Huang Binhong's "Eighty Testimonials" on paper
Regarding Huang Binhong's research on "Xiandao Painting Zhongxing", although there have been many works, the differences in the academic community are still large, such as Wang Bomin's belief that the painting during the Xiandao period cannot reach "Zhongxing": "These literati painters he (Huang Binhong) cite were only painters who occasionally drew a few strokes in addition to reading and writing poetry at that time. They do not have a big influence on the art of painting, and they cannot talk about 'ZTE'. For example, Wan Qingli is sure that the painting science of the Xiandao period did form the "Painting Zhongxing": "'Xiandao Painting Zhongxing' does have its own thing, it is a history that has happened before, and its influence still exists today, which is the most basic support point of the 'Xiandao Painting Zhongxing' theory." Among the many views, the author most agrees with Mei Mosheng's article "A Brief Exploration of the "Xiandao Painting Zhongxing"": "Huang Binhong criticized the decline of the 'Four Kings' and the wild rate of the 'Eight Monsters', and the 'Thick Huazi' of the Xiandao Jinshi painters, the deep purpose of the heart is to invigorate the souls of the people and respond to the situation." That is to say, "Xiandao Painting Zhongxing" is actually two problems, that is, the problem of pen and ink and the problem of nationality and the situation. However, Mei Mosheng's exposition is also debatable, the author believes that the national spirit under the semantics of Huang Binhong is not a metaphysical "Taoist system" or aesthetics, but an academic spirit that bursts out of objective governance, that is, the brush and ink of "rigidity and softness" expressed in "Xiandao Painting"; and the academic spirit of objective governance embodied in the study of epigraphy, the two rely on each other, are mutually superficial, and work together to achieve the revival of the national spirit. As for the internal relationship between the academic spirit and the national spirit, if we consider the background of the literati of the Daoguang and Xianfeng eras having to accept the Manchu rule, it is not difficult to find that when Huang Binhong was trapped in Beiping, he had to commit himself to the antiquities exhibition house and art college under the control of the Japanese, and the place where Huang and the Xiandao literati were extremely close, it was precisely under the influence of various external factors that they had to make a living from academia, and while concentrating on their studies, they sorted out and examined the academic achievements of quite national integrity, and this is exactly "Xiandao painting Zhongxing". The core.
One
Looking at all the literary theories of "Xiandao Painting Zhongxing", on the one hand, Huang Binhong himself has never clearly explained the meaning of "ZTE" or why the word "ZTE" is used; on the other hand, the research of later generations has directly entered the study of art history before the literal meaning of "ZTE" has been deeply studied, such as "Scholars have great differences on the standard scale and scope of judgment of ZTE... Generally speaking, Liu Xiaochun believes that the painters of Xiandao ZTE need to be further clarified, and whether they can be called ZTE in terms of painting achievements is still very questionable; Zhang Tongli believes that Xiandao ZTE does not refer to ZTE in the painting realm, it refers more to ZTE in brushwork..." Therefore, before specifically discussing "Xiandao Painting Zhongxing", it is extremely necessary to sort out the original meaning of "Zhongxing" and the meaning of the word under Huang Binhong's thought, so as to be relatively close to the original meaning of the predecessors.
