Chinese calligraphy and painting art in the long-term historical development, the formation of a unique national art in the world, with distinctive characteristics and profound traditions, which and the mainland's social development, national appreciation habits, and traditional academic thinking, has a close relationship, gradually a group of painters have the common use of pen, color and ink characteristics, posterity will be attributed to them into various genres, if the dissemination of art and academic influence is not far-reaching enough, it is more difficult to form a "genre".
The modern Chinese painting world has presented many genres, which have made indelible contributions to promoting the development of Chinese painting. Among these schools, the Maritime School, the Beijing-Tianjin School, the Lingnan School, the New Jinling School, the Chang'an School, and the Ice and Snow School have the greatest influence.
01
The Maritime School of Painting, each leading the way
The "Maritime School" is the result and fashion of a group of painters who were active in the Shanghai area from the middle of the 19th century to the beginning of the 20th century, and engaged in painting creation, and is one of the most important painting schools in modern China. A new aesthetic concept and method of painting advocated by the "Maritime School" has still inspired the creation of painters for a long time, and today it can still be felt from the brushstrokes of modern Chinese painters.
Representative figures: Ren Bonian Xugu Wu Changshuo Puhua
The Maritime School of Painting built a bridge between ancient Chinese traditional painting and modern Chinese painting, and at the same time swept away the lifeless and ancient style of the painting world at that time, laying the special status of the Hai School in the modern and modern painting world, and influencing the entire East. The Maritime School has the following characteristics:
Ren Bonian "Lotus Pond Mandarin Duck Diagram"
First, learning from the folk and learning from the West has become the basic pattern of the development of the Chinese painting world in the twentieth century;
Second, most of the Painters of the Shanghai School make a living selling paintings. Especially before liberation, almost all painters had runge, and painters had to cater to the sellers and maintain their own personality in order to make their art goods invincible;
Wu Changshuo "Chrysanthemum Diagram"
Third, there is no fixed style but each has its own personality. The vast majority of Haipai painters are literati painters with both character and academic accomplishment, and many painters are good at poetry, books, paintings, and prints. Such as Wu Changshuo, Zhang Daqian, Zhao Shuru, Zhao Ziyun, Qian Shoutie, Wang Geyi, Lai Chusheng, Han Tianheng, etc.;
Fourth, it is highly inclusive. The Maritime School does not refer to Shanghainese painters, but to painters gathered on the sea from all over the world, and the real painters born in Shanghai can be described as rare, such as Lu Yushao in Jiading and Cheng Shifa in Songjiang.
02
The Beijing-Tianjin School of Painting, a hundred flowers bloom
The Beijing-Tianjin School of Painting is a crystalline product of the inheritance and development of the national cultures of Beijing and Tianjin in the late Qing Dynasty and early Ming Dynasty. The Jingjin School of Painting mainly originated from four Chinese painting groups: the Xuannan Painting Society, the Chinese Painting Research Society, the Hushe Painting Society, and the Songfeng Painting Society. The painting ideas of the Beijing-Tianjin School of Painting can be summarized into two aspects: one is to preserve the essence of the country and study the ancient law; the other is to create the teacher's law and innovate with innovative ideas.
Representative figures: Xiao Junxian, Chen Shizeng, Qi Baishi, Yu Fei, Li Kejian
Lee Ke Dye works
Beijing-Tianjin School of Painting is a cultural concept rather than a regional concept, in 1949 Songfeng Painting Society one of the founders of Mr. Pu Xinshe settled in Taiwan, extensively in Taiwan, Japan, Hong Kong, Southeast Asian countries to teach, the Beijing-Tianjin School of painting and Lingnan School of disciples all over the world and by the international art community attention, today's Beijing-Tianjin School is based on the two sides of the strait and throughout the world one of the major Chinese painting groups.
03
Lingnan School of Painting, Eclectic East and West
The Lingnan School is the most mature system that has risen after the Maritime School of Painting, and it has the greatest influence. The founders are Gao Jianfu, Gao Qifeng, and Chen Shuren, referred to as "two high and one Chen". It is one of the most distinctive excellent cultures of the motherland in Lingnan culture, it and Cantonese opera, Cantonese music known as "Lingnan Three Shows", is a revolutionary school in traditional Chinese painting, is an important national painting school in the history of Chinese national painting, is one of the most outstanding painting schools after the founding of the People's Republic of China.
Representative figure: Gao Jianfu Gao Qifeng Chen Shuren
Works by Gao Qifeng
The main characteristics of his works are: bold integration of traditional painting, but also borrowed from Japanese painting, Western painting, emphasis on perspective and three-dimensional sense, bold color and other expression techniques.
