Since May 18 last year, the "e-Guanzang Daily One Beauty" column has been launched for one year, and 365 articles of the collection of the Jiangsu Provincial Art Museum have been presented daily, using pictures and texts to entertain readers. At the same time that the column was launched simultaneously on the "Learning to Strengthen the Country" Jiangsu Learning Platform and the New Jiangsu Client Cloud Exhibition Channel, the high-quality content was also included in the China Art Channel, the "Learning to Strengthen the Country" learning platform. It has received more than 32 million clicks, more than 5 million likes, and about 40 million radiated people. "Daily Beauty" has revitalized the collection of works, spread artistic value, carried forward the style of Jiangsu culture, and has been widely praised by industry experts and the broad masses of the people. It not only realizes the innovative exploration of culture and media, but also further demonstrates the charm of cultural and artistic communication. In order to better promote and disseminate this cultural brand, the Jiangsu Learning Platform of "Learning to Strengthen the Country" and the New Jiangsu Client of China Jiangsu Network decided to continue to carry out cultural resource exchanges and cooperation with the Jiangsu Provincial Art Museum, and continued to launch the second season of "e Guan Zang Daily Beauty" this year. Continue to push 365 days a year, beauty in every day! Let the artistic image of beauty, the wonderful moments of beauty, and the eternal spirit of beauty enrich and enhance the spiritual life of the people, so that the people of "strong, rich and beautiful" new Jiangsu will continue to move from material well-off to spiritual well-off.
This audio was co-produced with the Nanjing Recitation Association
This issue reads: Wu Changming, teacher of Nanjing University of Communication
112
Li Hua", "Soft Stone Statue"
Wen 丨 Jiangsu Provincial Art Museum Zou Jiarui
Li Hua 《Soft Stone Statue》
Black and white woodcuts
26x18cm
In 1962
Collection of Jiangsu Provincial Art Museum
Li Hua (1907-1994), a native of Panyu, Guangdong. He graduated from the Guangzhou Municipal School of Fine Arts in 1927, studied in Japan in 1930, and organized the "Modern Printmaking Club" in Guangzhou after returning to China. During the War of Resistance Against Japanese Aggression, he accompanied the army to the Xiang and Gansu areas, and initiated and organized the "National Woodcut Anti-Enemy Association". He once taught at the Central Academy of Fine Arts, served as the executive director of the China Artists Association, and the chairman of the China Printmakers Association.
This work is one of six illustrations by Li Hua for the 1962 Poems of revolutionary martyrs, which depict six martyrs, Rou Shi, Peng Pan, Li Dazhao, Yang Jingyu, Deng Zhongxia, Cai he and Sen. Roushi, whose original name was Zhao Pingfu, was a member of the Communist Party of China, who went to Shanghai in 1928 to engage in the revolutionary literary movement, served as the editor of "Yusi", and co-founded the "Chaohua Society" with Mr. Lu Xun. In March 1930, the Chinese Left-Wing Writers' Union was founded, and Roushi served as an executive member and director of the editorial department. In January 1931, Roushi was arrested in Shanghai, and on February 7 of the same year, along with Yin Fu, Ouyang Li'an and 23 other comrades, he was secretly killed by the Kuomintang reactionaries. After the sacrifice, Lu Xun wrote an article entitled "For the Memory of Forgetting" to mourn him and other comrades who died.
Li Hua's soft stone statue depicts the tenacity of soft stone with a pen as a knife in a realistic woodcut expression, as well as his patriotic feelings of sacrificing himself for the revolution. In the picture, Roushi wears glasses, his eyebrows are furrowed, and he writes, and the pattern in the background hints at the plot of Roushi's masterpiece "February". Compared with the expressionist style of printmaking works in the 1930s and 1940s, Li Hua shows in this work his more realistic creative outlook after the founding of New China, that is, paying more attention to realistic scenes and narratives, based on large-scale black and white contrasts, combined with the main works of Roushi in the background, highly restoring the character image as a writer and a revolutionary martyr, portraying accurately and fully. Although it seems weak, in the plain lines and black and white relationship, it still reflects the great spiritual strength of Roushi's body.
113
Zhang Xinjia "Wutong"
Wen 丨 Jiangsu Provincial Art Museum Ye Tao
Zhang Xinjia 《梧桐》
Vertical scroll Color on paper
131x67.5cm
In 1979
Inscription
Cool breeze into the house insect sound cut, oblique moon invaded the curtain tung incense. Years ago, the mountain was raised, the night was as cool as water, there was this realm, it was not white dew, Zhang Xinjia and remembered in the Yuanxiang Building.
