Masters such as Pu Hua, Wu Changshuo, Huang Binhong

Wang Jinlong wrote by Lan Ganwu: "Masters such as Si - Pu Hua, Wu Changshuo, Huang Binhong" met with you: Pu Hua only lived for 12 years in the twentieth century, and most of his life was the active Huang Binhong (1865~1955), the original name quality, the character Park Cun, the number Binhong, do not sign Xiang Xiang, Hongsuo, Park Jushi, Huangshan Shanzhongren, etc., after middle age. Born in Jinhua, Zhejiang, he was born in SheXian County, Anhui Province. In his early years, he participated in organizations such as the League and the Southern Society. He is the author of "Ren Geng's Testimonials", "Binhong Poetry Grass", "Huangshan Painters' Source Flow Examination", "Honglu Painting Talk", "Ancient Painting Micro", "Essentials of Painting Method", "Zhou Qinyin Talk", "Ancient Textual Evidence" and dozens of others. In the nineteenth century. We study him as a painter of the twentieth century, based on two points: First, Pu Hua is a painter who inherits the past and the future, in his paintings, we can not only read the information of the painting art of the Tang, Song, Yuan, Ming, and Qing dynasties, but also find the elements that modern ink followers like; second, Pu Hua's painting art is more refined in his old age, that is, after entering the twentieth century, and his personal pen and ink language is more mature. Therefore, he is designated as a painter of the early twentieth century, which is representative.

Pu Hua was 22 years old, zhongxiucai, married Miao shi in the same year, and since then, he has no intention of making a name, or wandering in the rivers and lakes, or living in a temple, with a paintbrush, traveling in all directions. Pu Hua's abandonment of his career is related to his poetic temperament of a wandering skeleton, more to his family's poverty, and to his teacher. Pu Hua's painting teacher Zhou Xian (Zi Cunbo), who was a Gengjie and Qing, did not want to be an official, and after returning to Li, he painted and lived. Zhou Xian is also a poet, and he is obsessed with palms, running around and sparing no effort to collect. These behaviors of his will undoubtedly have an impact on Pu Hua. Pu Hua loves guqin, buys it when he likes it, and borrows money to buy it, so he often can't make ends meet and is overstretched. Pu Hua is also addicted to alcohol, and if there is no alcohol for a day, he is like sitting on a needle felt, sleeping and eating restlessly. Sometimes, for a meal of wine money, he would also draw and write to people.

In addition to Zhou Xian, Pu Hua also learned from painters of all generations, such as Su Dongpo, Huang Gongwang, Wu Zhen, Ni Zhan, Xu Wei, Zheng Banqiao, and so on, all of whom were the objects of his study of the Fa. Taking the ancient law and absorbing the strengths of all, so that landscapes, flowers and birds, and calligraphy have reached the height of an era. Pu Hua learned a lot, but his spirit was still converted to Xu Qingteng all the way, that is, disdain for vulgarity, solo spirituality, and the pursuit of a loose, uninhibited, naïve and natural artistic style. Pu Hua's work, the pen and ink are smooth and spontaneous, although it is a sloppy pen, it is thick and thick, and the literary atmosphere overflows between paper and ink. His ink and bamboo are even more ink and ink blending, which is natural and can be described as everyone's handwriting. The integration of books into paintings, emphasizing literary artistic conception, highlighting the tension of brush and ink, and integrating poetry inscriptions with paintings, these characteristics of literati painting that have developed rapidly since the Yuan Dynasty have been necessary in the creation of Painters of Pu Hua's generation. It can be said that modern painters have pushed Chinese ink painting to the peak, and if future generations want to surpass it, they must have the ability to break through the path - this is not the topic to be discussed in this article, so stop here.

Pu Hua is 12 years old, Wu Changshuo, and the two have a close past. Wu Changshuo has engraved seals for Pu Hua many times, and Pu Hua often splashes ink in Wu Changshuo's home, and his friendship is visible. A strange problem is that many painters agree that Pu Hua's talent is higher than Wu Changshuo, and the perspective impact and artistic appeal of some of his works seem to be better than Wu Changshuo; however, everyone agrees that Pu Hua's works are not as perfect and beautiful as Wu Changshuo. Wu Changshuo's calligraphy and painting works can be said to be unremitting. Pu Hua did not do this. In Pu Hua's works, some of the pens are slightly absurd (excessive); some of the compositions are still under-scrutinized; and the calligraphy of the inscriptions can also see the lax pen, which is detrimental to the style of the master.