Huang Binhong's "West Lake Gaoting" ink on paper
94.2×30.6cm 1953 Collection of the National Art Museum of China
Huang Binhong received a systematic traditional education, such as the "Guangwu Zhongxing" of the Eastern Han Dynasty, the "Four Generals of Zhongxing" of the Southern Song Dynasty, etc.; and the "Poetry of Daya Andi Min": "Ren Xian enables, Zhou Room Zhongxing Yan." It should be familiar, and even in the contemporary Chinese context, its meaning has remained largely unchanged: "from decay to revival (mostly referring to the state)". Huang Binhong, as a scholar deeply influenced by Pu Xue, must have known the significance of "Zhongxing", and regardless of the profound influence of his early revolutionary actions on his future words and deeds, Huang Once very clearly proposed the relationship between painting and salvation, such as "many Europeans and Americans can know it and study it deeply, but Chinese scholars cannot do so, and they are very anxious." Today's public saying that art saves the country is to take true knowledge as the first ear." Another example is "The Xiandao world is dangerous and there is no balance, and the people are warm and worried about internal and external troubles." Painting revival thinking of saving the country, special medicine can be a hundred diseases Su. Yizhou Shuangyi Bao Shenbo, Uncle Zhao Shi Chahu. The latter is excerpted from Huang Binhong's long song "Painting Studies" in his later years on the history of Chinese painting, and in 1953, Huang and Wang Cong's letters said: "The long song of the "Painting Science Chapter" of the humble work is raised and lowered in Chinese painting studies. The famous philosophers of the XianDao of the Qing Dynasty pursue painting methods better than their predecessors, with the study of stele gold and stone, with scientific physics and chemistry, subtle analysis, in line with the spirit of Song and Yuan works. It is proposed to add a commentary, detailed into an anecdote, first attached to its slight fengjian, and then printed out of the manuscript. It can be seen that Huang Binhong attached great importance to the status of Xiandao painting in the history of Chinese art in his later years, because "Xiandao Painting Zhongxing" was Huang's painting theory in his later years, and the "Painting Chapter" was not expanded into a work, so this long song should be regarded as the first criterion for studying the theory of "Xiandao Painting Zhongxing". The "Revival of Painting and The Salvation of the Nation" in the long song is enough to show that the revival of painting that Huang Binhong calls is the meaning of rejuvenation from decline to the point of nationality and the situation, and "Special Medicine Can Be Hundred Diseases Su" has a more detailed explanation in the letters of Huang Binhong and Zhu Yanying: "Calligraphy and painting are called special medicines, which can make the sick have no disease, and the sick people are not sick." This narrative can be regarded as Huang Binhong's specific view on "aesthetic education", as for the relationship between "Xiandao painting" and "medical disease", it can be seen from "the pursuit of painting methods better than their predecessors" and "the participation in scientific physics and chemistry, analysis of subtleties", the subject here is not only the Golden Stone painters of the Xiandao period, but a broader Xiandao celebrity philosophers, so "the pursuit of painting method is better than the predecessors" can not be narrowly understood as "painting method", but should be "pursuit" and "painting method" two points better than predecessors, Combined with Huang Binhong's related remarks:
"Between the Qing Dynasty and the Xiandao, jinshi learned sheng, paintings were also zhongxing, he yansuo, Weng Songchan, Zhao Shushu, Zhang Shuxian about dozens of people, learning has roots, not by the superficiality of the rate, although Uncle Yun Zheng and Hua Xinluo can not help but ask for escape too early."
"Between the Xiandao, internal and external troubles, the storms and clouds, the Changzhou school advocated revolution, and Dai Zigao, Zhao Shu, and Weng Songchan all became their own streams."
Huang Binhong Landscape Color on Paper 1943 Shanghai Museum Collection
It can be seen that "pursuit" should be understood as opposing the shortcomings of "superficiality" and achieving an academic revolution of "participating in scientific physics and chemistry and analyzing subtleties", that is, what is discussed in the "Jinshi Calligraphy and Paintings": "The Book of Bo Jiqun, which participates in the history of the scriptures and the sayings of famous masters, is the basis of speech and art." And in the "On the Study of Xiandao Painting", it is stated: "All of them are based on Bo Qiaqun books, which integrate the present and the present." This kind of exposition is similar to Lü Li's emphasis on not only paying attention to the historical changes in European and American art, but also studying the emerging new art and the "art revolution" of China's inherent art, both of which are theories that advocate the academic spirit of objective governance to save the shortcomings of the times. At the same time, this academic spirit, coupled with the "rigid and soft" painting path possessed by Jinshi art, has the aesthetic effect of "between the phenomenal world and the physical world, but tsuliang".