Plutonium printing
Karag (white text)
Zhang Xinjia (1909-1991), Character Star Order, Old Man of the Late Frost House, a native of Suzhou, Jiangsu Province, a representative of the New Wumen School, and a famous modern freehand flower and bird painter. He was a director of the Jiangsu Provincial Artists Association and the first president of the Suzhou Chinese Painting Academy. He has participated in the organization of art groups such as the Shuluo Painting Society and the Chinese Painting Research Society, and has played an important role in the prosperity of the Wumen School of painting and the cultivation of artistic talents.
Zhang Xinjia liked to paint things since childhood, and in his early years he studied Chen Mo from Yushan Mountain, first learned landscapes, and later specialized in flowers and birds, and heard about Wuzhong. The paintings of flowers and birds he made not only grasp the shape, but also grasp the gods, full of vitality and full of charm. Zhang Xinjia visited the masterpieces of famous artists of past generations, studied carefully, pursued the charm of pen and ink, and had the courage to change and innovate. In the 1970s, he had to go to Guangfu, Dongshan and other places every year to sketch, wandering between green mountains and rivers, observing all living beings and things in a subtle way, especially feeling the colorful colors of the Qunfang under the sun, and came up with the intention of introducing light and shade changes into the creation of flower and bird paintings. He believes that as long as it does not leave the basic characteristics of Chinese brush and ink, it can be "self-created and self-changing", so he uses color to express the light and shade of the change of objects. After bold exploration, repeated practice, dilution of conventional colors, the formation of a personalized style, to create a unique flower and bird painting.
The scroll of "Wutong" collected by the Jiangsu Provincial Art Museum is Zhang Xinjia's masterpiece of expressing light and shadow with ink and color, vividly depicting the small scene of the ant playing among the sycamores under the moonlight. In the picture, the leaves of the sycamore are depicted in large strokes of flanking, and when it is wet, the center is hooked, and the moisture control is just right, which together with the clouds reflect the humidity of the air. Several antes frolicked among the plane trees, some standing on the branches, some standing on the trunk, some lying in the leaves, leaning on the side, each with a look. In particular, the tentacles, legs and feet of the ant are outlined with superb lines like iron paintings and silver hooks, and the breath of life of nature jumps out of the paper.
In the distant view of the moon, the ink color rendered in shades strengthens the depth of the sky, and the contrast between yellow leaves and purple flowers in the near distance adjusts the tone of the picture and adds warmth to the cool autumn environment. The book is handsome and elegant, and there is a handwriting charm of the Ming and Qing Dynasties studying calligraphy. "Cool breeze into the insect sound cut, oblique moon invaded the curtain tongzi incense", the whole work is beautiful and free, the breath is clear, the poetry and painting are suitable, giving people the pleasure and satisfaction of returning to nature.
114
Wang Shaoling", "Raising the Sails"
Wen 丨 Jiangsu Provincial Art Museum Huang Jun
Oil on canvas
40×50cm
In 1932
Wang Shaoling (1909-1989), a native of Taishan, Guangdong, moved to Hong Kong in 1913 and co-founded the "Hong Kong Literary and Art Association" with Du Geling, Mu Shiying, Chen Fushan and others in 1935, and met Xu Beihong at the same time. He went to the United States in 1938 for further study, was appointed professor of art at Chuo University in 1947, an honorary member of the International Society of Arts in Switzerland in 1959, and died in New York in 1989.
Wang Shaoling's artistic achievements in his life are known for oil painting and watercolor, and his style is both expressive and realistic, with a powerful pen and a sense of life. The content of his works is often both humanistic and truly reflects the social landscape of the time. Xu Beihong once praised Wang Shaoling for "feeling that there is a valley of humility under the feet, and there will be great success."
The works created by Wang Shaoling often show a proud and clean and uninhibited momentum, and the place where each stroke falls seems to express the sonorous voice of the heart. The oil painting "YangFan" collected by the Jiangsu Provincial Art Museum was created in 1932, which is the author's creative period of prosperity and hard work, which integrates the artistic concepts of the East and the West in terms of techniques, the composition is ingenious and balanced, the colors are rich and delicate, the pen is rigorous and relaxed, there is no lack of exquisite refinement in nature and randomness, and the skill of mastery expresses a frank and idyllic attitude towards life.
115
Wei Zixi's "Bright Moon Pine Photograph"
Wen 丨 Jiangsu Provincial Art Museum Golden Spike
98x47cm
In 1983
Father Song's elder brother taught zheng and asked for Cun Nian, painted in Nanjing in the autumn of 1983, Zixi.
