Jin Wen into the painting"
Huang Binhong is an outstanding master of structuralism in landscape painting. "Uneven triangle" is the most basic modeling feature of Huang Binhong's landscape painting, whether it is the shape of trees and stones, or the overall layout, it reflects the characteristics of "uneven triangle". In Huang Binhong's landscape paintings, there are various triangular shapes such as large triangles, small triangles, blunt triangles, sharp triangles, flat triangles, etc. combined together to form the most stable composite triangle structure. Huang Binhong mentioned the problem of "uneven triangle" many times in the article: "The triangle is uneven and beautiful, the heavens and the earth are square, the artificial buddha cuts, and the clever creation is the first." "Jagged clutch, oblique size, fat and thin, pitch intermittent, uneven, is for the inner beauty." "The accumulation of dots into lines, there is the beauty of the line; there is no triangle, there is true inner beauty."
Junxue takes "Qi" as the beauty, pays attention to order and planning, and the neat square is represented; then the folk science is beautiful with "unevenness", paying attention to freedom and individuality, and the most representative geometric figure is the triangle. And the Golden Text, which is permeated with folk thought, the "uneven triangle" is one of the most important modeling factors. The Western Zhou Jinwen embodies the concept of overall harmony and unity through the "uneven triangle" staggered and orderly, interspersed and avoidant modeling arrangement. The "uneven triangle" composition of Huang Binhong's painting not only originates from the basic modeling mode of Jin Wen, but also the basic organizational principle of composition layout in Chinese painting art. Pan Tianshou said: "It is not good if there is no triangle in the layout, and it is better than an equilateral triangle than an equilateral triangle. ”
3. Hun Hou Huazi: The aesthetic trend of "Jin Wen into Painting"
"Hun Hou Hua Zi" is the most concise and recognized summary of the aesthetic characteristics of Huang Binhong's landscape art. From the logic of these four words, "thick" points to the pen, "Huazi" points to the use of ink, first can be "thick", only to get "Huazi". The "thickness" in Huang Binhong's landscape paintings is different from the "majestic" in Sikong Tu's "Twenty-Four Poems", and it is also thick. At the same time, it is also a reference to the spiritual characteristics and rhythms of life of natural objects. In his letter with Huang Jusu, he said: "Humble painting has recently become slightly simplified and light, and recently seen the Qing Dynasty Daoxian such as Lin Shaomu Zexu, Bao Shen Bo Shichen, and Zhao Shu's uncle's humility, all of which have learned the magic of brushwork from Jinshi calligraphy. The so-called master creator, who is not a disciple of the mountains and rivers, has a thick grass and trees to see the national nature, that is, such as Yunnan marble, natural pictures on the stone, with ink colors, which is the will of Fan Kuan and Guo Xi of the Northern Song Dynasty. Liangzhu in Hangzhou Province unearthed ancient jade from the Xia Dynasty, and in recent decades global archaeology has considered Paleolithic antiquities. The thick and dense jade literature is in line with the Northern Song Dynasty paintings. Especially similar to the ink painting method of Daoxian. The contemptible people searched for it and planned to give it to friends to study together. ”
The simple imagery presented by Jin Wen is huang Binhong's concern. By the time of the Qing Dynasty, the "simple atmosphere" became an important aesthetic element of gold stone painting. The lines are thick and huazi, solemn and natural, and the "Jin Wen" with a flamboyant personality is favored by many Jinshi painters. Huang Binhong has long been immersed in the world of "Golden Text", in-depth study, Huang Binhong's golden calligraphy takes the Six Kingdoms script as the core, and is compatible with a wide range of writing systems such as oracle bones, Shang Zhou Jinwen, ancient pottery, spring coins, ancient seals, sealing mud, and weapons. The ancient, gujin, and ancient jinwen are an important source of huang Binhong's landscape painting "Hun Hou Huazi" aesthetic style.
It can be seen from this that Huang Binhong's philology, calligraphy, and painting are a whole, and "Jin Wen" is an intermediary connecting calligraphy and painting, so if you read Huang Binhong's "Jin Wen", you can read his paintings.
(Serial)