Pan Tianshou Chaoxia
First, "hegemonic" three-step chess
"Blindly Bullying" (hereinafter referred to as "Bullying") is a square Zhu Wenxian chapter that Pan Tianshou loved very much in his later years, loved very deeply, and was too deep to be easily shared with the world. This seal was engraved by Ren Yutian in 1961. Searching the five volumes of the "Complete Works of Pan Tianshou", the "hegemonic" engraving only appeared three times, too few, but few and fine, and the subtlety was intriguing. Invisibly, it reveals Pan's inner "three moves" when climbing to the peak of art history.
In the first step, Pan Ji admired the paintings of the Eight Greats and Shi Tao, and admired his artistic personality even more: "Shi Tao and the Eight Greats are painters and monks, and there are no vulgar thoughts, at least the common thoughts are less than in the family, so their painting achievements are high, and no one can compare with them so far." Pan, as a master of strict moral self-discipline, he understands far better than the average professional painter: who can really reach the top of the history of painting, this is not so much ultimately dependent on pen and ink, but rather on the character and interest, "interest" on "superior", and his "ink with pen" will also be "superior". High is "high" in the general painter can not do the vulgar and not vulgar, "high" character, "high" interest can be able to be vulgar and good. However, the secular world often does not understand or distort the extraordinary world of the great master. This is in the words of Pan's five-word poem, that is, "Qi can shake the heavens and the earth, and people who know how to cry and sing"; this is said in Pan's inscription poem, that is, "The kingfisher does not know the blue bird, listens to the wind and listens to the rain of the old Hengtang"; this is metaphorically illustrated by the ink shape, that is, the osprey of the independent wild pond in Pan's pen, a body of Xuan feathers, green pupils facing the sky, a golden beak like a sword, obliquely pointing to the firmament, and the ordinary people in the earthly world are not in their eyes. This is also "domineering". This is the first time in 1961 that Pan printed "Wild Pond Qingqu Map" with "Bully".
Pan Tianshou Fishing Eagle Diagram
In the second step, Pan knows that as "one of the precious traditional cultures of the nation", "literati painting is an extremely advanced art", and its "profound" place is that it must be both heavy on the interest of the literati and the ability to ink thread, and the two should not be abandoned. However, the common disease of literati paintings (except for Wu Changshuo) that descended from the Ming and Qing dynasties is precisely "heavy on the humor of literati, but lack of skill", "no ten years of wall-facing skills, in vain to epiphany to protect the short", it is intended to be Dong Qichang as the most. Understanding this, and then looking at why Pan specially emphasized the "finger ink painting" experiment of the early Qing Dynasty painter Gao Heyuan, it is also like looking at the fire. Pan therefore particularly agrees with Gao Heyuan's ink line innovation and has the intention to refine this into a modern formula, because the "finger ink painting" method is not only suitable for "making a large, imposing, and interesting and high-minded", but also "as a small square album, characters, cordyceps, landscapes, flowers and birds, all in detail." The beard of the character is ear to ear, mouth and nose, and the fingers are fine into the light, and they can see the seiko in the simplicity, and the implication in the extensive, and the difficulty is difficult." This makes the "thick brush painting" "not follow the evil of rudeness and domineering" in terms of technique, and makes the "fine brush painting" "not follow the disease of fine fragment weakness".
Anyone who has knowledge will not deny that driving the history of painting forward (innovation, not evolution) must at least have "two legs": "interest" and "ink line". Pan is probably the Chinese painting scene in the second half of the 20th century, and it is rare to use these "two legs" at the same time to sprint to the peak of art history. This is worthy of the word "bully".
Pan Tianshou Goshawk Diagram
Coincidentally, the second time Pan used the "Eagle Rock Map" printed by "Bully", painted in 1963, which almost eloquently confirmed the above statement. This depicts a vulture fluttering its wings, towering over a rock on the top of a mountain, its eyes sharp enough to pierce through the clouds. The vulture with a vast bosom was about to unfold the pair of giant wings of "Meaning" and "Ink Line" and rushed to the top of art history. Needless to say, for the giant master, this spirit vulture is the first to be involved in the "hegemonic" self-inspiration.
