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Guan Shanyue at home
Guan Shanyue, formerly known as Guan Zepi, was born on September 16, 1912 in The Orchard Village of Napeng Township, Yangjiang County, Guangdong (present-day Yangjiang City, Guangdong). In his early years, he studied at Guangzhou Municipal Normal School and studied painting diligently. Later, he was appreciated by Mr. Gao Jianfu, the main founder of the Lingnan School, and invited him to enter the Spring Sleep Painting Academy for free, became a disciple of the Gao family, and changed his name to Guan Shanyue.
Guan Shanyue adheres to the innovative propositions of the Lingnan School in art, pursuing the sense of the times and the atmosphere of life of the picture; his landscape paintings have lofty intentions and magnificent realms; his plum blossoms, branches like iron, flowers like fire, majestic and thick, beautiful and elegant.
Guan Shanyue, "Pretty Spring", 140×120cm, color on paper, 1973, National Art Museum of China
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About painting plums
Trees have roots and water has an energy source. I like to paint plums, and when it comes to it, it also has its roots, and the roots have long been rooted in childhood life, including the domination of traditional concepts, the influence of the objective environment, and the interest of the simple childish heart in the subtle imitation of action.
Snow plum
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I was born in a declining family of scholars, and my father was a rural intellectual who could not catch up with the imperial examinations, a primary school teacher. He not only loved to plant plums, but also often sang and painted plums. When I was a child, there were several old white plums in my little garden. My father was the principal of the Transitional Touguancun Primary School, and there were 20 or 30 white plums planted on the campus, all of which he personally planted and cultivated. Out of curiosity, I often consciously or unconsciously often became my father's assistant, and over time, I also learned some common sense of grafting and seedlings. Whenever I see the plums I planted by hand for the first time, I feel unspeakably happy, because this is the fruit of my labor. Later, he went to the Weaving Town Primary School with his father, and there was an ancient temple called Pujitang near the school, and there was a forest of old plums in front of the courtyard. Although these dozens of old plums are not as tall as the ancient plums in my backyard garden, they are "old" very magical, and whenever the flowers bloom, I follow my father and teachers to appreciate the plums. While they were watching plum blossoms, they chanted the verses of Yongmei, and since then I have aroused the interest of painting plums, or copying, or sketching, I only hate myself for not having the ability to paint the fragrance of plum blossoms.
Fragrant and fragrant
Perhaps because I was fortunate enough to receive this unique cultivation since I was a child, and then through spontaneous copying and sketching, I turned the strong interest in plum blossoms into sincere love. In the future, I have experienced more, the contact area of life has also been broadened, the cultivation of literature and art has also improved, and I have consciously interacted with plum blossoms, and the degree of my love for plums has deepened.
Primrose chart
Plum blossoms are mostly in the Jiangsu and Zhejiang areas, Hubei, Xiang, Yunnan, Shu and South China are not less, Guangdong has a Luofu Mountain, Guangzhou also has a Luogang Cave, are a good place to enjoy plums in southern Guangdong. I have been to the provinces mentioned above, Chengdu, Sichuan, lived for many years during the War of Resistance Against Japanese Aggression, and Wuhan, Hubei Province, has lived for several years due to work relations. Whenever I encounter plum blossom season, I always think of the place where plum blossoms are planted to admire and collect some painting materials about plum blossoms.
Red plum
During the War of Resistance Against Japanese Aggression, I went to Kunming, Yunnan Province, and purposefully went to Heilongtan to admire the famous Tang plum; in 1976, when I visited Japan, I also saw a famous Wolong plum, although it was not the flowering season, but the posture of these ancient plums grew very beautifully, very picturesque, as Lu You's poem exclaimed: "Overlapping green moss halo, dying and correcting the branches, who draws the ancient stream water, raises this dusty posture." Indeed, the older Mei gets, the more she will be mischievous, like a sword and a crane's knee antlers. Due to the passage of time, the branches of this old plum are mottled and mossy, and they are full of imprints of the experience of wrestling with natural wind, frost, rain and snow. Therefore, the older the plum, the more strange it is, and the more ancient it is, the more divine it is; moving like a dragon going out to sea, quietly like a crouching tiger lying on the ground, whether it is leaning or leaning forward, backward, left and right, it makes people feel wonderful and magical. In the eyes of the painter, the staggered lines and ever-changing spaces of the iron stem constitute the formal beauty of art, and present a subtle sense of rhythm and rhythm. As for the cold winter flower season, it is a different realm.
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The vitality of the plum is very strong, the old sick plum often grows new seedlings that thrive; or even the decayed plum will regain its vitality and re-sprout and blossom, that kind of ancient and old-fashioned atmosphere, as Shi Tao sang: "Dry old branches withered ice jade chips, delicate flowers sprinkled with silver." Literati painters always like to paint white plums with ink freehand, because they often associate white plums with snow, praising them as "proud snow", "fragrant snow", or "cold and beautiful", "ice muscle", Xin abandoned the disease and clouds: "More flowerless attitude, all snow spirit." Zhang Zemin had clouds: "The crane bone frost is neutral, and the dragon body of Yan Qian comes in the snow." Wu Shi Dao Zeyun "A flower in the spring wind and snow" and so on. When the white plums of Luogang in southern Guangdong are in full bloom, people also call it "Luogang Xiangxue". Whenever I read these poems about plum blossoms, what comes into me is the philosophical mood and the poet's feelings. I have experienced that whether there is such a literary accomplishment, it is not the same to paint plum blossoms.