Therefore, the author agrees with Mei Mosheng's argument in "A Brief Exploration of the "Xiandao Painting Studies" Theory that "the study of Chinese culture and painting are mutually superficial, and the double cultivation is mutually verifiable". However, Mei Wen developed this theory into "a modern reflection of the traditional Confucian, Shi, and Taoist style of scholar-doctor 'Taoist unification'" thought." The author disagrees, because, as quoted in the text: "Painting moves from science to philosophy." Philosophical synthesis, learning and non-synthesis are not large; scientific analysis, rational non-analysis is not refined. The four families of the Yuan Dynasty, through the three teachings, proficient in the six laws, inherited the Northern Song Dynasty, with real luck in the virtual, virtual in the real, and ascended to the highest quality. If Huang Binhong really wants to pursue the "Taoist system" of the sages, he can bluntly say that "Daoism", "Zhizhi zhizhi", "knowledge and action are one", why do you have to use imported "science" and "philosophy" and other sentences? The reason for this is that whether it is the objective idealism of "science" or the subjective idealism of "mind science", it is ultimately inseparable from the word "idealism", and the simple science involved in epigraphy is precisely sinology that is far away from Song Confucianism, and it is not possible to do with the academic spirit of "scientific analysis". In his later discourse, Mei Wen further idealized the "Xiandao Painting Center", that is, overemphasized the role of the beauty embodied in Jinshi art—"the wind and bone and the thick and simple weather"—in reviving the national spirit, because the so-called "painting has a national nature, no era." Although the appearance of the times has changed, the spirit has not moved." In fact, it is the external expression of the academic spirit of rigorous governance, which can be seen in huang Binhong's article "On Xiandao Painting": the writing of this article is the first half of the text on the study of governance; the second half of the text on painting, it can be known that the Study of Xiandao Painting under Huang's cognition is the first academic spirit, and the second is the style of painting. However, Mei Mosheng deviated from the previous study of governance, and only showed people in the later texts of the treatise, which deliberately raised the importance of the national character beauty of "Hun Hou Huazi" in the "Xiandao Painting Zhongxing", which was inappropriate.
To sum up, "Xiandao Painting Zhongxing" is actually a problem of pen and ink and a problem of nationality and current situation, that is, the brush and ink of "rigidity and softness" expressed by "Xiandao Painting", that is, the revival of "ancient law"; and the academic spirit of objective governance embodied in the study of Epigraphy, the two rely on each other, are superficial, and the joint action can revive the national spirit, which is for "Xiandao Painting Zhongxing".
Two
The formation of the theory of "Xiandao Painting Zhongxing" must be a gradual process, which is a simple logical relationship, that is: first, the discovery of the "Xiandao Painting" pen and ink as the "most victorious" in the past three hundred years; second, realize that the values carried by "Xiandao Painting" can save the shortcomings of the decline of the national spirit; third, the two complement each other, and finally form the "Xiandao Painting Zhongxing" theory.
Huang Binhong's "Huangshan Songgu" on paper color 90× 28.5cm Collection of the National Art Museum of China
As for when the "Xiandao Painting Zhongxing" was proposed, there is no conclusive conclusion, Wang Zhongxiu said: "On September 8, 1944, the old man said in a letter to his doorman Zhu Yanyin that 'Xian has the same name... A passage that is better than MingXian may have been first seen in the literature of the Xiandao painting zhongxing theory. However, looking at the original text, the original text of the excerpt reads: "Xian's hand of the same name must distinguish the truth and falsehood, better than the Mingxian (take the scholar of the scholar and the master, and do not take the literati of the miao, cut the difference). This is a typical judgment sentence on art, that is, the famous painters of the Xian Dynasty, there are real scholars and doctors, there are false scholars, and at the level of the scholars, the achievements of painting in the Xian Dynasty are higher than those in the Ming Dynasty, even in the words and sentences of greeting the protégés in the previous text, there is no semantic of "ZTE", so this letter can only be regarded as Huang Binhong's discovery of the brush and ink of "Xiandao Painting", at most only to the stage of discovering the values it carries. There is no problem with the academic community's basic judgment of "Xiandao Painting Zhongxing", as Hong Zaixin commented: "He wrote "Ancient Painting Micro" (1925) and "Critics of Painters in Recent Decades" (1930) seem to consciously list 'Paintings of JinshiJia' and 'Paintings of Jinshi Poets', reflecting the high sensitivity to this issue. In his 30-year commentary " Conclusion " , he sharply criticized the successors of both the individualists (four monks) and the orthodox (four kings) in the early Qing Dynasty , and did not throw out the concept of "ZTE". And Huang Binhong's negative attitude toward Qing Dynasty painting can even be pushed to the eve of the outbreak of the War of Resistance Against Japan, in the middle and late 1930s, he still has the following: "There is a Qing dynasty, except for the flowers and birds of Hua Silla, the figures of Luo Liangfeng, and the landscape of Fang Xiaoshi. This proves that Huang Binhong's recognition of the pen and ink and values of the Xiandao Jinshi painters was born after he was trapped in Beijing.
