Painter Mr. Liu Huaishan
In the contemporary painting world, Mr. Liu Huaishan (Liu Di) is not only a scholar of literature and history, but also an omnipotent and all-encompassing painter in the painting departments of flowers, birds, figures, animals, and landscapes. He is not good at business, but his influence is extremely high, and he is regarded by the art world as the pioneer of the contemporary traditional freehand painting field. More importantly, as a painter in the northeast and Inner Mongolia, he filled in the shortcomings in the history of painting in these two regions since Gao Qipei (1660-1734) (see below).
Looking back at history, the Northeast painting world has been very difficult along the way. Before the 19th century, painting and even traditional literature and academic thought lacked historical roots and regional references in the area. Even if there are sages like Gao Qipei, who founded the sect, their artistic honor and portal connotation represent that virtue is Jiangnan, not hometown. Therefore, such a reality led to the fact that painting did not form an inherent faction and an inherent tradition in the northeast. It was not until the advent of the 20th century that there was a turnaround, and this land full of revolutionary passion, industrial and agricultural myths, and mainly immigrant populations gradually had a matching literature and art. From Zhang Tong to Liu Huaishan and other places, northeast artists have been baptized by anti-japanese literature and art, revolutionary literature and art, and new wave literature and art, on the one hand, they have established their own artistic concepts and artistic faces, on the other hand, they have mastered the right to speak, and have begun to influence contemporary Chinese art education and art development trends. Realistically speaking, they have created miracles, and in a short period of decades, they have achieved academic identity and value recognition of themselves, their growth environment, and their times.
It is worth saying that Mr. Liu Huaishan is one of the few people in contemporary times who can connect literary philosophy, calligraphy, theory, appreciation, and various painting departments and painting types. In recent years, with the revival of traditional culture, his existence has been seen as a cultural phenomenon back to basics. Some people say that he is one of the people with the deepest traditional culture cultivation in the current painting industry. Leave it to the test of time, there is no need to repeat it here!
In recent years, Liu Huaishan's art has attracted particular attention, first, he has integrated the simple consciousness and family and country feelings since the late Ming Dynasty into painting, and has given animal and figure painting a set of historical, humanistic new connotations and new painting methods (see below). Second, on the basis of his predecessors, he made the traditional splashed ink and colorful flowers and birds, landscapes and garden paintings shine (see below).
<h1 class="pgc-h-arrow-right" data-track="222" > Mr. Liu Huaishan's artistic value and emotional generation process</h1>
He was born in 1948, one year older than the Republic, from an intellectual family, and his ancestral home was The Black Mountain in Jinzhou, Liaoning. His father, Liu Shixiao, worked in the government during the Republic of China period, returned to his original post after liberation, retired in 1953 and transferred to a private clinic to work as an accountant, and died four years later at the age of 50. In the same year, Mr. Liu was only 9 years old, living with his mother, and moved from Jinzhou to Hohhot City, Inner Mongolia at the age of 12, where he attended the eighth middle school in the city. At the age of 16, he was admitted to the art department of Inner Mongolia Normal University (two years of preparatory course and three years of college), under the tutelage of Mr. Qiu Shimu (1898-1970), a master of modern painting, educator and founder of the Central Academy of Fine Arts. During his studies, his mother (who died in 1968) and his mentor died one after another, and he was the only one who lived alone.
Mr. Qiu is one of the few guizhou modern painting historians, one year younger than Mr. Pan Tianshou, and at the age of seven, the imperial examination system was abolished. That is to say, he caught up with the last train of rural private school education and became the "old literati" who pointed to the modern new school trend, and in the storm of realist literature and art in the mid-20th century, he was treated unfairly and cleaned the toilets for the school. Because of his high myopia and poor legs and feet, he often hung a flashlight around his neck as an eye when he worked, and the broom was both a crutch and a tool for him to undergo labor reform. Eventually, because of his scholarship, fame, and moral denial, he ended up depressed.
Now it seems that it is people like Qiu Lao who maintain the last dignity of traditional values, and their depression and distress represent the national cultural and spiritual orientation of the intellectual groups of an era. In the eyes of Mr. Jiang Zhaohe, Mr. Qiu Shimu embodied the fine qualities of all the knowledge and literary and artistic elites at that time, and even the difficulties, anxieties, and helplessness in the mood of distress. Therefore, Mr. Qiu appeared in his "Map of displaced persons" (1942-1943). The middle-aged man in the painting is a weak, polite and desperate middle-aged man wandering among refugees, and the only decency is modern and traditional attire: new hairstyles, glasses and robes. This is the emblem of the historical transition period of some intellectuals who have adhered to traditional values and explored cultural outlets in recent times. Compared with reality, the golden stone pen and ink of the culture, the homeland, the ideal of life, and the old Zhuang Yiyi are the most powerful places of these "spiritual displaced people". In this way, they inspired a generation of people with literature and art that inherited the past and inspired the future, forming a freehand tradition that distinguishes the past and summons the future. Therefore, the turbulent situation has cast the glory of a century of literature and art.
Mr. Liu Huaishan is the person who can best cut Qiu Shimu and other old gentlemen at the end of this brilliant end, when the 68-year-old Qiu Lao withdrew from the stage of history, he was 22 years old and just about to graduate. It means that he felt the suffering of his mentor in the past few years of college, witnessed his artistic achievements and responsibilities, and later he had the shadow of a mentor: intellectual mastery, eloquence, modesty in behavior, depression in spirit, Compromise between Chinese and Western in dress, Shuoyuan nostalgia in pen and ink, etc. In short, Elder Qiu played a great role in Mr. Liu's life and the generation of artistic values.
Today, Mr. Liu has passed the age of obedience, and he gives the impression that he has many of the frank and depressive characteristics of modern literati, including a slight smile and a daze between small talks. In fact, the lamentation cultural tradition of the older generation, which was written with the honor and disgrace of the homeland and the nation, has formed lyrical and speculative feelings for the contemporary literati. They are accustomed to using peace to reach the realm, using peach blossom-style wild mountain forest paintings and poetry to make up for the gap between reality and heart. Of course, Liu Huaishan's poetry also has history, travelogues, and life insights:
In 1978, Master Jia Zuoguang came to Manchuria and performed three self-choreographed solo dances at the Friendship Palace, known as sabre dance, goose dance and rainbow dance.
Remembered for being a huanxi sand three que.
First, "Sabre Dance":
A vast sea of seas,
A few cries of the desert wind,
Hooves tumbled and flew away.