Why is that?

Is Pu Hua's talent not as high as people say? No. Pu Hua wrote the poem "Furong An Yu Cao", which was greatly praised by the great poet Chen Manshou after reading it. Among the poem manuscripts is a poem written by Pu Hua when he was eleven or twelve years old, "Passing through the Tangjiawan Cottage": "This place was robbed by soldiers, and it was returned to the tree to pick up the broken ge. Wildflowers bloom and fall, and the cold sun bathes the waves. The wind is carved and coiled, and the sand marks are crossed. Desolate days are dangerous, and sad songs are sung by hanging. "His intelligence is evident. Pu Hua wrote a lot of poetry in his lifetime, and as far as poetry is concerned, he should be above Wu Changshuo. He also has a very high self-esteem, and once wrote a poem: "Who is the wild song and who is it?" Cicadas sound tall willow branches. ”

So, is Pu Hua not diligent enough? Nor is it. On the contrary, there are too many creations, and he has left a large amount of Danqing Hanmo in his lifetime.

Although Pu Hua's family is poor, the husband and wife have a strong relationship. Miao Shi was angry with him for going out to the mountains and rivers every year, painting peach blossoms and inscribing poems to show his disgust, Shi Yun: "Originally I was a painter, and I was good at mixing powder and fat for a while. Mandarin ducks that do not embroider often get pens, and peach blossoms are speechless and laugh foolishly. Afraid of drawing evil deeds is not difficult, the world's abundance is moving. The mirror shadow should only be sorry for itself, and the east wind is cold in the day. After Pu Hua read it, he knew that his wife was blaming him, so he wrote a poem to please her: "The new sorrow is not enough to be a warbler, and the peach leaf is peach root When it is crossed." I saw that the spring color across the river was good, and I was obsessed with a few words. It is also very difficult to paint with superior desire, and the fragrance of raw silk is intoxicating. Green shirts, red rain, spring people dream, deeply feel the cold of the annual travel. Unexpectedly, good flowers do not bloom often, good times do not last long, Pu Hua was 32 years old, Miao Shi suddenly died of illness. Grief-stricken, he vowed in the poem "Mourning the Death" that "the soul returns to the dou room", sending danqing and not renewing the string.

Pu Hua transformed all his love for his wife into the art of calligraphy and painting. Since then, he has traveled more frequently. It can be said that before the age of 70, Pu Hua did not stop his steps, but has been playing in the rivers and lakes. As a result, most of his works are done in the walk, the so-called guest works. In order to make a living, he was tired of socializing and running for his life. As mentioned earlier, sometimes for the sake of liquor, people have to paint. In such a living situation, Pu Hua had almost no time to calm down and think about some problems, and did not have time to sort out and summarize his calligraphy and painting art. He was overdrawing, but he didn't have time to replenish his energy. Calligraphy and painting are different from poetry. Poetry creation can be talented and passionate, and in addition to talent and passion, calligraphy and painting creation also needs to have efforts in hand. These delicate and exquisite tasks must be tempered in the period of youth and adulthood, and when they are old and weak, and their eyes are trembling, they can only sigh with joy. If Pu Hua could be like Wu Changshuo in his youth, with no worries about food and clothing, and have a good creative environment, what would the result be?

It is true that Pu Hua has been wandering for most of his life and is directly related to his family situation. In fact, it is also due to temperament. Pu Hua, like his teacher Zhou Xian, also resigned from his staff job. It doesn't matter if you quit your job, the problem is to be able to endure loneliness. Qi Baishi said, "The way of painting is the way of loneliness." "Whether you are learning or doing art, you need concentration and the ability to sit on the cold bench. Pu Hua's life, experience is very rich, alone lack of loneliness.