Huang Binhong's "Jiangcun Map" on paper, color, 81.5×36.2cm, national art museum of China
Huang Binhong is a scholar who aspires to Kuang Fu Yu. In general, Huang Binhong, who was a young man, had a strong sense of scripture, communicating with Kang Youwei and Liang Qichao, and having a relationship with Tan Si, and was later accused of being an "accomplice of the Restoration Faction". After the defeat of the JiaWu War, he united with the revolutionaries, privately minted copper coins, and successively joined the Guoguang Society and the Nanshe Society, which pointed to the autocratic monarchy, in addition, the Huang clan's cultivation of agriculture also reflected his ideas of practical application through the ages. By 1912, marked by Huang Binhong's beginning to write and illustrate for the Truth Pictorial, and his refusal to be called by Sun Yujun, the governor of Anhui, and Han Sibo, who had joined the army, Huang Binhong was no longer directly involved in revolutionary affairs. However, as Huang Shi wrote in the "Truth Pictorial Narrative", he said: "Yu Xiqi communicated the greatness of Eurasian scholarship, carried forward the essence of the Chinese nation, and cultivated the people's purity and imperceptible. Huang Binhong's thinking about the safety of the nation has not changed, and his life has been endless.
Huang Binhong's "Spring Dawn at Su Causeway" on paper, 150×40.2cm, National Art Museum of China
After the outbreak of the War of Resistance Against Japanese Aggression, although Japanese militarism actively launched cultural aggression, with the intention of destroying the fighting spirit of the Chinese nation, "such as using the story of Sima Wengong breaking the cylinder, painting a large propaganda poster of 'Japan saving China'." If you use the almanac to draw some pictures, it becomes a propaganda material." However, it also objectively promoted the wave of sorting out the national past, so Huang Binhong, who was deeply concerned about "the fall of the country must first die", while studying the history of Ming and Qing art, is bound to form a painting theory full of national spirit. This is also expressed in correspondence with others, such as in the letter with Xu Chengyao in 1935, which is from the perspective of art itself, which classifies the paintings after Yongzheng and Qianlong as "the author does not want to compete for the upper class" due to the accumulated shortcomings of Yushan and Loudong, and in the letter with Fu Lei in 1943, it becomes: "Borrowing the power of the Manchu Qing Ding Revolution, promoting the stone valley, setting up the four kings' portals, and entertaining the monarch's courtiers." The difference in perspective before and after clearly shows that Huang Binhong is expressing his anger at the Japanese in a "finger-pointing to the mulberry scolding". This is also enough to prove that Huang's praise for the integrity of the Ming Dynasty relics painters in the New Beijing Daily and Zhonghe is the result of the times.