Swinging left and right to split the moon,
Vertical leaping meteors,
Whoever dares to grab his edge.
Second, "Dance":
LanXia hai lanxia was a few wanderings.
Cloud shoulder water sleeve Fei Pingzhang,
Boundless smoke and rain reminisce about Xiang Xiang.
Moonfall Pingsha Frightened Lonely Shadow,
Bo Han Qiu Yu Xiang Hengyang,
Hu Tian was too long to go.
Third, "Rainbow Dance"
Seven colors of Xiaming stop Tuotuo,
Twenty strings played,
Shu Ran is strong and skilled.
Children of The Bazaar Springs,
Walking ox camels under Ao Bao Mountain,
The four wilds listen to The Horner.
again:
In the early years of travel, there were several chapters of the miscellaneous. Three songs of water: bi soaked moss stone jade, clear strings straight to the sound of glass, and now Yangzi River heart water, that and mountain spring through the bone clear. The snow of the forest foothills has not disappeared, the trickle of curved slopes is shallow swamps, and the famous water of Dongying is out of Guanyue, and it is sweet and sweet. Between the springs and white stones, the hair is scattered in the sweet spring, and I am ashamed that I can't wash the old cows.
《Shin fat field Shimizuen Tea Room Sitting》
The eaves listen to the rain hitting the plantains,
Shattered Shadows wave of thoughts disappeared.
The trail smells coming and going,
Bamboo cicadas sing two flutes.
"Gatekeeper"
Ji Se Ming Qingxu,
Warm snow fills the mountains.
Frost Tree Hui Dan Persimmon,
Light vehicles guard the gate.
《Night Arashiyama》
The stone path is deep and cold,
Pine catalpa is speechless like a lead.
Zhou Gong Monument under the Pan Huan Jiu,
The tide of the East China Sea has been continuous.
In 1991, Nara ShōtiJi Temple visited the Imperial Shadow Hall, not open, and wrote two poems:
《Nara Line》
Staggered Danfengli,
During Hua Hua Cleaning.
Step to visit the famous cha,
Admire the Gurudwara.
Relics of gold and jade,
Pass the lamp to the sea.
Difficult Encounter Opening Mountain Festival,
Bow together.
《Friend Honda Kimi-ishoen》
Jade Mohua Lantern Shines Brightly,
Golden bottle sake embroidered screen circumference.
Eight treasures of the sea and land Luo cuisine,
Four corners of the fanghua fast food.
Qi Kuo Ping's life is frequently advised,
Talk about silk and missing things.
Can press the wine Xu Niang old,
The feast can still be enjoyed.
Two poems (1991):
First, the Lanling King. "Xin Mo Crossed the Haikou Five Gong Ancestral Hall of the Five Gongs of the Temple of Po Gong":
The name of the fifth, so that the yupo public exclusive number. Moving, the cape of the world, letting the wind and rain, and being safe. People are like turning. Honor and disgrace are all returned to dust. Recite the Crane Immortal? Didn't return, qingfeng Qiupu remembered? It is like a weeping goose, looking at the thousand autumns of Fangze and the ancient articles. The hair is long and the two pillars are long. Listen to the sea wind and tide of the moon, the shrine of the shrine. Shadow oak and coconut feathers, ghost birds blooming. Good place, good to live? Lead the tired guest to the shadows, and look back to the north. Qingshan a hair Shenzhou Road, want to Emei Mountain Moon, Chibi flat boat, West Lake bamboo trees, now waiting, the public returned.
Second, Shizhou is slow. "Haikou Huaidongpo":
The rest of Jiang Hai's life, Tianya's travels, and Zi Youqi's flat boat came and went, and the sleeves fluttered with Xiao Hua's hair. Floating and sinking, the staff of ordinary life is still walking, and the affection is still paying the wind and the moon. Yu Yuan hung the ice heart, watching the lonely Hong Ming disappear. Heart broken, no piano beckoning crane, there is jiaotong, mourning strings should be cracked. Ma Qinniu ya is harmless, and the crowd is happy. Singing and drinking, life can not rest anywhere. The sea moon rises in the south, illuminating the ice and snow of the liver and gallbladder.
In addition to this legacy, Mr. Liu also inherited the tragic and grand art forms of realist painters (such as under the influence of Xu Beihong, Jiang Zhaohe, Huang Yin and others), so that his paintings of flowers, birds, figures and animals have a vigorous, vibrant, and hopeful historical atmosphere.
<h1 class="pgc-h-arrow-right" data-track="221" > the heroism in Mr. Liu Huaishan's paintings</h1>
The artistic achievements of Xu Beihong, Jiang Zhaohe and Mr. Jiang Zhaohe are to establish a set of Western-style and time-honored practical art aesthetic standards and education systems in the fierce confrontation between Chinese and Western learning. The second is to combine traditional literary classics and the current national psychology in the literary and artistic atmosphere of the War of Resistance against Japanese Aggression, and paint a new painting method for characters and animals with a vivid and emotional connotation of heroism. Xu Beihong's "Yugong Moving Mountains", XiongShi, Ma, and Jiang Zhaohe's "Displaced People's Figure" (figure painting) are the most intuitive reactions. It can be said that no one's influence on contemporary painters can be compared with Xu Jiang. Because they not only gave the Chinese nation a compassionate and chivalrous spirit and aesthetic shaping in the literary and artistic front of the War of Resistance against Japanese Aggression and Salvation, but also provided a cultural and ideological guide for ordinary people in revolutionary literature and art. Liu Huaishan grew up in this context of sad death and calling for heroic sages. For example, Qu Yuan, Zhong Kui, Guan Gong, Yue Fei, Su Dongpo, Maxima, Baby Cow, Rooster, etc., who are familiar with the symbols of spiritual meaning, are common in art illustrations, literary publications, art exhibitions, and art preaching in their childhood, and nourished his art for the people, the nation, and the value of society. In his youth, he began to practice art by painting figures and animals, enabling him to transform his artistic ideals into physical and mental fulfillment. Therefore, his arrogance and chivalry are consistent with the works.
