Third, the meaning of Huang Binhong's "Jin Wen into the painting"
The rise of the Qing Dynasty stele school and the Jinshi painting school has had a direct and far-reaching impact on Chinese painting since the Qing Dynasty, and has profound cultural significance. The ancient, strong, strange and extensive painting style formed since the Qing Dynasty is directly related to the magnificent and lofty aesthetic concept advocated by the Jinshi School. At the same time, "Golden Stone into the Painting" has changed the weak pattern of the Chinese painting world, and has achieved many calligraphy and painting masters, looking at the history of Chinese painting since the Qing Dynasty, but everyone will have a more or less relationship with the "Golden Stone", such as Jin Nong, Zhao Zhiqian, Wu Changshuo, Huang Binhong, etc. are the representative figures of the Golden Stone painting, they apply the Golden Stone inscription to the creation of Chinese painting, and the study of the Golden Stone is often accompanied by the creation of calligraphy and painting. Their "Golden Stone" presents four distinct paths of "entering the painting", of which Jin Nong is "Gu Li into the painting", Zhao Zhiqian is "Wei Stele into the painting", Wu Changshuo is the "seal into the painting", and Huang Binhong is the "Jin Wen into the painting", pointing to the four different forms and styles of "Jinshi into the painting".
For the painting itself, Huang Binhong's "Jin Wen into Painting" mainly has the following meanings: First, "Jin Wen into Painting" promotes a kind of ancient, Bogu and Shanggu atmosphere, which is similar to wu Changshuo's advocacy of "being a disciple of the ancient", and realizes the transformation of landscape painting from dignified and elegant to thick and luxurious style. The thick and ancient atmosphere contained in the golden text has a strong effect on the pen and ink shortcomings that appeared in the development process of Song and Yuan literati paintings. Second, "Jin Wen into the painting" shows the importance attached to the "bone method with the pen". "Bone brush" is a bridge between the two different art forms of calligraphy and painting. The "bone method with the pen" advocated by "Jin Wen into Painting" pursues the artistic style of somber and vigorous, majestic and natural, and pays attention to the expressiveness of the works, which greatly promotes the development of literati painting.
From the perspective of the times and culture, "Jin Wen into the painting" has a deep cultural significance. At the time of national crisis, tracing and preserving the origin of national culture became the first task of cultural and artistic scholars at that time. "Preserving the essence of the country and advocating jinshi calligraphy and painting" has become the core purpose of many calligraphy and painting societies. The "Jin Wen into Painting" echoes the "National Essence" movement, which not only expands the horizons of calligraphers and painters, gets rid of the ideological imprisonment of the ruling class since the Ming and Qing dynasties, but also carries the mission of reviving national culture. In his letter to many friends, Huang Binhong repeatedly mentioned the relationship between "golden stone" and the revival of national culture, "between Daoxian and Xian, the epitaph calligraphy and golden stone learning are flourishing, in order to open up learning, now talk about national culture, and there is nothing else to ask for." Huang Binhong successively joined the "Chinese Studies Preservation Society", established the "Nanshe", founded the "Zhenshe Society", organized the "China Jinshi Calligraphy and Painting Art Concept Society", "Bad Man Society", "Chinese Society" and "Chinese Painting Society", wrote a large number of Jinshi research papers, adhered to the idea of "Jinshi into Painting" in artistic creation, and practiced the grand ambition of "preserving the essence of the country, promoting the Golden Stone, and reviving the national culture" with his life.
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From the perspective of contemporary painting, Huang Binhong's "Jin Wen into painting" has practical enlightenment significance. Many contemporary painters do not understand calligraphy, and the calligraphy level of painters is generally inferior, not to mention "Jin Wen into painting", which greatly restricts the development of Chinese painting art. Contemporary "golden stone taste" and "golden stone gas" have disappeared, golden stone research is extremely lacking, and the creative idea of "golden text into painting" is facing a crisis. In the field of creation, it gradually evolved into a dispute between "modeling" and "pen and ink". Western painting emphasizes the perspective method and the basic skills of chiaroscuro, highlighting the expression methods of volume, space and texture, all centered on "modeling". Chinese painting does not stick to the appearance of the object, but emphasizes the subjective taste of the lyricist, emphasizing "writing the god in shape" and "vivid rhyme", and everything is centered on "pen and ink".
Throughout the history of Chinese painting and calligraphy, since the establishment of the orthodox status of literati painting, "painting with books" has gradually developed into "conscious behavior", which not only reflects the consistency of literati calligraphy and painting in pen and ink, but also reflects the aesthetic taste of an era. Whether it is the Song Dynasty Shangyi calligraphy style and the "Sumi" literati ink play, the Wei Jin Shangyun calligraphy style and the Yuanren flower and bird painting, the Ming and Qing dynasty tone book style and the "Qingteng Baiyang", or the "Golden Stone into the Painting" since the modern and modern Qing Dynasty, all reflect the characteristics of "painting with books". The study of "Golden Stone into Painting" may give some enlightenment to the current art education and Chinese painting creation.