The Paper has learned that as a New Year's Eve exhibition of the Bada Shanren Memorial Hall in Nanchang, Jiangxi, the "Genius Vertical and Horizontal - Special Exhibition of Ren Bonian's Works from the Art Museum of the Central Academy of Fine Arts (Nanchang Station)" will open at the Bada Shanren Memorial Hall on December 30. Through 50 works by Ren Bonian and related artists, the exhibition will show the artistic development process of Ren Bonian in the important fusion and transformation period of Chinese painting, and also show the profound influence of the Bada Shanren on the art of Haipai painting.
Ren Bonian (1840–1895)
The exhibition will exhibit a total of 50 works (29 sets), including 16 sets of works by Ren Bonian and 13 sets of works by 12 related artists. This exhibition will use three chapters: "Ancient and Modern Art", "Yunsheng Hengqi" and "Runze Centennial" to show the artistic development process of Ren Bonian in the important integration and transformation period of Chinese painting, and also show the profound influence of the Bada Shanren on the art of Haipai painting.
Ren Bonian's "Rich and Noble Peace Map" Axis 1874 Color on paper Length 93.2 cm Width 39 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Bonian "Four Screens of Flowers and Birds" No. 4 Heron And Heron Water Grass 1881 Color on Paper Length 180 cm Width 46.5 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Yi (1840-1895), first known as Run, Zi Bo Nian, nicknamed Ren Monk, a native of Shanyin (now Shaoxing), Zhejiang, was a famous painter in the late Qing Dynasty. He is the leader of the "Maritime Painting School", and is called "Three Appointments on the Sea" together with Ren Xiong and Ren Kaoru. Ren Bonian is highly praised in China and is one of the masters of art in the history of modern and contemporary Chinese painting, with a comprehensive range of painting techniques, covering figures, flowers and birds, landscapes and so on. On the basis of studying tradition, he integrates the sketching and watercolor techniques in Western painting, and can be called an all-round painter who has never been encountered in a century.
Ren Bonian's "Painting Manuscripts" Album Page 2 A total of 8 open (exhibit 2 open) Clear Ink on paper 22 cm in length 21 cm in width Collection of the Cafa Academy of Fine Arts Art Museum
Ren Bonian's "Painting Manuscripts" album a total of eight open (exhibited two open) Clear Ink on paper 22 cm in length 21 cm in width Collection of the Cafa Academy of Fine Arts Art Museum
Ren Bonian is one of the representative figures who promoted the transformation of Chinese painting from tradition to modernity, and has an important historical position in the history of Chinese painting. For traditional art, Ren Bonian was deeply nourished by his predecessors, and bada Shanren was also one of the Ming and Qing painters who had a great influence on Ren Bonian's pen and ink achievements, and he learned the painting technique of "hanging wrist center" from Bada Shanren.
Ren Bonian "Selling Meat" Axis 1881 Color on paper Length 135 cm Width 33.3 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Bonian "Rice Epilepsy Worship Stone" Fan 1893 Silk color Diameter 21 cm Collection of the Central Academy of Fine Arts Art Museum
The special exhibition of Ren Bonian came to Nanchang and walked into the Bada Shanren Memorial Hall, which is also a direct dialogue between the works of the two masters of art through more than 200 years. For the modern painting world, Ren Bonian adheres to the spirit of dialectical innovation, on the basis of studying tradition, integrates the drawing and watercolor techniques in Western painting, coupled with new artistic concepts and artistic tastes, and seeks a new artistic language with a long time. He constantly carried out a variety of innovative experiments in brushwork, composition, color, and structure in painting, and these beneficial results not only influenced the atmosphere of the painting world at that time, but also had a certain impact on the reform of Chinese painting since the 20th century.
Zhu Yun Double Magpie Big Stone Figure Axis Clear Paper Length 159cm Horizontal 49cm Bada Shanren Memorial Collection
Zhu Yun Jiaoshi Hibiscus Figure Axis Clear Ink on Paper 178cm Horizontal 45cm Bada Shanren Memorial Collection
Modern and contemporary painters such as Wu Changshuo, Wang Yiting, Ni Tian, Wang Mengbai, Chen Banding and others have either been taught by Ren shi in the stage of learning art, or have studied ren's works to figure out pen and ink techniques.