Horses, chickens, cows, camels, cats, cranes, eagles, myths, sages, heroes, and ladies are the focus of Mr. Liu Huaishan's creations, and how to look at his paintings has a magnificent and majestic atmosphere of modern and modern historical facts. His horses, such as "Songyan Eight Horses" (2002), "Soma Tu" (2002), "Wash Ma Tu" (2008), etc., or roaring, running, or frightened, depressed, in composition and intention to break through the cage of predecessors, and the sudden mountain stones, flying springs, waterfalls, vigorous pine cypresses in the literary context, lush grasslands, transcendent sages, and heroic heroes, appear in the huge paintings, forming a specific expression of the psychology of the panoramic society Chinese people: either return to the pastoral cultivation of the countryside, Or ride the battlefield to defend the country. However, the literati can rarely possess the ability of literary merit and martial strategy, and can only rely on ideals by transferring scenery through things. This is the unchangeable context of the literati on the road to Zhiping in the past hundred years. Based on this, the art of the Chinese nation is vivid and enduring because of the anxiety of the artist.
If Xu and Jiang enlightened Mr. Liu Huaishan's heroic complex, then Huang Ji is a direct reference for Mr. Liu's de-incarnation era and artistic style to catch up with the ancients. Both have pastoral life experience and are well aware of the living habits of horses, camels, livestock, chickens and poultry, and herders. But their artistic philosophy is the opposite due to differences in painting methods. Mr. Huang takes the west as the body, supplemented by tradition, and focuses on presenting a new style of the times that is different from the old history with the modernity of pen and ink and the characteristics of the current folklore. Mr. Liu, on the other hand, takes the middle as the body, and focuses on his historical outlook and local feelings with the brave and good warriors, the fat and strong horses with a sense of peace and distress, the desert, the camel caravans on the ancient road and the merchants. Carefully pondering his works on horses, on the basis of penetrating the Tang Dynasty, the Northern Song Dynasty, Zhao Mengfu, Lang Shining, and the Law of Proximity, it seems to tell people about a strong cultural penetration. For example, the impressive Han Dynasty, Tang Dynasty, Yuan Dynasty, Ming Dynasty, And Kangqian Dynasty period of Shangwu conquest ability, trade ability and tribute history. Perhaps, only in this way can we deepen the thinking of the modern history of this nation.
Carefully analyzing the differences between Huang and Liu, its subtleties lie in: First, Huang Guan uses a straightforward, thick, and firm sketching brushwork, traditional ink method and strong Western color, turning the donkey in the traditional landscape background into the main scene of the new era figure painting, coupled with joyful national figures and ethnic musical instruments, which is very characteristic of the times. Second, Huang Guan combined eagles, mules and horses, chicken dogs, sheep, modern engineering equipment with the scenes of labor or celebration on the grassland, and vividly praised the harmonious social scene of passion, unity of will, vitality, and no difference. On the basis of Borrowing Huang Zhizhi's pingyuan, grand and cumbersome arrangement method, Liu Huaishan, on the basis of the previous people, used pure Chinese ink to give camels and horses a long, bumpy historical connotation ("Anxi Camel Brigade", 2005, "Horses Leaping grassland" 2002). His sub-scene characters avoid the present, feel the history, and have a tragic metaphor of not saying it! In the natural scenery, Huang Lao's grassland is flat and lush with grass, while Mr. Liu's grassland is soothing and rugged, writing a long and changeable scene with a curved river and a heavy vista.
In short, Liu Huaishan's animal and figure paintings are divided into two kinds: freehand and realistic. In either case, nostalgia is one of its simple concepts of recalling and reflecting on history.
In addition, Mr. Liu Jiji and Mr. Ye Qianyu also preached to Mr. Liu Huaishan. Liu Lao was the son of Liu Kuiling (1885-1967), who had a family tradition and was freehand and realistic. Ye Lao is an outstanding representative of Xu Jiang's pulse, and his modern figure paintings are unique. For a period of time in the 1970s, Liu Huaishan and Erlao painted in the Chinese Painting Creation Group of the Ministry of Culture, and they were fortunate to be taught by themselves and benefited a lot.
<h1 class="pgc-h-arrow-right" data-track="220" > the simple value in Mr. Liu Huaishan's paintings</h1>
Mr. Liu attaches great importance to historiography, which stems from thinking about history. Whether it is its characters, animals, or large-scale flowers, birds, landscapes, history-based, around the Western Zhou, Han and Tang Dynasties, northern Song Dynasty entrusted their own realistic ideals. It is not only an inscription poem, but also a narrative of history, such as the late Tang Dynasty poet Bai Juyi's "Long Hate Song", "Pipa Line", Li Yu's "Yu Meiren", etc. are his models for borrowing ancient amusement. In the mood of remembrance and mourning, he tried his best to avoid and revise the academic ideas and literary concepts attached to the Southern Song Dynasty and a weak historical fragment after the "Shame of Jingkang" in terms of painting method and style. "Tang Autumn Hunting Map" (2008) is based on the scene of the Western Han Dynasty Five Tombs teenagers (Gao, Hui, Jing, Wu, Zhao Emperor) hunting in the Shanglin Garden in Bashang (Chang'an), singing the praises of the Han and Tang Dynasties in the spirit of the Taiping Dynasty, the end of the painting is still unfinished, using the form of writing and poetry of the nation to point out the essence of the decline of national strength from the Southern Song Dynasty to the late Qing Dynasty, and the literati have little to do.
Title "Tang Dynasty Autumn Hunting Chart Song":
The golden wind vibrates in autumn clouds,
Wuling was young and arrogant.
The eagle of the horse called on the beach,
Embrace the city of Weicheng.
The official appearance of the princely instrument Yucai,
General Bow Ma Yu Lang Qing.
Birds and beasts walk in the woods,
Hunting fire rides the Dust Roaring Tiger Dragon.
Qingfeng white feathers like electric sweeps,
The bear captures the leopard and the deer fall.
Fist hair fierce frost hoof disease,
The leopard lets the eagle listen to the hunting horn.
Shu Shu strikes at the hunting mountain Lin Qing,
Okisaka Takaka Kana taihei.
Shaoqu Yao is really magnificent,
The Way of Literature and Martial Arts is Zhang Chiheng.
I call the Tang Dynasty More Heroic Martial Arts,
The Song, Yuan, Ming, and Qing dynasties are enough.
Only promises to be like Shunnu,
Muddled is cynicism.
Whoops, Ander revives the majesty of China,
Look directly at the world as a vassal!
Also, eight poems inscribed on the old work of the nineties:
One:
Snowy Mountain Sozuki Kake,
Frost-shrilled boulders,
Bursting stars and hooves,
Dragon Moraine Teng.
Second:
The sunset is quiet,
Great Wall Water Cave Cold,
Wash the list in blood,
Green iron even money.
Third:
Junben West Pole,
Guan Shan Du Ruofei,
Never heroic,
Not in the Golden Terrace.