Pu Hua's epitaph was written by Wu Changshuo, which contains the following sentence: "Rich in pen and ink is poor in life." "What about talent?" Sigh! Pu Hua (1832 ~ 1911), originally known as Cheng, the character Zhuying, later more so as Ying, the number of Xushan Wild History, The Bamboo Taoist, Xushan Waishi; the names of the room include Jiuqin Ten Yan Zhai, FuRong An, Fu Rong Lu, Jian Bi Qin Qin Heart Room, Jiu Qin Ten Research Building, etc. A native of Xiushui (present-day Jiaxing), Zhejiang. Qing Xiucai, who made a living from painting, was alcoholic, lazy, and nicknamed "Pu Sloppy"; and was known as the "Four Masters of Haipai" along with Xugu, Ren Bonian and Wu Changshuo. Innovation has a way to push the wall

Wu Changshuo, like Pu Hua, is a figure in modern Chinese ink painting that inherits the past and the future. Wu Changshuo's influence is even greater and more far-reaching than Pu Hua's, and he is the most outstanding representative of Haipai art. For a century, I don't know how many people have taken Wu Changshuo in seal carving, calligraphy, and painting, as if he is an insurmountable mountain, even a master like Qi Baishi is worshipping him: "Qingteng Snow is a distant mortal fetus, and the old man is not talented in his old age." I want nine originally to be a lackey, and the three houses came under the wheel. "The person who can make the old man of Baishi willing to be a "running dog" in front of the door under the Yellow Spring is so unattainable.

So, how was this mountain built?

Wu Changshuo's life before the age of 30, similar to Pu Hua's, was also moving east and west, and has been traveling and eating. Especially in his youth, he suffered in the chaos of war. At the age of 17, the family fled for 5 years. During this time, the grandmother, mother, fiancée, and siblings all died in the escape. Wu Changshuo's life experience has more sorrow than Pu Hua.com.

Although Pu Hua and Wu Changshuo are friends with Mo Rebellion, there are still some differences in the personalities of the two people. Relatively speaking, Pu Hua is more emotional than Wu Changshuo; in other words, Wu Changshuo is a little more rational than Pu Hua. However, it was this "little bit of rationality" that made Wu Changshuo.

This kind of rationality is fully expressed in Wu Changshuo's life and art.

In the Mid-Autumn Festival at the age of 21, Wu Changshuo ended his life of exile and returned to his hometown with his father. Father and son depended on each other for their lives, living in farming, and Wu Changshuo also took the exam the following year. It can be seen that he did not give up learning in the escape and chaos - even if he did not eat a full meal for three years - even if his loved ones left one by one, how much concentration and perseverance did it take to do it.

Wu Changshuo's fiancée Zhang Shi died of illness in the midst of chaos, and he did not marry for life like Pu Hua, but took Shi Shi as his wife at the age of 29. This is not ruthlessness and unrighteousness, but learning to swallow sorrow in the bottom of the heart. 20 years after Zhang's death, Wu Changshuo carved a "Bright Moon Predecessor" seal to commemorate it.

Wu Changshuo had been a staff member for many years, and despite his poverty, he insisted on doing it in the hope of maintaining a basic life. Unlike Pu Hua, who was impatient to write a small official document, he left after a few days of staff. Wu Changshuo also had a time of madness. When he was 56 years old, Xiangxian recommended him to be the county commander of Andong (安東, in present-day Lianshui County, Jiangsu Province), but he resigned after only one month in office. At this time, for Wu Changshuo, eating is no longer a problem, a small county order, there is nothing worth nostalgia. Therefore, an artist also needs to be rational, when you don't have money, money will be difficult for you. If the problem of food and clothing is not solved, it will be difficult for you to dedicate yourself to art. You may spend more time worrying about food and clothing.

Because of reason, Wu Changshuo did not complain about the world, let go of freedom, and did not want to live in pain during his youth and adulthood (when he was 46 years old, he lost his eldest son Wu Yu); on the road of art, he did not taste the light, write graffiti, and let the pen as the body, but step by step, and solidly completed the child skills of seal carving, calligraphy and painting. This sowed excellent seeds for his future artistic sublimation. It is precisely because of reason that Wu Changshuo obeys the teachings of the ancients, that is, "heavy kung fu, strict law". His innovation is to learn the ancients thoroughly, learn the extreme, integrate the ancient into the new, and turn the ancient into the new.