Huang Binhong's "River Map" is colored on paper
68.6×33.4cm, National Art Museum of China, 1953
However, the question is why Huang Binhong chose the Jinshi painters of the Daoguang and Xianfeng periods, rather than the Ming Ji Donglin who "had the victory over the Yuanren", whose spirit of resistance better reflected the national spirit, as he said in a letter with Chen Zhu in 1937: "The painters who search for the remnants of the Ming people in the time should start with Anhui Zhong." For example, the monks Wanjiang, Cheng Muqian, and Zheng Yisu are all in difficult times, holding their bright festivals and breezes, and are not stained by the filthy bath. For this question, the author believes that in addition to the fact that the "rigidity and softness" of pen and ink are better than Mingxian, the main reason is that Huang Binhong is old and has a difficult life, so that he has to stay in Beiping under the control of the Japanese, so that he cannot slander the government and current affairs like the Donglin Party. The situation that Huang faced in Beiping was very similar to that of the Confucians who ruled the Puxue and Jinshi in the middle of the Qing Dynasty: First, due to the special sciences in the early Qing Dynasty, the large-scale academic movement, and the frequent occurrence of literary prisons, the Confucians not only could not implement the indoctrination function of the royal power itself as in the Song and Ming dynasties, but became more and more alienated from the core position in the "political axis", and had to use scholarship as the "way to make a living". Huang Binhong also taught at the art college and antiquities exhibition institute under the control of the Japanese, and had to suppress the national feelings in his heart and make an academic subsistence. In both cases, although it has changed from a "Confucian of enlightenment" with the heart of the world to a "professional scholar" who seeks chapters and excerpts, the objectivity of scholarship has never been affected by the autocratic imperial power, and in Huang Binhong's view, after the middle of the Qing Dynasty, it has gradually evolved from an academic spirit to a spirit of not fearing power and forging ahead. As Huang Binhong quoted above, "Between the Xiandao, internal and external troubles, the storms and clouds, the Changzhou School advocated revolution, and Dai Zigao, Zhao Shu, and Weng Songchan all became its flow." "Dai Wang, Zhao Zhiqian, and Weng Tonggong, whom he valued, were all well-known scholars, and they were independent in will and worried about the country and the people, not only jinshi masters, such as Dai Wang's face-to-face scolding of zeng Guofan, a heavy minister of the late Qing Dynasty, for not being able to govern well; Zhao Zhiqian's examination of the life of Zhang Huangyan, a famous anti-Qing general at the end of the Ming Dynasty, wrote the "Annals of Zhang Zhonglie"; Weng Tonggong recommended Kang, Liang, and other talents of the reformist faction, personally drafted the "Ming Ding Guo is an Edict", and so on, all of which reflected the knowledge and deeds of the Kuangji dynasty that scholars with advanced knowledge and profound knowledge had. Huang Binhong was deeply affected by this, as he explained to Fu Lei about the study of the Dirt Dao people: "Recently there was a volume of "Anecdotes of the Dirt Dao People", and the binding can be completed soon. Such texts are recorded in volumes of authentic manuscripts over the years, and there is no engraving. Or there is an original moment, which has not existed before the prohibition and destruction, and has been found by many parties. His character and art are all first-class, and the times are in danger, and they are strong and virtuous, and when they are clean and clean, they cannot bear to let them be destroyed, and they cannot be repaid with calligraphy and painting. "Huang Binhong pins the spirit of the righteous people on the examination of Pu Xue, and the value of painting itself does not exist in isolation, and this is the relationship between the academic spirit and the national spirit under the semantics of Huang Binhong, and this is particularly prominent among the Xiandao celebrities."
Three
In summary, "Xiandao Painting Zhongxing" is an interdisciplinary theory, not just a painting theory, it is rooted in Huang Binhong's academic life, reflecting the traditional scholars have the idea of practical application. Pu Xue is the foundation of the great development and prosperity of Jinshi Studies during the Daoguang and Xianfeng years, and it is also the foundation of "Xian Dao Painting". The reason why this theory is called "Zhongxing" is that the study of the pen and ink developed by the previous Song and Yuan dynasties is "rigid and soft", which can save the ills of "Ming people are too rigid, the Qing Dynasty is too soft"; second, the academic spirit of objective governance displayed by Park Xue, that is, Huang Binhong's so-called "learning has roots", is a good recipe for curing the current "frivolous and rash", and the two rely on each other and are superficial, that is, huang believes that it is a "special medicine" for reviving the national spirit. From this point of view, it may also be able to solve some long-standing problems in the academic community, such as Wu Changshuo's brushwork and ink method can not be called "thick watts", but why does Huang Binhong's "Xiandao painting" never involve Wu Changshuo? The author believes that although Wu Changshuo's pen and ink skills are profound, he does not have the academic experience of Zhipu Xue, and there is no academic spirit that Huang Binhong values, which should be the key to Wu Changshuo's not being valued by Huang.
- END -