Fourth:
Wujiang Wuxiao wept,
Chu Tent Chu Song Lamentations.
Yu Ji dominates the industry,
Looking back, it has turned to ashes.
Fifth:
Dragon City Flying General Xiong,
The number of odd unsealed gong,
Arrow scars mark the blood,
Roaring acid wind.
Sixth:
The Southern Expedition has been fought in a hundred battles,
Leather wrapped in corpses,
Do not envy the fruit off the horse,
Paragraph line is delayed.
Seventh:
Old and sick,
The mouth is tired of coarseness,
Hugh,
It was not as strong as before.
Eight:
Sending himself to Kita Qunjiu,
Tengfu to the fullest,
Self-congratulatory thousands of miles,
Who sees Bó Lè lai?
Referring to history, the literati of the pre-Qin, Han Dynasties, late Ming, and early Qing dynasties all had the habit of interpreting the past and the present. Jia Yi's "Treatise on Passing the Qin Dynasty" attributes the fall of the Qin State to the rule of the Fa. In the early Qing Dynasty, Wang Fuzhi, Gu Yanwu, Huang Zongxi, Li Zhen, and later Dai Zhen and Kang Youwei were all like this, blaming the demise and decline of the former dynasty or the current dynasty on the emptiness of the main academic thought. In the final analysis, tracing back to the ancient world is a way for the literati to be pragmatic in academic thinking, literature and art, and it is also a means to reshape values, purify the national cultural bloodline, and reach out to oneself with a historical attitude. Therefore, painting has changed with the changes of the times, and the Han and Tang dynasties and the Shang and Zhou brushwork have been more and more advocated. First of all, the people-oriented thought has become the main body, and the painter does not just express his joy when painting, but feels the history and cares about the current reality. Such as beggars, street wells, shepherds, butchers, displaced people, monks, etc. have become popular materials for painting. Secondly, bronzes with elaborate and annotated thinking, ancient writing meanings often appear in paintings. Relatively speaking, figure painting is at the forefront, followed by flowers and birds, and then landscapes. Representative figures include Chen Hongshou, "Eight Monsters of Yangzhou", "Three Appointments on the Sea" (Ren Xiong, Ren Xuan, Ren Yi), Wu Changshuo, Qi Baishi, Huang Binhong, etc. As a member of the historical context, Mr. Liu Huaishan's art conforms to this law, and his ideal of Jingshi Zhiping is most in portrait painting and animal painting.
Chen Laolian is an important figure in the development of paintings that inspired Qianjia, Wanqing, the Republic of China and Liu Huaishan. His contribution does not lie in the realm of brushwork and reasoning, but in historical reality, sensuality, and literature. The "Eight Monsters of Yangzhou" and the "Hai School" are the beneficiaries of his painting ideas. The meaning of Chen is equivalent to huang zongxi, Gu Yanwu, and Wang Chuanshan, the ancestors of Pu Xue in the early Qing Dynasty, and they have the merit of opening mountains. In fact, the early Qing Dynasty was a period of great changes in Chinese social and academic thought, and Pu Scholars tried to establish a new social system and academic thought from the reinterpretation of historical classics. For example, Gu Yanwu's "Rizhilu", Huang Zongxi's "Song Yuanxue Case" and "Ming Confucianism Case", while questioning the principle of Song Yuan's mentality, at the same time reinterpreted and re-understood the classics of Han and pre-Qin. In particular, the interpretation of the Spring and Autumn Period turned simple Confucian scholarship into practical ideas at that time, and through Dai Zhen, kang youwei was brought to the extreme. This is where Kang Youwei established Neo-Confucianism, advocated the study of new and modern texts and scriptures, and was determined to change the law. It should be said that Pu Xue has provided ideas for China's social change, academic thought, and literary and artistic transformation.
Although Park Xue left the table, Liu Huaishan was a painter with a sense of evidence and change. In the scenes of his figures, flowers and birds, people can always see the Shang Zhou bronze artifacts that reflect the simple value, and the bronzes are the most powerful historical and cultural heritage that embodies the values, morality and academic origin of the Western Zhou. It illustrates a problem, he is influenced by academic thought in recent centuries, and he questions the inherent doctrine and the inherent law. The purpose of this is, first, to reject Westernization and pursue the cultural identity of the Chinese nation, and second, to bypass the Song Yuanming and explore the truth at the most powerful and inclusive historical source of the Chinese nation. Liu Huaishan recognized the historical and cultural advantages, including the Northern Song Dynasty, from the Han and Tang Dynasties to the Western Zhou Dynasty. In contemporary times, few people can give the reader so much information in their works. His figure paintings, such as trees and stones, are thicker than those of the Northern Song Dynasty, and his brushwork is more clumsy, and it can be seen that the pre-Qin culture of Ru Pu (see "Pu" in the Quotations of the Bitter Melon Monk Paintings) is the source of his transformation of the Fa.
Although Mr. Liu Huaishan did not write a theoretical article of great enlightenment and transformative significance like "Quotations from The Painting of bitter melon monks", his contribution to the history of contemporary painting cannot be underestimated. He transformed his paintings with the connotations of "Book of Poetry", "Getaway", Tang poems and Song Ci, and Song Ming's philosophy of mind into reality. Even ordinary literary paintings such as Chen Laolian's "Bogu Leaves", "Water Margin Leaves", "Nine Song Diagrams", and "Records of the West Chamber" have also been borrowed. As a result, his works blend historical reality with folk literature and are more socially acceptable and practical than before.
Under the influence of "Eight Monsters of Yangzhou" Huang Shen, Min Zhen, Jin Nong, Luo Ping, Gao Fenghan, etc., Mr. Liu Huaishan replanted and developed the freehand tradition of figure painting. He integrated the cursive calligraphy, golden stone brushwork and freehand interest of landscape, flower and bird paintings into figure painting, which became the main feature of this era. More importantly, rural and social issues have become a major focus of his attention to people's livelihood, from the ghosts of the immortals and Buddhas, the sages and gentlemen, down to the peddlers and pawns, and even the beggars are presented in his works, vividly reflecting the spiritual responsibility and thoughts of contemporary painters. If we want to analyze it from the perspective of intellectual history, Qianjia's academic attitude towards the world has greatly influenced the development of figure painting in the following centuries. In addition, Mr. Liu's paintings often appear in various figures who recite classic ancient books, practice guqin, appreciate inscriptions (Guan Tu Tu, 2007), play with bronze and other utensils, and even flowers, plants, and stones (Bai Shi Tu, 2014), which will become the object of contemplation and study in the painting. This coincides with the rigor of the study of evidence in the pursuit of the origin of all things.