Wu Changshuo began to learn seal engraving from the age of more than 10 years old, and then for 70 years, he did not deal with the printing stone for a day; learning calligraphy, he took the "Stone Drum Text" as a daily lesson, and did not give up until he was old, and every time he came to a pass, he had a new understanding. It is rationality that makes Wu Changshuo constantly forge ahead and polish his skills all his life. Instead of learning a little fur and knowing half of it, rushing to the rivers and lakes. Every time he took a step forward, he had to look back to see if he had left the ancients too far away and become a wild fox Zen.

Pan Tianshou once created a so-called "proud" work, that is, the pen and ink have less ancient meaning and more personal interest, and he felt that he was very enjoyable, so he rushed to give Wu Changshuo guidance. The "guidance" he wanted was to hope that Wu Changshuo could praise him. Unexpectedly, Wu Changshuo was silent for half a day, and after that, he perfunctorily said good, good, good. On the evening of the same day, Wu Changshuo made a long poem for this purpose, and the last sentence was written as follows: "I am only afraid that I will travel too fast in the bushes of thorns, and I must prevent my fall from falling into the deep valley. It can be seen that Wu Changshuo pinched a handful of sweat for Pan Tianshou's so-called innovation. He feared that Pan Tianshou would fall into the abyss because of his adventurous (involuntary). Wu Changshuo's research on scholarship and art is so rational and rigorous.

When we say so firmly that Wu Changshuo is an apprentice with the ancients, do we mean that he cannot eat the ancients? No. He is a person who is good at learning from the ancients, and he is good at turning the ancients into a new one, and he is a master who stands on the shoulders of the ancients.

Wu Changshuo understands the difficulty of innovation. He once said something like this: "It is easy for those who pick people up small skills, but it is difficult for creators." If you want to start a family on your own, at least half a lifetime, and the picker can get the fur for at most half a year. "Innovation is difficult, but art is to innovate, it must be innovative, otherwise, it is a painter." Therefore, he also said: "Out of the blue dare to say that it is better than the predecessors, and the toddler is sad and lost." "So, how to innovate? We must also come from the ancients and be a "blue" person. Wu Changshuo's paintings integrate the essence of Xu Wei, Bada, Zhao Zhiqian, Pu Hua, Ren Bonian, Yangzhou Eight Monsters and others, and are deeply rooted in the heritage of each family, like ancient me, not ancient and not me, that is, its high and wonderful. His boldest attempt was to successfully use magenta in coloring. Pan Tianshou commented: "Painting Chinese painting with magenta can be said to have originated from Mr. Pegatron. Because the red color used in magenta, deep red and can be ancient and thick, can make up for the shortcomings of the rouge thin. Then there is the deep red ancient thick magenta color, which can match mr. Thick and simple painting style, so I like to use it very much. His attempt may have been inspired by Zhao Zhiqian. Zhao Zhiqian also likes bright colors and strong contrasts. Wu Changshuo's innovation of color makes the works colorful, full of vitality and great appeal, which is another wave of Wu Changshuo's artistic creation.

In fact, the most important factor that made Wu Changshuo stand at the peak of the painting master was that he used his profound calligraphy and seal carving cultivation in painting. He himself said: "Straight from the calligraphy method, the art does not dare to talk about the rest." In Wu Changshuo's view, painting is nothing, it is writing. He insisted on painting with the brushwork of the seal, and his appearance was like a dragon, and he swallowed the clouds and dreamed, which was very shocking. Painting with books is the foundation of literati painting, which everyone knows and is doing, but everyone's calligraphy achievements are not as good as Wu Changshuo,So it is difficult to look back on the art of painting.

