After March 8th Women's Day, look at the real beauty in Huang Ji's pen, there will be gains, and some people will wake up and realize that they may not be sure.
First, the false beauty in the history of painting
To know what is true, first discern what is false.
Since ancient times, there have been many so-called beautiful women in the paintings, but there are very many fakes in them, and there are really very few.
Those fake beauties are divided into two categories, one is plump and the other is weak, the former is popular in the Tang Dynasty, and the latter is widespread in the Ming and Qing dynasties.
Figure 1: Zhou Fang (Tang) "Portrait of a Lady with a Hairpin Flower" Part of the Collection of the Liaoning Provincial Museum
Although the plump noblewomen in Zhou Fang's "Picture of the Lady of the Hairpin Flowers" are pampered and pampered, their hearts are very empty, except for the resentment, they are bored. Such a sick spirit, people will praise it when they see it, indicating that they are just as unhealthy as the people in the painting.
Figure 2: Zhang Xuan (Tang) "Trick Painting" Part of the Boston Museum of Fine Arts Collection
The palace girl in Zhang Xuan's "Mashing Diagram" can be described as the first in ancient and modern paintings, and it is estimated that the weight is close to one hundred and eighteen, and it is really worrying to guess its health level, and the "three high" symptoms must have been there. People look at these "three high" women, they know that they are beautiful, and they do not know how to compare their hearts to their hearts and pity the jade.
Whether mental or physical, if you are not healthy, how beautiful is it?
Therefore, the plump women in Zhou Fang and Zhang Xuan's paintings are actually fake beauties.
Compared with the Tang Dynasty, the weak women in the Ming and Qing paintings are even more sick, pitifully sick, and even terrible.
Figure 3: Tang Yin (Ming) "Picture of a Prostitute in Wang Shu Palace" Collection of the Palace Museum in Beijing
Figure 4. Qiu Ying (Ming) "Spring Dawn map of the Han Palace" Part of the Collection of the National Palace Museum in Taipei
The women in Tang Yin and Qiu Ying's paintings look similar, they are all big heads, slippery shoulders, thin bodies, and the weak shoulders carry a fat face, which looks quite strange - eating fat faces but making the body thin and willow-like slim, how to do it? It must have been stunted, pathetic.
Figure 5. Part of Qi Qi's (Qing) "Yuanji Poetic Intention" Collection of the Palace Museum in Beijing
Figure 6. Gu Luo (Qing) "Little Green Shadow" Collection of Wuxi Museum
Figure 7. Fei Danxu (Qing) "Tanmei Shi Female Figure" Lushun City Museum Collection
In the late Qing Dynasty, Gai Qi, Gu Luo, and Fei Danxu, who were famous for painting women, specialized in painting fake beauties, and the women in their pens were either full of sick faces, or they were pinned to bones, and even the bones were gone, becoming a thin piece of paper, which was not only pitiful, but also terrible. However, people at that time did not feel terrible, only that because of pity, they were beautiful and cruel. Poor and beautiful, it shows that people are quite sick and look at women with an almost sadistic mentality.
The weak women in ming and qing paintings make women ugly, aren't they?
Looking through ancient paintings, there are very few real beauties, and even if three or five are found, it has nothing to do with social aesthetic fashion. This is true of the history of painting.
Second, what is a real beauty?
Why is there so little real beauty in the history of painting?
It turns out that the emergence and popularity of true beauty need to have three social conditions at the same time, one is the vigorous spirit of the times, the second is the promotion of women's status and the liberation of personality, and the third is the aesthetics of sunshine and health. The times are decadent, women are depressed, aesthetically morbid, as long as they occupy one, they can only create the fake beauty seen above.
In the history of painting, there has always been no real beauty that has emerged and become popular, because there are no conditions.
From this, it can also be deduced what a true beauty is.
True beauty must be full of heart and spirit, resonating with the vigorous spirit of the times; must be self-awakening, personality relaxation, corresponding to status improvement and personality liberation; must be healthy, full of spring breeze, and in line with the aesthetics of sunshine and health. The "beauty" of real beauty is actually not a personal physiological phenomenon, but the light projected by the above three social conditions on women.
Third, the true beauty of the yellow gizzard
In the 1950s, the three conditions for the emergence and popularity of true beauty suddenly had Ha.
Therefore, there are yellow gizzards, there are real beauties present, and there are real beauties who are popular and praiseworthy.
A painting of great pioneering significance is Huang Ji's "Flood And Snow".
Figure 8: Huang Ji's "Flood and Snow", 1955, National Art Museum of China
In the C position in the painting, it is not a man but a woman, a female exploration team member, she has a rosy face, a solid physique, and a high spirit, she braves the wind and snow to forge ahead in the land of the flood, and looks forward to the beautiful prospects of the construction of the motherland. The image of this female prospector, shining with the triple light of the times, society and aesthetics, is absolutely indisputablely a true and genuine beauty, and can be seen as a figurative definition of true beauty.