In contemporary times, Liu Huaishan reversed the practical decline of figure painting, and on the basis of the previous human law, he borrowed the rural folk tastes and Jinshi freehand brushwork of the four seas (Ren Xiong, Ren Xuan, Ren Pre, Ren Bo Nian), Wu Changshuo, Wang Yiting, etc., to paint characters with great vitality. The history, mythological figures, handmaidens, servants, sages and gentlemen, rural folk tales, and quaint brushwork in his paintings all reflect a sense of historical and cultural identity.
In summary, the significance of Mr. Liu Huaishan's figure paintings lies in thinking about history, correcting history, and establishing a painting face and cultural self-confidence that conforms to the times. Like the above-mentioned "Tang Autumn Hunting Map" (2008), there are also such as "Dongli Xiangju" (2014), "Xian Weng Xianshou" (2011), "Chengtian Temple Night Tour Map" (2006), "Tiger Tent Night Reading Map" (2007), "Autumn Qing Poetry" (2005), etc., which are different from the images of Laozi, Han Wudi, Dongpo, Xizhi, Guan Gong and so on.
<h1 class="pgc-h-arrow-right" data-track="219" > how Mr. Liu Huaishan's cat, tiger, crane, and pine distinguish history</h1>
There are many people who paint cats in ancient and modern times, and from the Song Dynasty to the contemporary era, many people with profound achievements have emerged. In recent decades, there have been many people who specialize in cats, which is familiar to everyone. However, Liu Huaishan's cat breaks people's inherent impression of cats in ancient paintings and establishes an inner cultural temperament with personification, connotation and spirituality. His cat is not the size and subtlety of the Song and Yuan, Ming and Qing dynasties, and the dexterity and wealth of the Republic of China literati in pen and ink, but a lazy, mighty, or ugly and powerful sense of distress and historical and cultural figures worshiped in the ink freehand. Therefore, writing people with objects and reasoning with pictures is its original intention.
His cleverness lies in the fact that through the beauty and ugliness of the cat's appearance, the black and white on the coat color, corresponding to the yin and yang, good and evil in philosophy, and the male and female in biological gender, he also borrows the classic narrative and reasoning techniques in the history of ancient literature such as "The Getaway" and "Three Heroes and Five Righteousness", and argues the things he writes in name only. Anyone who has read ancient classics and literary works knows that the gods, sages, emperors, and heroes written by the ancients often have abrupt faces and imbalanced body proportions, but they have extraordinary virtues, talents, and even supernatural mysterious powers. In addition, Mr. Liu Huaishan gave the cat the majestic and ferocious ink freehand image of the tiger, and placed it in the mountain forest, on the one hand, using the lofty mountain forest culture to perceive the traditional hidden and unguided king self-cultivation and the realm of Gao Shi, on the other hand, he expounded that the literati in the modern evolutionary social jungle law are only metaphysical spiritual kings, not real masters. Because of this, the anti-Ding Kung Fu of ancient and modern writers and artists only exists in pen and ink. Su Dongpo, Wang Meng, Shen Zhou, Xu Wei, Bada, Shi Tao, Wu Changshuo, Qi Baishi, Li Kuchan and so on. Whenever a writer and artist cannot exert timely strength in the face of reality, he will put his heart and spirit in the pen and ink, and self-deprecation and the pursuit of historical blood are the main expressions of his literature and art. For example, Mr. Liu Huaishan's "My Little Beaver" (2013) is a poem with a black ugly, cowardly, timid, lazy cat and a tiger, triggering self-examination.
My little tanuki is as black as charcoal,
The place is pampered.
Occasionally leave the house comfortably,
The insect bird was never seen before it flew.
The fun steps are not lifted,
Meow meow mys and myses tremble.
Erzu was also a tiger,
Why is Er so cowardly and condescending?
He painted the tiger and the cat, using the Heavenly Dao, humanized materiality, and the three-fold realm of harmony and Confucianism to embody the ideas of the inner saint and the outer king and the faithfulness, benevolence, and righteousness. When his tiger appeared in the mountains and forests, he had a brave posture and a graceful and luxurious manner, and was a real king of both culture and martial arts and cultivation ("Mountain Moon Tiger Howl", 2005). In particular, the tiger is paired with the cold mountain stones, the rapid waterfall, the curved pine, and the full moon that shuttles through the dark clouds, which has the meaning of the tiger not seen, the killing qi, and the yin qi have arrived. The highest state of painting is to be silent and sound, and to move the whole body with one hair. Looking at Liu Huaishan's mountain tiger map, even if it is a grass and a tree, it is the sound of the tiger.
The predecessors painted tigers in more corners, writing tigers with tigers, while Mr. Liu stood in the mountains and forests from far and near. With the shade and sunshine of the mountains and forests, the twilight of the day, the trees, stones, and weeds change in the four seasons, the disposition of the tiger is exhausted. At this point, I thought that he was painting the tiger in the mountain forest Coats painting method, the tiger is only a point scene, and the mountain forest is the main body.
Mr. Liu Huaishan's Fuhu Diagram is a combination of thick pen (tiger, mountain forest) and thin pen (character), with a well-behaved mountain forest tiger to write the child's face crane hair, the weak and weak Arhat's poisonous inviolability, and the tiger and wolf's cultivation ability ("Luohan Tune Chart", 2009), and the other is to use the Golden Stone Thick Brush Writing Method to write the above principles ("Tune The Heart", 2009). However, the former tends to do nothing, and the latter has the meaning of conquest and domestication.
Since the Northern Song Dynasty, cangsong and weeping willows have been the subjects of Chinese painters, and their pursuit of life, meaning of life, morality and spiritual realm is reflected in this way. However, the more common things are, the more difficult it is to paint, and with the continuous transformation of painting brush and ink and ideas, Pine Willow's painting method is also changing. Specifically, Jing Hao, Dong Yuan, Zhao Mengfu, Ni Zhan, Wang Meng, Dai Jin, Shen Zhou, Wen Zhengming, Tang Yin, Shi Tao, Bada, Wanjiang, Wu Changshuo, Chen Banding, Wu Hufan, Fu Baoshi and other famous masters of the past have different shapes, but they are different in shape and qualitative. In the final analysis, they simply pursue the garden of Eden they shared in their hearts in the evolution of history.