After walking the above two moves, and then looking at how the third move of "hegemony" is taken, it will also emerge. Pan may not be satisfied with the 20th century ink temple with Wu Changshuo, Qi Baishi, Huang Binhong and other sages, no, his ambition will be more extensive, he is to broaden the horizon to nearly three hundred years later, and then weigh his own weight in the history of painting. Therefore, when Pan used poetry to discuss the giants of painting history, "three hundred years" also became his common words, such as Xu Wei: "Like a rafter with a large pen, the first person in three hundred years"; or like a dream of Shi Tao: "Qing Xiang went to my three hundred years, and the bottom thing suddenly fell into a dream." Apparently, when Pan lived to the 1960s as a giant, he was convinced that he had entered the history of ink painting for nearly three hundred years. This is called "domineering" to the extreme.
Pan Tianshou Unlimited scenery
Please gaze at Pan's 1963 painting of "Infinite Scenery", you will truly understand this picture, so you want to cover the background of the "hegemonic" seal for the third time. The protagonist of this picture is an upside-down hanging pine tumbling in the air like a dragon in a deep valley, in the shape of an S, accounting for two-thirds of the picture. The rest of the picture above is flying on the second peak, one ash and one ochre, ochre near ash far away, looking at the sky. This figure is titled "Infinite Scenery". On the right side of this figure, there is a vertical row of slender lishu (inscription): "Occasional finger painting weather, outside Tieling and Qingxiang". "QingXiang" is Shi Tao, the banner of the early Qing Dynasty painting that Pan most admires. This picture is "finger ink painting", Pan believes that "finger ink painting" was created in the early Qing Dynasty GaoheYuan (number Tieling), so the inscription will make "Tieling, Qingxiang" juxtaposed. However, the key point is that Pan Zi commented on the "meteorology" of this map, as if it were "outside the Tieling and Qingxiang". The meaning of words, do not say it.
Pan Tianshou Is a mountain myna
Second, "hegemony" and "program ink line"
Now I have to ask: What is the confidence of a painter who is low-key, socially neglectful, quiet, and cautious, and dares to express himself in such a way that he must be "domineering" in the history of painting? According to research, in addition to his devotion to moral "personality self-sanctification" and the far-reaching vision of art history, pan Shi has silently and creatively refined a set of "program ink lines" that can be called "heavenly teaching" style from his ink painting career (from youth to his old age).
Pan has seen through the history of painting for three hundred years, and three of them have great self-confidence in artistic originality, and their self-confidence is extreme, so that painting does not need to lean on, just like the general is outside the conquest, and he does not obey the king's order, and dare not be jealous. These three families are Shi Tao, Wu Changshuo, and Pan himself. First of all, Shi Tao: "Shi Tao is good at field combat,...... Field bullying, the viewer helplessly bullying what? Speaking of Wu Changshuo again: "In his later years, He painted bamboo well in field battles, such as a veteran general waving a flag and commanding the qi, all of which were unsatisfactory, and after the Mei Dao people and the blind Venerables, they opened another path." "Pan confessed", such as painting Lan, everyone likes "QingYan wany, for the empty valley beauty", Pan is ingenious: "Now written with a domineering pen, not Zhuo Wenjun's spring wind sideburns, but like Mu Guiying's flag to kill the enemy." "At first glance, this is purely a phenomenon of subject matter (what to draw), but when you look closely, you are playing with ink line experiments (how to draw), playing boldly and spicy." Pan Shengsheng is as restless as Shi Tao and Wu Changshuo, "both noble and promising, but also noble and capable of trekking", "trekking" is "hegemonic".
Pan Tianshou Jinsong
Before his death, Pan was unable to use the theory to clarify the mysterious relationship between "hegemony" and "program ink line", but this did not prevent him from having an "intuition" about it in a 1935 travel poem: "Why should we meet to re-do the Huangshan Tour, searching the endless strangeness of the mountains." The grandeur and unevenness in my chest, the poems into grass and grass quickly sent to each other" (when I was 39 years old). In the author's opinion, the word "hegemony" that Pan has been chanting all his life can actually be subdivided into the three kinds of emotions of "magnificent", "abrupt", and "uneven"; furthermore, the three kinds of emotions have been "accumulated" by Pan to produce a lifelong tried and tested "program ink line", that is, the "magnificent" arc is used to freeze the wild qi of the ridge; the "abrupt" polyline is used to freeze the escape of the cliff teeth; and the "uneven" front is used to freeze the sharp qi of the sword.
Pan Tianshou Ying Ri Red Lotus
Third, the "magnificent" arc: the wild gas of the ridge
Why is it said that the arc of the wild gas that "accumulates" (freezes) the ridge is "magnificent"? The center of gravity is all on the word "wild".