Wu Changshuo is the four absolute poems, books, paintings, and prints, and in the view of foolishness, its order should be the first print, the second book, the third painting, and the fourth poem. This is a family statement and is not discussed in this article, so it is attached to the end of this article. Wu Changshuo (1844 ~ 1927), first name Jun, later name Junqing, the first character Xiang Supplement, after middle age more character Changshuo, also signed Cangshi, Cangshuo, Cangshi, there are many other names, common ones are Lao Cang, Lao Miao, Bitter Iron, Great Deaf, Stone Venerable, Broken Lotus Pavilion Chief, Wuqing Pavilion Chief, etc. A native of Yanwu Village, Xiaofeng County, Zhejiang (present-day Anji County, Huzhou City), he was the first president of xiling printing society and an outstanding representative of Haipai art. Wu Changshuo (1844 ~ 1927), first name Jun, later name Junqing, the first character Xiang Supplement, after middle age more character Changshuo, also signed Cangshi, Cangshuo, Cangshi, there are many other names, common ones are Lao Cang, Lao Miao, Bitter Iron, Great Deaf, Stone Venerable, Broken Lotus Pavilion Chief, Wuqing Pavilion Chief, etc. A native of Yanwu Village, Xiaofeng County, Zhejiang (present-day Anji County, Huzhou City), he was the first president of xiling printing society and an outstanding representative of Haipai art. Five strokes, seven inks and one binhong

Undoubtedly, Huang Binhong is a giant in the modern Chinese painting world. His life was revolutionary, passionate and legendary; his art was a gradual, "smooth transition." His attention to Western art and his study of Eastern and Western painting theory and painting methods have broadened his horizons and allowed him to observe the development of Chinese painting art from a higher perspective. If Wu Changshuo enriched the connotation of Chinese painting, then Huang Binhong expanded the extension of Chinese painting. Studying Huang Binhong is a very exciting thing, you will be greatly inspired, you will suddenly be enlightened. At the same time, I will be interested in many issues and think calmly.

About the masters

The fact that the voice calling for the Master is heard now shows that there are no Masters in our time. So, how did the master come into being? Huang Binhong was 60 years old before the ancients, 75 years ago before the teacher, after that, only to melt the ancient cast the present, gradually to the best state. He said: "The number of contemptible people has not been cut off for decades. Painting non-day and night can be regarded as 'uninterrupted', to practice daily pen strength, and the pen is in line with the rules, over time, it is necessary to go beyond the rules and become a big person. He also said: "Painting is the key to less socializing and more practice." "If you follow Huang Binhong's model, no matter how hard many people try, they can't become masters, because whether they can live to seven years old and eighty is still a problem." It can be seen that he is taking the "natural" road, that is, there is no idea of fame and fortune, everything goes with nature, and the water will come to fruition. This requires a lot of concentration.

While studying painting, Huang Binhong also dabbled in the study of calligraphy, goldstone, archaeology, printing, poetry, education, editing and publishing, and calligraphy and painting appraisal, and all of them achieved results. Such a profound education is difficult to achieve with time. Most people can't survive this day, they can only die young, people called genius, wizard, eccentric, ghost talent. Therefore, in any era, there are very few masters.

On the relationship between creation and theory

Huang Binhong once affirmed: "Painters do not participate in celebrity theory, although Haoshou cannot start a family." Therefore, he continued to study the theory of calligraphy and painting all his life, and summed up the "five strokes and seven inks" theory. The five strokes are flat, round, retained, heavy and variable; the seven inks are thick ink, light ink, broken ink, splashed ink, accumulated ink, scorched ink, and su ink. These have been fully reflected in his creations. An important feature of Huang Binhong's paintings is "black, dense, thick and heavy". The formation of his style is to paint with a lot of accumulated ink. Ji Mo is not his originality, but his exclusive love. At the age of 76, Huang Binhong said: "The Song painting ink method is accumulated thousands of times, the pen is vigorous, clear and harmonious, it is not easy to learn, and it is hereby intended." At the age of 83, he still said: "The paintings of the Northern Song Dynasty have been accumulated dozens of times. Da Yi and Yunlin build foundations from Jinghao, Guan Tong, Beiyuan, and Juran, so they can be thick and thick, not weak. At the age of 90, he still said: "Yuguan Northern Song Dynasty paintings, accumulated thousands of times, such as walking night mountains, dark and deep layers." From these painting theories, we can know Huang Binhong's aesthetic orientation, he admires Song painting, believes that Song painting has the most changes, the most complete techniques, and its "thick Huazi", that is, dug deep out from here. Huang Binhong has been thinking about how to paint all his life, where to paint, rather than like an ordinary painter, after getting a little fur of painting techniques, he began to mix in the rivers and lakes, "Easy to the embrace of the past, and then let the heart go, abandon the ancient law to be strange, self-deception, do not know what to do" (Huang Binhong), doomed to only give up halfway.