The Garden of Eden in the minds of Chinese painters is the local sentiment in the poetry and literature of the ancients, and the poems of Tao Yuanming, Wang Wei, Li Bai, Liu Yuxi, Meng Haoran and Zhou Dunyi are undoubtedly the first choice. Their poems include specific literary, philosophical, religious expositions, and figurative depictions of lotus flowers, pine trees, chrysanthemums, peonies, the "Four Gentlemen" (Meilan Zhuju), and literary objects (Tao Yuanming's "Peach Blossom Origin", Liu Yuxi's "Buried Room Ming", Zhou Dunyi's "Ai Lian Shu"). In the course of art history, which emphasizes the concept of "literature to carry the Tao", the poetry of these people has become the basis for the integration of painting and literature. Liu Huaishan's paintings look more and more like poetry, but more vivid than poetry. In his "Visiting Friends" (2007), the old man with loose clothes, the young child, the dilapidated village house, the pen in disrepair, the simple pine trees, the sparse bamboo, the messy stones, and the weeds make it easy to sit in the poetry of a certain ancient house and a certain sage. However, because the artist adds personal emotions to his paintings, his paintings hide secrets that are not known to the outside world. We can only understand that Tao Yuanming in his paintings has me, and at the same time, there are also the cultural commonalities of all the historical sages such as the Seven Sages of the Bamboo Forest, such as "Songliang Xia Jianren" (2002).
"Visiting Friends" and "Songliang Xia Jianren" have very different painting methods and the artistic conceptions are the same. The former tends to pay homage to the Song and Yuan painting methods, and the pen and ink and color have a green and green peaceful and detached atmosphere with the characteristics of the era. The pine leaves are dense and cumbersome, the bamboo double hook is cheerful, the characters are elegant and dignified, and the clothing pattern is rigid and soft. The latter completely continues the cold and astringent atmosphere of Haipai Jinshi. To these two points, Mr. Liu Huaishan is a person who runs through the history of painting.
One reason is clear. Mr. Liu Huaishan painted plums like writing pines, not at the end of the branches, but in the trunk. His plum is tall and towering, with eagle cranes perched on it and tourists below. Neither like the ancients nor like the present. Its moss is the same as the method of pine willow and mountain stone, which is full of ancient meaning and has a unique interest. For example, "Half Hidden by the Door of the Guest to the Spring Flower" (2002), the momentum is better than that of the ancients, and it is completely a poetic landscape painting with a large scene, a large realm and a large scale. Strictly speaking, he took a different path and created another painting method of Mei, applying the arrangement and brushwork of landscape painting to flowers and birds.
By the beginning of the 20th century, the painting of flowers and birds passed through the Hai school and Qi Baishi, Pan Tianshou, Li Kuchan, etc., reaching an insurmountable height, forcing the painters who followed them to find another way out and look elsewhere. It was in this situation that Liu Huaishan avoided its sharp edge, took the strengths of the landscape and water, integrated it, and created his own family law that conformed to the times. His contribution lies in the use of the dignified and solemn traditional landscape, the grand and delicate aura, to make up for the inner emptiness left over from the excessive pursuit of force and potential of freehand flower and bird paintings, and the external publicity. Secondly, he opened up the boundaries between landscapes, flowers and birds, animals, and figure paintings, making the content of flower and bird paintings richer and more readable. His "Guest to Spring Flower Gate Half Hidden" spans various painting disciplines and does what a painter who is simply good at painting in a certain subject cannot do. Objectively, a well-rounded painter like Liu Huaishan is rarely unsurpassed in contemporary times. Then, some people say that he is the "holy hand" of the painting world is not at all prestigious!
<h1 class="pgc-h-arrow-right" data-track="218" > the change of Mr. Liu Huaishan's landscape paintings</h1>
In the first half of the 20th century, landscape painting was accused of being associated with Song Ming's study of mental nature, violating the "scientific method of realism" (drawing, perspective, oil painting techniques), and detached from the aesthetic tastes of the general public, and once collapsed. In order to distinguish history and cater to the situation of the times, the painter chose two methods of "transformation": first, use the concept of realistic figure painting (sketch) to paint the real mountains and real waters seen with their own eyes, instead of the ink or green face of traditional landscape painting (Beizong) and Qingyi Andyuan (Nanzong); second, replace the pavilions and sages (such as Shi Lu) in traditional landscape paintings with fashion figures, life (field labor, grain delivery, park entertainment), and production scenes (water conservancy construction, pioneering, grain harvest). In general, the content of landscape painting has been enhanced, but the connotation is thousands of miles away from the national form. With the accumulation of time, contemporary landscape painters are caught up in new plagiarism (to the scene, to the photograph). Those who engage in tradition, the ills of roughness are getting bigger and bigger.
Liu Huaishan is a special case, with the new understanding of tradition and realism since the 1980s, he has made a trade-off between the two, taking the high ancient expression of traditional painting and giving up the vulgar content that is not suitable for the times. It is reasonable to say that the incorporation of the "scientific method" and realistic techniques of "content is greater than form" is the root of the alienation of traditional painting; form is greater than content, which will make traditional painting detach from the needs of the times. Liu Huaishan realized this, and took the changes in pen, ink and color, and the richness of the composition, taking it moderately. Because he came from a science class, he had a foundation in sketching, drawing and oil painting techniques. Therefore, in the use of color, it is not limited to traditional pigments, in order to achieve the expressive effect of the work, Western pigments are used in its splash color paintings (Chibi Huaigu, 2016). In the composition, to avoid similarity and similarity with history, he borrowed the flying cranes, cats and butterflies in traditional flower and bird paintings, and also painted them with fashion shepherd boys ("Sunset Cow Back Like Mountains" 2010), water buffaloes playing in water ("Bathing Cows" 2014), working fishermen, able-bodied horses ("Songyan Eight Horses" 2002), the majestic Great Wall ("Xiongguan Dawn" 2008), tragic historical facts ("Guancang Sea" 2008), and rolling rivers and seas. This change, on the one hand, makes the traditional landscape of somber, thick, light and empty breath lively, bright and vivid. On the one hand, the ancient method of arranging the partitions (see "Quotations from the Paintings of bitter melon monks") has become tall and majestic according to the law of nature, and the layers of mountains have become tall and majestic. Many changes have laid the foundation for the elegant and customary appreciation of his paintings. The upper can withstand the academic scrutiny, and the lower can take the favor of ordinary people. Lao Tzu said: "Victory without contention, good response without being, and self-calling without being called." "As a hermit in the commercial downtown of Kyoto, Mr. Liu Huaishan is cautiously alone, and his paintings have not participated in a commercial operation, but they are sought after and affirmed, which shows this problem."
