Fu Baoshi is one of the giants filmed in "A Hundred Years of Masters and Art".
Looking back at the evolution of Chinese art over the past hundred years, "A Hundred Years of Masters and Masters of Fine Arts" presents a visual version of the history of modern Chinese art with the personal experience of the master. Most of them came from poor backgrounds, but they continued to improve themselves, withstood the tempering of the years, and achieved themselves with extraordinary will and effort. Although they all live in the same social environment and cultural background, they have their own unique insights and unique creations in artistic practice. What they have left for the world is a beautiful and exquisite work, an indelible cultural heritage in the history of modern art.
Excerpt from the fragment of "A Hundred Years of Great Masters - Fu Baoshi": How Fu Baoshi broke through the barriers of self and achieved a new breakthrough in art
Zhang Yanyuan of the Tang Dynasty once said in the "Records of Famous Paintings of Past Dynasties": "The grass and trees are glorious, and they do not wait for Dan Luzhi; the clouds and snow flutter, do not wait for lead powder and white; the mountains do not wait for the sky to be green and green, and the phoenix does not wait for the five colors and purity." It is the five-colored tool that transports ink and is proud. Intended to be five colors, then the object is obedient. From this famous exposition, it can be seen that in the long historical period before the Tang Dynasty, Chinese painting has adopted the modeling method based on ink color, and attaches great importance to the idea that ink is divided into five colors.
From the very beginning, Chinese painting was associated with calligraphy. The theory of the homology of calligraphy and painting originated very early. The pen and ink used in Chinese painting are all derived from calligraphy, and the requirements are basically the same.
The art form of Chinese calligraphy is expressed through the weight of ink color, stroke thickness, and turns. Chinese painting is the same as Chinese calligraphy, following the shape of ink lines, using the thickness and thickness of ink lines, the weight of the pen, the turn, the setback and other changes to shape the image of the object.
Later, it gradually developed, through the change of ink to express the change of the image of the object, such as the back, the bump, etc., and at the same time, through the weight of the ink line, the dense change to express the rhythm and rhythm of the picture, and gradually formed the black of the ink as the tone of the painting.
After the Song Dynasty, the ink painting of Chinese painting developed to an extremely mature stage, and the changes in ink color were more abundant, pursuing the realm of "quality and superlinguality". The painter not only uses ink to express the changes in the surface image of the object, but also deeply explores the portrayal of the meaning of the painting, expresses the artistic conception of the picture and the change of the rhythm of ink rhyme in the form, and creates an ink freehand painting, so that the requirements of "ink five colors" can be better played.
The use of ink color as the basic tone of Chinese painting is unique to the world's plastic arts. It has evolved through a long history and continuous artistic practice.
The earliest excavation of a "late Zhou Painting" in a Chu tomb in Changsha and a brush excavated in another Warring States tomb with a "slender and exquisite pen shaft, about five inches long and a pen blade about five inches long" have strongly proved that the mainland had already written and painted with a brush in the Warring States Period more than 2,000 years ago, and formed the modeling basis of "line drawing" and "ink color" as the modeling basis for painting.
"Figures of Dragons and Phoenixes" (partial) is now in the Hunan Provincial Museum
Later, Chinese painting was influenced by foreign influences, enriching the expression of color, but did not change the tone of ink color as the tone of painting. From the artworks of the Tang Dynasty, we can clearly see the expression system of two kinds of paintings: one is a heavy color painting based on color, represented by Li Sixun; the other is "Wu Costume" represented by Wu Daozi, which is "line the pen is sharp, slightly dyed in the scorched ink marks, and light smoke and light color", which emphasizes the modeling role of ink. Wang Wei's proposition that "in painting the Tao, ink is supreme" shows the importance attached to ink painting at that time.