Painting rarely uses Chinese lines, but uses the rendering of colors and ink to express the image and texture. The picture image is vivid, the characters and animals are realistic, and the colors are vivid and natural.
Chen Shuren's works
As the leader of the Lingnan School, Gao Jianfu studied in Japan in his early years, and in the 1930s, he set up the "Spring Sleep Painting Academy" in Guangzhou, which cultivated a large number of art talents. Today, guan Shanyue and Li Xiongcai of the Lingnan School are all from this academy.
04
The new Jinling school of painting is innovative
The New Jinling School is one of the most influential painting schools in the new Chinese painting world. The New Jinling School originated in the 1960s and was founded by Fu Baoshi, Qian Songyao, Yaming, Song Wenzhi, Wei Zixi and other artists of the older generation, with far-reaching influence. At the beginning of the founding of the People's Republic of China, sketching was advocated, mostly with Jiangnan landscape as the performance content, and most of the works were majestic and beautiful, with the characteristics of Jiangnan landscape. The artistic concept of the New Jinling School can be summarized into four points: that is, the conscious sense of innovation, the dialectical national consciousness, the noble humanistic spirit, and the passionate freehand spirit.
Representative figures: Fu Baoshi, Qian Songyan, Song Wenzhi, Yaming
Fu Baoshi's works
These painters had a great influence on the Chinese painting scene in the late twentieth century, especially Fu Baoshi, who in practice created a new method that was both changeable and unified, with a pen and a wanton, ink and color blending, magnificent momentum, and elegance.
Fu Baoshi's characters are also good at interweaving the artistic beauty of classical poetry with the image beauty of painting art, with a dashing attitude, a beautiful look, and a high style. The only drawback is that the figure paintings are too similar, have little change, and have a sense of uniformity.
Works by Yamin
05
The Chang'an school of painting is simple and thick
The "Chang'an School" is an art group represented by Shi Lu, Zhao Wangyun, Li Zisheng, Kang Shiyao, He Haixia, Fang Jizhong and other painters, whose painting themes are mainly landscapes, figures, and flowers and birds; their works mostly depict the natural scenery and customs of the northwest, especially in Shaanxi, especially the landscapes and waters of the Loess Plateau in northern Shaanxi; in terms of creative techniques, they are committed to the inheritance and innovation of Chinese painting, and put forward the artistic proposition of "one hand reaching out to tradition, the other hand reaching out to life".
Representative figures: Huang Ji, Shi Lu, Zhao Wangyun, Yuan Zhenxi
Works by Zhao Wangyun
The works of the Chang'an School of Painting are rough, poetic and moving in form. The characters of the Kai school are Zhao Wangyun and Shi Lu, and the main painters are He Haixia, Liu Wenxi, Wang Xijing, etc. The most outstanding painters of the Chang'an School were Tui Shilu and Zhao Wangyun.
Works by Shi Lu
06
Ice and snow painting school, know white and keep black
Ice and snow landscape painting is a new kind of painting that Yu Zhi came out in 1979 after 20 years of unremitting exploration. Since the advent of ice and snow landscape painting in the early 1980s, it has caused great repercussions in society, and ice and snow landscape painting has become a model of northern cultural phenomenon, that is, ice and snow culture. Under the leadership of the Ice and Snow Painting Art Research Association founded by Yu Zhixue, it now has more than 500 members and has formed a school of ice and snow painting throughout the country led by Yu Zhixue.
Representative figures: Yu Zhixue, Gao Junfeng, Lv Yandong
Yu Zhixue's works
With its unique artistic language and unique techniques, ice and snow landscape painting expresses the core ideas of ice and snow aesthetics such as "the beauty of cold escape"; it fills the gap that traditional Chinese ink painting cannot directly paint snow or ice for more than a thousand years; so that the expressive objects of traditional Chinese painting expand from mountains, water, clouds, trees to mountains, water, clouds, trees, ice and snow, creating the "white system" of Chinese painting.
The painters of the Ice and Snow Painting School further carried forward the ice and snow paintings founded by the leader Yu Zhixue, and with the true experience of nature and life, integrated the traditional Chinese brush and ink with the ice and snow ink, constantly explored and expanded the potential of "alum ink", expanded from the macro and micro worlds of ice and snow to the infinite world of the infinite, expressed the grandeur of nature and the eternity of the humanistic spirit, and composed the colorful chapter of contemporary Chinese painting.
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