Lao Wei (Bai Wen), Zi Xi Calligraphy and Painting (Zhu Wen), Wu Shi ZhaoHua (Zhu Wen)
Wei Zixi (1915-2002), formerly known as Xianwen, was born in Suiping, Henan, and graduated from Kaifeng Art Normal School in Henan in 1934. In 1957, together with Fu Baoshi and others, he prepared for the establishment of the Jiangsu Provincial Chinese Painting Academy, organized and participated in the famous "23,000-mile Sketch", and became one of the main representatives of the New Jinling School.
Wei Zixi's figure paintings, with both human scenery and deep artistic conception, use traditional calm and thick lines, modern ink color and color block painting, showing elegant modeling, the theme of the meaning is deep, with new meaning and the atmosphere of the times, enriching the expressiveness of figure painting, breaking through the limitations of the old character painting technique, and reinvigorating Chinese painting. "One hand reaches out to tradition, the other hand reaches out to life" is Wei Zixi's creative creed. On the road of the development of Chinese painting, while inheriting all the excellent achievements of tradition, he constantly explores the path of progress and development of Chinese painting and opens up new horizons for the development of Chinese painting.
"Bright Moon Pine Illumination" is from the Tang Dynasty Wang Wei's "Mountain Residence Autumn Breeze", this poem writes a fresh, quiet, idyllic, beautiful autumn dusk beauty in the mountains. Wei Zixi draws a sunset and moonrise based on the poem: the moonlight shines through the shadows of the cascading trees and shines on the babbling spring. The artist uses a downward viewing angle, and the upper left is slightly stained with light ink, reflecting the trickling water and the distant mountains illuminated by the moonlight. The right side of the painting depicts the mountain stone in thick ink and presses it against the lower part of the entire painting. At the top of the rock, three tall pine trees emerge diagonally and run horizontally through the picture, making them particularly tall. The cold moonlight and the vigorous pine cypress give people a refreshing feeling. The clouds and mist in the mountains rise, and the beauty of the moment makes people intoxicated.
116
Zhang Peidun's "Qingyi Pavilion Reading Chart"
Wen 丨 Jiangsu Provincial Art Museum Xie Rui
Vertical shaft Silk coloring
129×44.3cm
In 1842
Qingyi Pavilion reading map. Daoguang twenty-one years of nongyin winter, Keqing Yige, Shu Wei Zi Zhang, using Zhao Chengzhi pen method reading map. Zhang Peidun, who was seventy years old at the time.
Pei Dun (Zhu Wen), Yan Qiao (Zhu Wen), Fei Yun Ge (Bai Wen)
Zhang Peidun (1772-1846), also known as Yanqiao (砚樵), was a native of Wu County (present-day Suzhou, Jiangsu). Fine collection, gong calligraphy and painting, good at painting landscapes, shifa wen zhengming, brushwork xiuyun. Intercropping sketches, there are also Shen Zhou and Chen Daofu's will.
Zhang Peidun was a Suzhou painter in the middle and late Qing Dynasty, when Suzhou talents gathered, and it was also a place where literati painting styles flourished. From the upper left corner of the painting, it can be seen that this "Qingyi Pavilion Reading Map" was made by Zhang Peidun for his friend Zhang Tingji (character Shun'an, trumpet uncle Wei), with strong emotional color. Zhang Tingji was a Qing Dynasty epigrapher and calligrapher, who worked on poetry and studied fine gold and stone, and collected many Ding Yi, tablets, books and paintings. He is the author of "Ancient Artifacts Collected by Qingyi Pavilion", "Inscription of Qingyi Pavilion", "Printing Notation and Poetry Banknotes of Qingyi Pavilion", "Meishoutang Collection", "Guixintang Collection" and so on. "Qingyi Pavilion" is Zhang Tingji's name and collection place.
The painting was painted in 1842, when Zhang Peidun and Zhang Tingji were both too old to be old. In the "Reading Map of Qingyi Pavilion", Zhang Peidun depicts the literati's study life under the cover of mountains and forests, where the pine forests are dense and the realm is deep. The towering peaks are colored with elegant turquoise colors, the babbling brook flows slowly horizontally, and the stone paths between the mountains are shrouded in a hazy mist. In the mountain bookhouse, the scribe faces the audience sideways and looks far away in the direction of the courtyard, as if he is recalling the contents of the book he has just read, and in the other room, the boy serving tea is boiling water. The painter recorded this elegant moment, which was just right to set off the idle and poetic life of the master and servant in the mountains.