The ancients had people who called themselves "Plum Bump", "Plum Fool" or "Plum Immortal", but I liked the character of "plum blossom fragrance from bitter cold", which inspired me to improve myself, so I also regarded plum blossoms as a mentor and a friend and called "plum master" or "plum friend".
Three friends figure
Two
Since ancient times, plum blossoms have been particularly favored by poets, scribes and painters, and plum hunting, plum viewing, and yongmei have even become part of their spiritual life. In history, the personification of plum blossoms and the integration of their own lives are most typical of Lin Hejing, who promised himself "plum wife and crane"; Lu You also has famous sentences such as "Who can incarnate into a hundred billion, a tree plum blossom and a ong", "Lao Tzu is free in the world, and the plum does not hesitate to damage the black scarf". They, like Tao Yuan's Caritas and Zhou Dunyi's Love Lotus, have become the best stories of history.
The so-called painting of plum beard and plum temperament, writing plum whiskers with plum backbone, people also praised Wang Guan for "painting like his people, people like his paintings" as "people as clear as plum blossoms", because he once inscribed his own ink plum: "My family washes the pond head tree, and every flower blooms light ink marks." Don't be praised for the good color, just leave the air full of dry air. "Wang Mian painting Mei, integrating poetry, books and paintings into one, his Mei poems, plum paintings, or calligraphy inscribed mei, are both qualitative and harmonious, and the scenes are blended, reflecting the vitality and artistic realm of truth, goodness and beauty, thus producing unlimited infectious power." Among the famous artists who painted plums in the past, Wang Mian was known as "Mei Xian", and I liked his poems, books and paintings more, and I also respected his personality.
Three
All this made me realize that I can't just stick to "painting plums for the sake of painting plums". I also know that plum blossoms are the traditional subject of the poetry paintings of predecessors, and there are many famous artists in history who do not know how many immortal compositions have been produced, and the styles of each school are extremely rich and colorful. It can be said that painting plum is the most common and the most accomplished chinese literati painting that integrates poetry, books and paintings. When Advocating the innovation of Chinese painting, Professor Gao Jianfu also advocated "new literati painting", that is, abandoning the reclusive and negative thinking of old literati painting to escape reality, and requiring the new literati painting to have a positive sense of the times. Today's times are different, the painter's thoughts and feelings should change with the new era, I think there is a problem of "inheriting the past and opening up the future", that is, the problem of inheritance and development. What exactly do today's new literati paintings want to inherit? Where to develop? For painters, these answers have to be reflected through artistic practice.
The old theme is often like the old repertoire, and the content is generally the same. But it should be known that Mei Lanfang's performance of "Guifei Drunk" requires that the audience not want to know the plot of this traditional play, but only to appreciate Mei Lanfang's performance art; and Mei Lanfang's performance of "Guifei Drunk" can make the audience tireless, and every time it wins a warm applause. If you change a lame actor and play the same "Noble Concubine Drunk", the artistic effect will be different. Painting plum blossoms, the traditional subject matter, is similar to the performance of traditional repertoire, plum blossoms this traditional theme for the painter's painting requirements are high and strict, if in the technique and style is always repeated by the predecessors or their own mouth, always stay in the ancients or their own level in front of the eyes, it can not meet the requirements of the times.
Recently, I have focused on creating some paintings with plum blossoms as the theme, trying to "innovate the old" in Chinese literati painting, especially in the art form, especially in the harmony of poetry, painting and book flavor, so that today's Chinese literati paintings can also achieve "elegant and common appreciation" and serve the people and socialism. Therefore, I think that today's Chinese literati painting should not be limited to the "self-expression" of "self-appreciation", nor do I advocate purely objective naturalistic depiction, but I must admit that only after having a clear and correct opinion on the object depicted can I write a personal style. I tried to borrow Mei lyrically or borrow Mei Da yi so that the work could have an artistic infectious power for people. Plum blossom is an objective object, and affection is the author's subjective thoughts and feelings about Mei here and now, as for me, and what others have done, or at that time and place, the reaction and performance of Mei should be different, even if it is the same as his own work, it is impossible to paint it out always. If the technique of painting plums remains unchanged, the cold and uniform mouth of a thousand paintings proves that it is not a work that I have feelings for. In the future, I am willing to do more practice and continue to explore. In short, the older the subject matter, the more innovative it is; the more it is done, the more innovative it is. I hope that on the basis of inheriting tradition, under the premise of highlighting personal style and expressing the spirit of the times, today's Chinese literati paintings will have a new look, which is not only high hopes for painting plum blossoms!
October 1986 in Guangzhou
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