"Flood And Waste" cleanses the thousand-year-old sick aesthetics, sweeps away the sluggish atmosphere of Chinese beauty painting (Xi called lady painting), and associates the beauty of women with the importance of the times and society, which is actually Huang Guan's big hand.
This painting won the gold medal for fine art at the Sixth World Youth Festival in 1955, and through this encouragement, the thirty-year-old Huang Guan began to vigorously shape the true beauty, and some other painters also recognized the paradigm of the true beauty, so that the real beauty gradually emerged and became popular.
It must be said that "Flood and Snow" is a landmark masterpiece in the history of painting.
Look at the many real beauties that Huang Ji continues to shape.
Figure 9: Huang Ji's "Beijing Women" 1963 Beijing Poly Autumn Auction 2017
Look at this beautiful woman, strong but feminine, smiling and sweet, her walking appearance will remind people of the woman walking in the rivers and lakes. This is a brash woman with a completely liberated personality.
Figure 10.Huang Ji's "Medicine Collection Diagram" made in 1976 Beijing Poly 2018 Autumn Auction
It is a recreation of Figure 11.
Figure 11.Huang Ji's "Picture of Feeding Chickens", 1973 Rongbao Zhaizang
Figure 12.Huang Ji's "Chicken Feeding Diagram" 1975 Beijing Poly Autumn Auction 2016
Figure 13.Huang Guan's "Chicken Feeding Diagram" made in 1963 Beijing Poly 2017 autumn auction
Figure 11 - Figure 13, three "Chicken Feeding Pictures", respectively, painting the front, side and back of real beauties, each angle is beautiful, the people in the painting are full and confident, dignified and cheerful, healthy and elegant, this is the beauty of working women, this is the beauty of labor.
Those who understand know that the working woman is the most beautiful.
Figure 14.Huang Yan's "Flying Snow Greets Spring" 1976 Beijing Rongbao Spring Auction 2005
Figure 15.Huang Ji's "Wind and Snow Beauty" Rong Baozhai (Jinan) Autumn Auction of 2016
These two paintings show women practicing medicine on the hard frontier, one brilliant and joyful, one shy but pleased, splendid and shy are different personalities, joy and relief are the involuntary after curing the patient. The working woman, so beautiful.
Looking back at those plump women and weak women in history, those fake beauties, in front of the real beauties of Huang Ji, it is simply too unbearable to stand, right? Can't stand it!
Chinese in the late Qing Dynasty was bullied by foreigners for many reasons, one of which was that Chinese at that time particularly admired the unbearable "beauty". This is not a joke, the people of a country are all sick and beautiful, how can there be healthy people? How can there be a powerful state?
From this point of view, is it not a trivial matter to create a real beauty? If you want to strengthen the land people and want to revitalize the mainland family, you must first shape a real beauty Ha.
Yellow, nice job!
Another masterpiece that rivals The Storm is Figure 16.
Figure 16.Huang Ji's "Jubilant Grassland" 1981 Beijing Poly Autumn Auction 2013
This 46-square-foot masterpiece depicts the traditional Kyrgyz "horse wrestling", but it is not men, but healthy and beautiful women. The strength and beauty of the two women are heart-warming, infected by this force and beauty, people are laughing, horses are running and dogs are barking, and the whole grassland is jubilant. This painting reflects the rising trend of reform and opening up in the 1980s. Huang Ji gave the heavy responsibility of showing such a strong theme to the beauty, to the real beauty.
The unity of power and beauty, in order to shape the true beauty of China, is a very clear direction for Huang Gui.
Figure 17.Huang Ji's "Grassland Drama Map" made in 1986 Beijing Poly 2015 autumn auction
Painting the Kazakh herder 'girl chase'. "Girl chasing" is an activity for young men and women to express their love, and what Huang Gui highlights is strength and beauty.
Figure 18.Huang Ji's "Cematu" The Sixth Auction of Poly Shandong
This painting is in the Prancing Horse pattern. The Prancing Horse pattern is often used to create male heroes, and in Huang Guan's view, it is just right to express the strength and beauty of women.
All the real beauties painted by Huang Ji in his life are the same as those in Figure 16-Figure 18, and they are consistent, all of which reflect the unity of strength and beauty, and the three combinations of women's physical fitness (please pay special attention to the thick and energetic feet), good face and labor scene are the specific performance.
Unify power and beauty, shape true beauty. This "force" is the force of life, the force of labor, and the upward force; this "beauty" is the beauty of sunshine, the beauty of health, and the beauty of rigidity and softness.
This is the true beauty of Huang Ji.
4. Afterwords
Huang Ji, who portrayed the real beauty, has been dead for more than twenty years, unfortunately, although his true beauty is of great significance, although vivid and lovely, it only lives in his paintings, not as the cliché says, "living in people's hearts", the evidence is that in recent years, the aesthetics of the Chinese people (or beauty view) have been seen to see a very strange way into the morbidity, and the weak women of the Ming and Qing dynasties have a tendency to resurrect and make a comeback. Woohoo!
On Women's Day, looking at the real beauty of Huang Guan, should I have some new ideas? Will anyone suddenly wake up?
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