In his early years, Pan taught the National Art College and instructed his disciples: "To learn painting, it is better to be elegant, wild, and domineering, and not to be tacky, angry, or stingy." This shows that the word "wild" in Pan's place does not mean that it is arbitrary, rude, domineering, and fierce, but only emphasizes that those who study painting must first learn to behave in a dignified manner, which requires shielding the "tacky, fiery, and stingy" that is scattered in the cultivation of personality. This is in the words of his poem, "The wild nature is still I have not removed." ”
"Magnificent", not only "wild", but also "calm". This is like the high arched and winding skyline "arc" of the family mountain "Lei Po Tou Peak" that Pan looked up at day and night when he was a child, which is both lush and wild and unpretentious, and quiet enough to cover the hills and streams in all directions.
Pan Tianshou was troubled
Presumably, it was not until 1922 when Pan painted the "Bald Monk Map" that he consciously used the "magnificent" arc of the frozen ridge of the "Lei Po Tou Feng" to calm the picture (at the age of 26). Those who have a heart may wish to compare the high arched shoulder blade (Taoist robe) arc of the "bald monk", which is indeed similar to the outline of the "Lei Po Head Peak". The thick Robe of the "Bald Monk" that was sprinkled with thick ink could stabilize the monk in place like a mountain, and the thunder could not move, which could not but be attributed to the aesthetic victory of the "magnificent" arc.
Pan Tianshou ploughed in 1949
Looking at the two farm cattle in Pan's 1949 "Ploughing Strike Map" and 1961 painting "Xiatang Buffalo Map", their furry, high-arched black back ridges (arcs) actually coincide miraculously with the Shenxiong ridge (arc) of "Lei Po Tou Peak".
Pan Tianshou took a nap
Surprisingly, Pan also used this arc containing "magnificent" sentiment to the "cat". Take the "Sleeping Cat Diagram" as an example, the "lazy cat" on the top of the mountain has a ridge arc that guards the top of the mountain, and also the ridge arc of the "Lei Po Tou Peak".
The "magnificent" arc can inject the perseverance of the mountain (mineral) into the weak creatures (animals), and as a counterexample, the "magnificent" arc can also make a strange stone (mineral) resemble the limbs of the "bald monk" (figure). An example of this is Pan's 1964 painting of the Spirit Stone Map. Pan declares that his formal innovation has matured by the "magnificent" arc of the Ink Experiment, so that the "magnificent" arc he tried in 1922 can be used by painters for forty years to create ink painting before the "Cultural Revolution", which is also upgraded to a "program". As the "ultimate of form" or "form within form", the essence of "formula" is nothing else, but it means that the aesthetic taste it freezes has been appealed to form and standardization, it is not only extremely stable, but also can be used as a heritage of art history for future generations.
Pan Tianshou Narcissus Spirit Stone Diagram
Fourth, the "abrupt" polyline: the escape of the cliff teeth
Why is it said that the polyline that "accumulates" (freezes) the escape of the cliff teeth is "abrupt"? The focus is all on the word "Yi".
"Written in real sloppy, is there still no escape?" The source of Pan's two sentences and five words is the painting theory of the Yuan Dynasty painter Ni Zhan. Pan, who rarely paints figures, painted the "Picture of the Reading Monk" in 1948, and the forehead of the monk who was as smooth as a cliff at the top of the xie ding was really square like a "simple big stone". What is "abrupt"? That's it.
Even if a true gentleman is as white as a cliff shore, in the eyes of the spiritually trivial, he is either "hypocritical" or "abrupt" like a cliff tooth, which makes him fearful. This invisibly gives a new solution to the reading of Pan's two poems, "White Clouds, Rocks and Teeth": not only can the relationship between these two poems be read as "juxtaposed"; it should also be read as "turning", that is, the moral "white clouds" of the "personality self-sacred", which in the eyes of the mouse-eyed people are likely to be reflected as the "teeth and teeth of the rocks" with a broken line. At this point, it is said that the polyline that freezes the escape of the cliff teeth is "abrupt", and there is no big objection.
Pan Tianshou Turquoise Chart Axis
Then there is the "Small Pavilion Dead Tree Diagram" painted by Pan in 1961 and with a small circle printed in the lower left corner of the text "Pet as The Bottom", which is also full of flavor. This picture is recognized as Pan's fine ink painting, and experts have commented on this picture of ink and ink: "Although there are only a few strokes, the imagery is rich." The lines of this work are strong, the pen is calm and powerful, and most of them are square and straight, and the turns are often square corners, with few arcs, giving people a deep impression of affirmation and determination. This figure is called pseudo-archeology, which is actually new. ”
Pan Tianshou's shadow is oblique
This figure is full of "escape", and the "abrupt" polyline forms a visual "mutual metaphor" of stone and wood. There is also a 1963 painting of the "Plum Blossom In Pre-Spring" that should not be mentioned. Pan has a unique ingenuity, "focusing on the four sides, but inverting the middle and emptying", "creating a picture space that can make people infinitely reverie in the limited flat space." The whole picture is like an "invisible rock."