Ren Bonian's "Rice Worship Stone Diagram" Axis 1892 Color on Paper Length 167.5 cm Width 45 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Bonian 'Shepherd Boy Reading Map》 Axis 1892 Color on paper Length 150 cm Width 57 cm Collection of the Caucasian Art Museum
Many later generations of painters benefited greatly from Ren Bonian's art. His artistic achievements have a landmark significance for opening up a new path for Chinese painting, and have also had a profound impact on the transformation of Chinese painting since the 20th century. However, looking back at ren Bonian's academic research and painting history positioning, it is also full of different voices. During his lifetime, Wu Changshuo praised him as a generation of "painting saints"; Xugu commented on his "impermanent pen method, a new machine, junyi called jiye". Shortly after his death, his son Ren Yan wrote: "Today's commentator, You is the first-hand after Zeng Bochen"; Xu Beihong even wrote a commentary on him, "Designated as the first Chinese painter after Qiu Shizhou", and even quoted Da Yang as saying: "Ren Bonian is really a master". However, under the inertial influence of the discourse power of literati painting, there have always been views such as "Ren Bonian's paintings cannot be unconventional", "the style is not high", "the lack of bookish atmosphere", and "the cultural cultivation is not enough".
Ren Bonian's "Infinite Life Buddha" Mirror Heart Clear Paper Color Length 24 cm Width 22 cm Collection of cacophony art museum
Ren Bonian 'Portrait of Chengcheng' Axis, 1877 Color on Paper, Length 102 cm, Width, 45 cm, Collection of the Caucasian Art Museum
Ren Bonian "Zhong Kui Tu" Axis 1874 Color on paper Length 135 cm Width 64 cm Collection of the Central Academy of Fine Arts Art Museum
Based on the current era, how to re-evaluate Ren Bonian more objectively from the historical context and practical enlightenment seems so urgent and urgent. Chen Banding once compared Ren Bonian and Wu Changshuo in this way, "He is good at qiao, Wu is better than clumsy; Wu's clumsiness is better than him, and his cleverness is better than Wu." Wu's academic qualifications are better than his, and his paintings are better than Wu's. ...... However, he pays attention to structure, uses color comfortably, and uses pen cleverly, which is something that contemporary painters could not catch up with. "It is advisable to objectively analyze the advantages and disadvantages of the advantages and disadvantages and the strengths of each of them in comparison, rather than simply and arbitrarily denying the whole. Another example is that many researchers have pointed out that ren Bonian's main artistic characteristics lie in "common appreciation of elegance and customs", and his "customs" are approachable and popular, not low-level interests, "for the enjoyment of his own art by the majority of readers and for the understanding of the masses", which is precisely his personal originality and uniqueness that is different from other painters, and is the fundamental reason why his painting art is different and brilliant.
Ren Bonian's "Characters, Flowers and Birds" Fan Album No. 2 Fifteen Open 1871 Color on Paper Length 29 cm Width 58 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Bonian "Wisteria Starlings" Axis 1886 Color on paper Length 144.5 cm Width 78.5 cm Collection of the Central Academy of Fine Arts Art Museum
Ren Bonian's artistic achievements have a positive significance for opening up a new path of Chinese painting. Specially held in this exhibition, Ren Bonian's dialectical attitude to view tradition and innovate art with positive ideas is exactly what the current Chinese painting world needs. Through the holding of this academic exhibition, the painting world can further think about the relationship between tradition and innovation, inheritance and development, and enable the audience to further understand the works of artists who are in the process of change in modern China, experience the beauty of Chinese ink painting and color painting, and learn the development and changes of Chinese painting in the era, in order to better play the cultural function of the Bada Shanren Memorial Hall and serve the people.
Ren Xiong "Dog" Axis 1854 Ink on paper Length 64 cm Width 32 cm Collection of CAFA Art Museum
Xu Beihong's "Three Chickens" Axis, 1937 Color on paper, Length, 84 cm, Width, 50.5 cm, Collection of the Cafa Academy of Fine Arts Art Museum
Chen Chun's "White Hibiscus" Axis Ink on Paper Length 50.7 cm Width 27.3 cm Collection of CAFA Art Museum
Fei Danxu "Red Makeup Wrapped Picture" Axis 1841 Silk Color Length 123 cm Width 33 cm Collection of the Central Academy of Fine Arts Art Museum
Hua Lun's "Cattle Herding Diagram" Axis Clear Paper Color Length 125.5 cm Width 45 cm Collection of cacophony art museum
The exhibition will last for 3 months.