It can be said that it is precisely because of the unremitting study of theory, and it is precisely because of the skillful use of "five strokes and seven inks" in creation, that Huang Binhong's painting art has been achieved.

In fact, Huang Binhong not only attaches great importance to the study of Chinese painting itself, he is also highly concerned about western painting art, and has made a comparative study of Chinese and Western painting, believing that when Chinese and Western paintings have entered the highest realm, that is, the way of nature, they are psychologically compatible and the spirit is the same. In this kind of research, Huang Binhong still does not forget the analysis and comparison of brushwork. He said: "The Chinese painting method comes from calligraphy, 'no going back, no hanging, no shrinking', wonderful and subtle, not revealing. Europeans have studied the theory of Chinese painting for nearly two decades, not only going deep into the lines, but also paying special attention to self-realization with the pen. European paintings are too revealing and strive to lean towards the subtle work of the East. "Standing on such a height, he can naturally harvest the strength of Chinese and Western paintings and make himself blend into The East and the West." Therefore, Huang Binhong is not only a recognized painting master in China, but also a recognized painting master in the world.

About literati painting

Huang Binhong's criticism and contempt for literati paintings have strong practical significance. He commented on the literati paintings in this way: "The paintings of the city wells and rivers and lakes cannot be learned, and the learning must be based on the excellence of the scholars." Literati painting is almost the same as the city well, and it is also lacking in its practice skills. In Huang Binhong's eyes, literati painting is equivalent to shijing and jianghu painting. That was the case then, and it remains so. Some so-called literati, entertainers and officials, when they have some fame, or after they have a certain status, have just dabbled in calligraphy and painting, have no effort to speak of, and have nothing to do with art, they call themselves calligraphers and painters, and begin to solemnly peddle their garbage calligraphy and paintings. These people have no cultural conscience or artistic self-consciousness at all.

Interestingly, Huang Binhong also particularly admired Shifu painting. He believes that "the painting of Shifu, Hua Zi is thick and beautiful, is authentic", "the painting style should be the highest with Shifu painting".

In fact, most of the scholars were also literati. In ancient times, if you were not a literati, how could you become an official? It is just that shifu is a literati with lofty ambitions, high moral character, and profound learning, and is a literati who pursues the tao of writing, or a scholar, not a literati who can sell his soul at any time. Huang Binhong can certainly be classified as a shifu. He once wrote letters to Kang Youwei and Liang Qichao in solidarity with the bus; when he learned that Tan Si had been with Guichi, he immediately rushed to meet with him and approved of the restoration. After the murder of the Six Gentlemen, Huang Binhong was accused as an accomplice; in 1906, he was entrusted by the revolutionary organization to mint copper coins as funds for the activities of the revolutionary party. It can be seen that Huang Binhong is an "old revolutionary." He tasted the clouds, and the height of his paintings was rooted in his character; he insisted on elegant exercises, sharpened his skills, and eventually became a great instrument.

For Huang Binhong, there is also an alternative voice, some people say that his paintings have less variation in appearance; some people simply say that he can't paint. This is like someone who denies Wang Xizhi's words, you say it, I will listen to it, don't be more truthful. Huang Binhong (1865 ~ 1955), the original name of the quality, the character Park Cun, the number Binhong, do not sign to Xiang Xiang, Hongsuo, Park Jushi, Huangshan Mountain People, etc., after middle age to the number line. Born in Jinhua, Zhejiang, he was born in SheXian County, Anhui Province. In his early years, he participated in organizations such as the League and the Southern Society. He is the author of "Ren Geng's Testimonials", "Binhong Poetry Grass", "Huangshan Painters' Source Flow Examination", "Honglu Painting Talk", "Ancient Painting Micro", "Essentials of Painting Method", "Zhou Qinyin Talk", "Ancient Textual Evidence" and dozens of others.