As a giant of art history, Pan understands what it means to explore the "metaphorical" mechanism of stone and wood in the "invisible rock" in the history of ink painting. I remember that Pan once lamented that the ink line of the master of landscape painting in the early Tang And Song Dynasties, Juran, contained deep wind bones, so that "trees can be like bent iron" and "pens can carry ding". The history of ink art was lifted to the 1960s, and the ink line when it was Pan's turn to paint flowers, wood, stone and birds could also achieve "trees like bent iron" and "pens can carry ding". Considering that the volume and weight of the square rock in the empty valley wilderness are by no means under the copper of the Imperial Garden, the "hegemony" of Pan's ink line expression is not necessary to use a "magic" word to describe, I am afraid it is not addictive.
Pan Tianshou Eagle Stone Diagram
Fifth, the "uneven" front: the sharpness of the sword
Why is it said that the sharp edge that has "accumulated" the sharpness of the sword is "uneven"? The center of gravity is all on the word "sharp".
The original meaning of "unfair" is to mark "unworldly" and "unconventional". "Unworldly" means that a gentleman must distance himself from ordinary people, so his "escape qi" is evidenced by external refraction, such as making "the wise man rest his heart, and the powerful person is discouraged"; "not vulgar" refers to the gentleman's natural mental evidence of inner feelings, which has shielded the door of "human feelings" and "insight into the world", and can see through the naked body of the mind like X-rays, which makes his green pupils "sharp" and sharp like a sheathed sword, straight forward, and has nothing to hide. Therefore, the great master (whether conscious or not) freezes the "escape qi" into a folded line (like a cliff tooth and a rugged) in form, and freezes the "sharp qi" into a sharp line (like a sword blade), which is nothing less than great wisdom.
In the 1950s and 1960s, Pan demonstrated the most impressive examples of the "uneven" front: "Wild Wild Hui" and "Lotus Pond Yingri". The real sharpness of the life of the giant who has frozen by the "uneven" front line to the height of the celebration-like fiery red and Dionysus-like romantic poetry is still counted as Pan's "Lotus Yingri" painting series after 1958.
Pan Tianshou Red Lotus
Please chew on the epilogue of Pan's 1950 painting "Smoke Wave Red Lotus Diagram": "On the third day of Gengyin's last year, the sky was full of snow, the bucket room was clear, and the poems of Qionglou Yuyu were not chanted, but there was the thought of the five lakes and three smoke waves without a master, so what." longevity. Judging from Pan's handwriting of The Red Lotus in 1945-1950, he could not help but fall into a long examination of "smoke and waves without owners". In particular, the remembrance of the art of ink painting (flowers, trees, birds and stones) in the 20th century: before 1927, it was Wu Changshuo's world; after 1927, it gradually entered the world after Qi Baishi's "decay method"; the crux of the matter was that by 1950, Baishi had nearly nine ranks, so after the old man of Baishi, whose time will art history enter? In 1958, "Dew Map" made the sword-like front straight up the red lotus, and the banner clearly declared the "uniqueness" of the giant at home and abroad.
Pan Tianshou Yingri
It cannot but be said that the period of "1958-1964" was the most brilliant, happiest and most comforting golden time in the history of the life of the giant. The author would like to name these six or seven years as the "Pan Tianshou Time" when the giant master enjoyed the excellent state of mind after he won the history of art. Each of the hegemonic fronts of the giant's construction of the "Lotus Day" freezes the willpower and creativity necessary for the painter's life history to unremittingly "go from ordinary to extraordinary". The red lotus comes out of the mud without staining, it will make people think of the painter's loyalty to the "self-sanctification of personality"; the red lotus from the village pond into the hall of art history, which is the symbol of the fundamental system of the giant, the valley and the mountain; not to mention that when the red lotus is like the sun to dispel the smog, it is conceivable that the master of the vibrating clothes may regard the suffering and adversity he has experienced as a past as smoke. Read the chronicles of the "Lotus Yingri" painting department one by one, and you will indeed read the poetic life history of the great master from it.