Li Sixun's "Jiang Fan Loft Diagram" (partial) Song facsimile is now in the National Palace Museum in Taipei
Tang (Chuan Wu Daozi) "Eighty-Seven Immortal Scrolls" (partial) Xu Beihong Memorial Collection
In the Song Dynasty, whether it was figure painting or landscape painting, ink painting techniques developed to the point of reaching the pinnacle. In the Ming Dynasty, Xu Wenchang praised Xia Jue's landscape scroll and said: "Looking at this painting of Xia Jue, it is clean and open, and it makes people feel like a pleasant shadow. Commenting on Dong and Ju's landscape paintings, he reads: "Jiangnan Dongyuan monk Juran, light ink and light lan as one." ”
Xia Jue's "Qingyuan Map of Xishan Mountain" (partial) is now in the National Palace Museum in Taipei
Dong Yuan's "Map of Xiashankou to Be Crossed" (partial) is now in the Liaoning Provincial Museum
Wang Yuan's "Peach Bamboo Golden Chicken Diagram" is now in the Palace Museum
The "ink bamboo", "ink orchid" and "ink lotus" in the flower and bird paintings give full play to the role of ink color in the modeling. Ink color has become an extremely important means of modeling in painting. This is what makes Chinese painting unique.
Fu Baoshi, "On the Characteristics of Chinese Landscape Painting"
Source | In the art app
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On December 18, 2013, the launching ceremony of "A Hundred Years of Great Masters - Fu Baoshi" was held at the Nanjing Fu Baoshi Memorial Hall
The film crew of "A Hundred Years of Great Master - Fu Baoshi" interviewed Fu Ershi, the son of Fu Baoshi
Yang Jingdao, producer and chief planner of "One Hundred Years of Masters", Zhao Weidong, director of the first, second and third parts of "One Hundred Years of Masters and Fine Arts", and Fu Yiyao, daughter of Fu Baoshi, took a group photo at the Silver Valley Art Museum
Producer | Hou Xuan
Art Editing | Magical conch
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The large-scale cultural project "Centennial Masters" is China's first large-scale series of biographical documentaries focusing on the masters and masters who made outstanding contributions to Chinese civilization in the 20th century, and is jointly produced by the China Federation of Literary and Art Circles, the Central Radio and Television Corporation, the China Academy of Arts, the Central New Film Group, the China Literature and Art Foundation, and the Centennial Masters (Beijing) Cultural Communication Co., Ltd.
"Centennial Masters" is the "Chinese Excellent Traditional Culture Inheritance and Development Project" of the General Office of the CPC Central Committee, the General Office of the State Council and the Central Propaganda Department, which has been selected for two consecutive years as the "Record China" communication project of the Propaganda Department (Information Office of the State Council), the key topic planning project of the "14th Five-Year Plan" documentary of the State Administration of Radio, Film and Television, the key documentary celebrating the 100th anniversary of the founding of the Party, the "Recording the New Era" documentary boutique project and the key documentary project (2018), and the major theme main line publicity and key topic selection project of CCTV. It is also funded by the National Arts Fund, the China Literature and Art Foundation, the China Art and Culture Foundation, the Beijing Municipal Government Cultural Innovation and Development Fund, the Beijing Culture and Art Fund, the Beijing Radio and Television Network Audiovisual Development Fund, and the Beijing Xicheng District Cultural and Art Creation Support Special Fund. It has won 9 documentary awards.
From 2013 to 2017, the filming of 43 masters in the first season of "100 Years of Masters" has been completed, which is divided into art, calligraphy, Peking Opera, drama, music and literature. The filming of 57 masters in the second season of "Centennial Masters" has been launched in 2018, adding science and technology, education, traditional Chinese studies, architecture, traditional Chinese medicine, opera and film, which are scheduled to be completed in 2021, when the "100 Years, 100 People, 100 Episodes" documentary, "100 Masters Special Exhibition" and "100 Books Publishing" will be used as a gift for the 100th anniversary of the founding of the Communist Party of China.
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