Mr. Chu Tunan commented on Liu Huaishan's work: "The hills and ravines are strong in the chest, and the wind and bones are self-exhorting. "The hills and the chest are knowledgeable, and the wind and bones are noble in character. There is no bone and no reason, and there is no bone and no knowledge is false. I would like to ask, how many literati artists like Mr. Liu Huaishan, who are both knowledgeable and wind-headed?
Mr. Dong Shouping is a noble and arrogant man, and it is rare for contemporary paintings to enter his eyes. Before his death, he gave Liu Huaishanzhi high praise for his works: "Divine ingenuity, and the power in the pen." "Divine wonder is born in the heart, and quan qi is born in reason." The heart is in harmony with reason, and there is a magic in the power of qi.
<h1 class="pgc-h-arrow-right" data-track="217" > three forms of expression and advantages of Mr. Liu Huaishan's freehand landscape paintings</h1>
"With copper as a mirror, you can wear a crown, take history as a mirror, you can know the rise and fall, and you can use people as a mirror to see the gains and losses" (Old Book of Tang, Wei Zheng biography). Mr. Liu Huaishan's landscape painting is a classic model of art history and art theory change, which can make people see the complex change process and theoretical requirements of traditional landscape painting, and can also make people aware of the lack of contemporary landscape painting. Since the departure of the older generation of artists, contemporary traditional landscape painters, in the pursuit of the fun of gold stone freehand, splashing ink and splashing color, have only worked the novelty of the momentum and appearance, but ignored the principles of subtle size and simplicity and nature. Reasoning is not exhausted, and the charm does not exist. The reason is that the pen and ink are extensive, the arrangement is monotonous, and the literary and philosophical weakness are essential. In contrast, Mr. Liu's paintings can stand up to their intentions in the big places and fully realize their nature in the small places. The mind of the teacher and the creation of the master are in harmony with each other, so as to unify all things. Between the inches and eyes, the stars shift, the wind and clouds change, and the weather is ever-changing.
In summary, Mr. Liu Huaishan's freehand landscape paintings mainly have three forms of expression, namely ink freehand ("Wulaofeng in the southeast of Lushan Mountain"; "West Garden Poetry" 2013;), green and green freehand (Qingjiang Thousand Miles Around Qingshan" 2013; "Jiangcun Chunxiao" 2014;), and Splash Color Freehand ("Chibi Huaigu" 2016; "Bright Moon Out of the Heavenly Mountains" 2017). If you refine it further, there is also Zhu Pen freehand (Xialing Jiangshan, 2008).
His ink painting has opened up the estrangement between the north and the south in the history of painting, and combined the majestic, abrupt arrangement and green color design method of the "Northern Song Dynasty" with the loose and distant and inky quality of the "Southern Sect", forming a long,broad and lasting historical and cultural system. In particular, the garden painting method of "courtyard body" is transformed into ink on the basis of the Song people and the Ming people, and then integrated into the fun of flower and bird painting ("West Garden Poetry" 2013; "Wash Picture" 2017), which can be described as a big change.
Tranquil Pastoral Garden ("Xiqiao Gui Twilight" 2008; "Shenan Shebei Spring Water" 2008; "Jiang TianQiu Shuang" 2010; "Lake Light Qingbo" 2011), Yeyi Mountain Forest ("Bian Zhou Steady Pan" 2004; "Red Maple Valley in the Jade Waterfall" 2010; "Shu Dao Difficulty" 2011) are two of mr. Liu Huaishan's two ink landscape painting themes. The former focuses on using gaoyuan arrangements, writing peach blossom-style jiangnan rural life with thick pens and large ink balls (dots). The latter uses a majestic brush to outline the changeable, difficult, tall, and cold mountains in the high-distance arrangement method of "sitting and looking out", and then dyes the mountain body or the accumulated leaves with bright colors, presenting a viable, hopeful, swimmable, and livable atmosphere. Emperor Bingzong of the Southern Dynasty said, "Fuqin moves to make all the mountains sound." The footsteps of pedestrians, the shouts of shepherd boys and boatmen, the arguments of Gao Shi, and the sound of playing the piano can resonate with the sound of wind and rain and birdsong in Liu Huaishan's works. It can be said that it is a whole body that moves with one hair.
Liu Huaishan's ink play landscape ("Bodhisattva Wild Word Meaning" 2000; "Xishan Pavilion" 2004; "Autumn Pavilion Qing dialect", "Deserted Forest Sayings", "Autumn River Twilight Yin"), there is a big world in the small scale, and it is very kung fu. He is not meticulous in cumbersome arrangements, ingenious and unique depictions, only framing one corner of the scene, using the golden stone flower and bird painting method to draw grass and grass brush, can achieve one of the anti-three artistic effects. Shi Tao said, "The black ink is in the black ball, and the heavens and the earth in the black ink group are wide." "In the spirit of neutrality in the sea of ink, life is decided under the pen, the scale is replaced by hair, and the light is released from the chaos." This is what Mr. Liu Huaishan should do.
The green landscape is the foundation of the de-ink into an independent system. Liu Huaishan's "green" is a unique style based on ink painting, on the contrary. The trees and stones, weeds, houses, boats, cars, and costumes of the predecessors, even the clouds and water systems must reflect the meaning of golden splendor. Mr. Liu Huaishan only colored the rocks, and all the other scenery was full of ink imagery of "knowing white and keeping black". Objectively, he has made changes in two aspects: First, he has changed the wealth, prosperity and noise in the history of "green painting" into simplicity, elegance and simplicity. For example, the silhouette of its mountain is not covered with gold powder; the lining figures do not live in groups in large scenes, but are replaced by pedestrians and coats who are alone in simple clothes; and the boat and car bridges are not heavily painted, only a few strokes, expressing meaning. Second, he will be left over from a certain period of green landscapes and rivers with inherent drilling camps, board stagnation habits, and ink freehand methods become casual and natural. At Liu Huaishan, green and ink merge, reflecting each other in a painting.
The splash color method is derived from the color care method of green landscape and the water method of ink and the method of thick, light, broken, splash and accumulation. To Zhang Daqian, He Haixia, Liu Huaishan, this method is a big preparation, in the history of painting evolved into an independent system, and shined. To a certain extent, because the face of splashing color landscape is close to the classical impression school of the West, the color has borrowed from the West, so it is easier to identify internationally than ink painting.