117
Lin Sanzhi's "Huangshan Jiyou"
Wen 丨 Jiangsu Provincial Art Museum Ding Yali
Vertical scroll Color on paper
130.5×34.5cm
Looking back at the cloud ladder, hanging in the air, the line of doubt, the people are timid and careful, the sun and moon are bright, the stars and meteorological stations, the spirit changes the era, and the red is coming. Huangshan Jiyou, Lin Sanzhi.
Lin Sanzhi's Seal (White Text) Longevity (Zhu Wen)
Lin Sanzhi (1898-1989), originally from Hexian County, Anhui Province, was born in Nanjing, Jiangsu Province. Originally named "Yi Lin", "Three Fools", later renamed "Sanzhi", pen names "Left Ear", "Old Man on the River" and so on. Famous contemporary Chinese calligraphers, poets and painters. Beginners learn to write characters, self-taught landscapes, followed the village sage Fan Peikai to learn calligraphy and laid a solid foundation. At the age of 32, he was recommended by Zhang Su'an and studied under Huang Binhong and began his artistic career. In the early 1960s, he entered the Jiangsu Provincial Academy of Chinese Painting as a full-time painter. In 1972, when the Sino-Japanese calligraphy exchange was selected, his calligraphy work "Sino-Japanese Friendship Poem" stood out and was praised as "Lin Sanzhi's First Cursive Calligraphy". His inscriptions, thick accumulation and thin hair, and late completion of large instruments are the masters of contemporary Chinese cursive art.
Calligraphy and painting are of the same origin, Lin Sanzhi not only has high achievements in calligraphy, but also has a unique expressiveness in painting. At the age of 37, he was taught by Huang Binhong that "it is more appropriate to be a teacher to create an ancient person", and began a journey of ten thousand miles that affected his life. Experience methods in famous mountains and rivers, find new ideas, promote your understanding of traditional culture, nature and life, especially the scenery of mountains and rivers, the spiritual charm of wind and weather changes. This plays an important role in the formation of his poetry, books and paintings, and also gives him a unique cultural connotation of pen and ink.
This painting "Huangshan Jiyou" is Lin Sanzhi's sketch, depicting the smoke and cloud scenery of the bright peak of the main peak of Huangshan Mountain. The composition of the mountain view pours out like a waterfall, and the regularity reveals a spirit that comes out of it. With the pen, the ink is exhausted and wet, and the thickness and light change interactively, making the smoke cloud more abundant. The expression of mountain pine and cypress, black, white and white, virtual reality, also penetrates its calligraphy chapters, has a unique personality interest. The title of Lin San's poem on the left is the contrast of his self-proclaimed "poetry first, painting second, and book third" in his later years, which shows his "scholarly" qualities.
118
Wu Junfa "Harvest Songs Can't Be Finished"
Wen 丨 Jiangsu Provincial Art Museum Xing Sidong
Watermark woodcut
38.5×23cm
Wu Junfa (1927-2019), born in Guangfeng, Jiangxi, formerly known as Weng Yuanfa, graduated from Yangzheng Art College in Danduan, Jiangsu, and is good at printmaking and ink painting. He has successively served as a member of the Preparatory Committee of the Jiangsu Branch of the China Artists Association, the director of the Jiangsu Provincial Art Museum, the vice chairman of the Jiangsu Branch of the China Artists Association, the president of the Jiangsu Printmakers Association, and the vice chairman of the China Printmakers Association.
Wu Junfa began to engage in woodcut creation activities in 1943 and joined the All-China Woodcut Association in 1946. In 1947, he became the editor-in-chief of "Poetry and Woodcut" and "September" and other supplements of Zhengbao. From 1953 to the military cultural and industrial corps engaged in professional art creation. Representative works include "Fang Zhimin", "A New Green", "Farm Tool Factory Furnace Room", "Beidou", "Yellow River Ancient Road" and so on.
"Harvest Songs Can't Be Finished" is a watermark woodcut depicting scenes of the harvest season. The picture is from far and near, with curves through the composition, cleverly showing the dynamic of the line of sight. The long-range ship grows from small to large, the medium-view water waves from sparse to dense, from far and near, and the close-up stones are staggered and superimposed, connected with the water pattern, promoting the sense of space of the picture, so that the small painting shows a large scene.
The author does not directly depict the joy of the harvest, but from another perspective - with the help of children's perspectives to depict the return of the full load: the children look forward to it, and the fully loaded ship gradually approaches, all revealing the joy of the arrival of the harvest. The picture is concise and refined, a few knives, just like the river water fan fan, two children on the riverside stone stand and sit, one looks up and prays, one looks at the meditation from a distance, as if to hear them singing children's songs and waiting for the harvester to return.