Liu Huaishan's splashing landscape is close to Zhang Daqian and He Haixia's method, and the Song Dynasty's Wang Ximeng, Liu Songnian, Li Tang, Ma Yuan, Xia Gui, Zhao Boju, Zhao Boxiao and other green methods. In addition, Huang Gongwang, Wang Meng, Shen Zhou, Wen Zhengming, Dong Qichang, Wang Shimin, Wang Jian, Wang Yi, Wang Yuanqi's arrangement, fine brushwork, Gong Xian, Shi Tao, and Bada Shanren's simple and relaxed characteristics make his colorful works eclectic and receptive. In the process of shi cheng, he achieved the sharpness and hardness of He Haixia's brushwork, the slenderness of Zhang Daqian's brushwork and the anger and too thick side brought about by the deliberate management of ink color. Overall, Mr. Liu Huaishan writes about the spring in natural creation ("Taiyue Majestic" 2016; "Returning to the Boat" 2016), "Returning to the Boat" in 2016), "Listening to the Spring" 2016; "Cangyan Biling" 2016; "Mountains and Clouds" in the Rising Mountains, 2016), "Spring in the Mountains" (2016), "Pan Boat Revisiting" in his poems ("Chibi Huaigu" 2016; "Lake Sky Qing×jing" 2016; "Empty Green Desire wet clothes" 2016; "Tang Poetry" 2017), travels ("Taiyue Xiongzi" 2016; "Returning to the Boat" 2016), Xinyi ("Listening to Spring" 2016; "Cangyan Biling" 2016; "Mountain Clouds Rising" Mountain Springs and Waters" 2016) 2016; "Water Clouds Ring Blue" 2016; "Bright Moon Out of the Heavenly Mountain" 2016), Autumn ("The Window Contains the Thousand Autumn Snow of the West Ridge" 2016; "Forest Smoke" 2016, "Mountain Residence Autumn Evening", "Rafting Map"), Winter ("Bright Moon Out of the Heavenly Mountain" 2017). Works in the form of horizontal horses, vertical shafts, and sketches (Creek Bay Boat, 2017) and so on. The first two forms, the color layers of dyeing, strange and strange. It is arranged with the methods of Wang Meng, Gong Xian, and Li Kejian, and the picture is full and the mountain is steep and dangerous. The latter pursues ethereal and natural qualities, with the connotations of Shi Tao, Eight Greats, Broken Hair, and Gradual River Relics.
In the Southern Song Dynasty, Yang Wanli wrote a poem about the twilight view of Hongze Lake in Jiangsu Province: "Sitting and watching the sunset in the west, it is not a mountain or a cloud." Every inch is low and suddenly completely gone, and there is no trace of entering the water" ("Twilight of the Lake"). Based on this poetic conception, Mr. Liu Huaishan created a splash of color landscape with the title of "Clear Scenery of Lake Sky". The sunset and the water and sky are the same, the mountains with the color of the illusion, the lush trees, the lonely boats, and the endless vista are the highlights of this work. In terms of creative techniques, he avoided the far-reaching, grand and meticulous arrangement of Wang Ximengzhi's "Map of a Thousand Miles of Rivers and Mountains", and borrowed Huang Gongwang's "Fuchun Mountain Jutu" method to write magic in plainness. Its significance is that the use of color instead of ink gives the Nanzong landscape, which is closely related to poetry, a way of splashing color. The literary, poetic and humanistic nature of the splash color has become more abundant.
Su Dongpo's poetry is quite popular with modern and contemporary painters, and Fu Baoshi and Zhang Daqian have all borrowed Su Dongpo's words "Nian Nu Jiao Chibi Huaigu" to create paintings (Mr. Fu is pure freehand, Mr. Zhang is ink and green). But the use of this word in a pure splashing technique, Liu Huaishan can be described as the ultimate. The main body of the painting uses the traditional methods of breaking, splashing and accumulating, and the three are alternately used in ink, stone green and stone green, creating a complete "boneless" mountain forest Qiankun. The close-up rapids of the river, the boats that go down the trend, and the characters with different main and different shapes set off the picture particularly vividly. Especially the characters, the combination of traditional line drawing and Western perspective, the ancient sees the new, the stillness is moving, and the business is unique.
In summary, it is a major breakthrough or innovation in Mr. Liu Huaishan's poetic splash painting! His other three major breakthroughs (innovations) are: First, the famous mountains and rivers he travels, walks, thinks and thinks of ("Taiyue Majestic"), natural landscapes, and pastoral scenery ("Lake Sky Qingjing" 2016, 69cm×45cm), according to his own wishes, randomly arranged and sprinkled at will; second, he fills the shortcomings of the snow landscape in the history of splash color painting, and perfects the splash color aesthetic standard of Xinjiang Tianshan theme painting ("Bright Moon Out of Tianshan Mountain" 2017); third, the desk ink play landscape sketch that plays the predecessors on the pen end, Transformed into a small inside, large without outside, ethereal and simple, far-reaching artistic conception, rich in Jiangnan atmosphere of the splash color style ("Lansheng Tu", 2017).
It is worth saying that Liu Huaishan's achievements in the snow scene are huge. Before him, Zhang Daqian, He Haixia and other predecessors were all contrasting in the ink color that was appropriate for sketching and thick and light, reflecting the brightness and reality of snow. Snow in the work, often belongs to the point scene or subordinate position. Mr. Liu Huaishan did not follow this number of paths, his method is to directly on the well-contoured main scenery of the mountain, with titanium dioxide pigment layer by layer dye, close to satisfaction.
<h1 class="pgc-h-arrow-right" data-track="216" > Mr. Liu Huaishan's thoughts on the contemporary painting community</h1>
Since the late Qing Dynasty and the Republic of China, with the strict division of traditional painting, more and more painters have been able to specialize in only one subject, see "style", and are isolated from other subjects, resulting in monotony and poor readability of painting, giving people a sense of uniformity. Today, Mr. Liu Huaishan tells us with his all-round talent that painters must break through narrowness and move towards comprehensiveness in order to be able to compete with the history of painting.
Mr. Liu has all the conditions to become a master, and his artistic career is still continuing, which is worth looking forward to!
<h1 class="pgc-h-arrow-right" data-track="215" > Author: Wang Xu, scholar of the Academy of Chinese Painting of the Forbidden City Academy, author of "Cui Ruzhuo's Commentary". </h1>