On the occasion of the centenary of the founding of the Cpc, I carefully selected Huang Binhong's modern and contemporary classic paintings for the majority of friends. For today's appreciators, the creation of modern theme paintings distills the visual spirit of the times on the basis of respecting historical facts, touches people's thoughts, and guides the correct core values of socialism.
Each era has its own main theme, and modern theme painting is like the musical score of the times, through rigorous creation, exquisite artistic expression and full creative enthusiasm, so that the spirit of the times becomes a classic work, so that the national spirit and cultural essence in the process of dissemination and inheritance of the development and development.
- Caption
In 1911, the Republic of China was established, which was an unprecedented major progress, which not only marked the transformation of the feudal monarchy into a new democratic republican system for more than two thousand years, but also greatly promoted the process of educational modernization and brought vitality to art education.
1911-1949 was an era of cultural pluralism, an era of great turmoil and great change in Chinese history. As soon as social life was upgraded, there were drastic changes in ideology, culture, and values. The introduction of Western ideology and culture, including Marxism, has accelerated social change and also accelerated the development and reform of fine arts. In the painting world, there is also a colorful situation. Painters can paint in a way that they understand and like, not only in the types of painting, material tools, formal styles, etc., unprecedented rich, but also created a group of maverick art painters.
In 1949, the founding of the People's Republic of China marked a new historical period in China. Due to its semi-enclosed state, the creation of Chinese paintings in this period was carried out in a relatively small space. In the orthodox position of fine arts is a form of realism of the new Chinese model formed by the combination of the Yan'an revolutionary art tradition, the socialist realism of the Soviet Union and the realism advocated by Xu Beihong, but because the aftermath of the development of art in the first half of the century is still there, the art of many old painters who have already achieved achievements has become more mature, and a group of new people have begun to appear on the art world. Today we come to share Huang Binhong's paintings.
Huang Binhong (January 27, 1865 – March 25, 1955), originally from Shexian County, Huizhou (now Huangshan City), Anhui Province, was born in Jinhua, Zhejiang Province, and grew up in his hometown of Tandu Village, Shexian County, originally named Mao Qian, later changed his name to Quality, the character Pu Cun, the number Binhong, not signed to Xiang, Hongsuo, Huangshan Shanzhongren. A famous painter and scholar in modern and modern times. He is good at painting landscapes and painting for a generation of masters of landscape painting. Huang Binhong's achievements in landscape painting are due to the study of traditional Chinese landscape painting and his knowledge of "reading thousands of books" and the experience of "walking thousands of miles". At the age of six, he copied the Shen Tingrui (Fanya) landscape book in his family's collection, and learned flowers and birds from Zheng Shan, Chen Chongguang and so on. Fine study of tradition and attention to sketching go hand in hand, in the early years by the "Xin'an School of painting" influence, with dry brush light ink, sparse and light as the characteristics, for "Bai Binhong", he studied the ancients before the age of 50, diligently grinding; to the age of 70, traversing the famous mountains and rivers, the field sketching accumulation of tens of thousands; after the age of 70, the method of great change, after the age of 80, with black dense thick, transparent black, as the characteristics, as "black Binhong". He is a master of ancient painting and modern painting, inheriting the past and the future, creating his own unique artistic path, and becoming a generation of landscape painting masters.
In the 7 years of Hangzhou, the chinese society underwent earth-shaking changes, Huang Hongbin on the one hand was inspired by the new trend of new China, and his creative passion was even greater; on the other hand, he was discouraged because his paintings could not directly "serve the workers, peasants and soldiers". In the environment when his creation and painting are not in an anachronistic, not only is there less entertainment from the outside world, but also Huang Binhong's artistic creation is completely relieved, and he continues to create every day to achieve and achieve the peak of painting art, which has undoubtedly become the driving force for Huang Binhong to sprint to the "big painter".
He has taught at academies of fine arts in Beijing, Hangzhou and other places, and served as the vice chairman of the East China Branch of the China Artists Association. Huang Binhong's works are thick and huazi, just Jian Wanna. On his 90th birthday, Huang Binhong was awarded the honorary title of "Outstanding Painter of the Chinese" by the state, and was known as "raising the banner of the Xin'an School of Painting again and eventually becoming a generation of masters". He is the author of "Huangshan Painters' Source Flow Examination", "Honglu Painting Talk", "Essentials of Painting Method" and so on.
Huang Binhong's main works include: "Huangshan Map", "Autumn Colors of Mountains and Forests", "Color landscape map axis", "Fuchun River Map", "Emei Longmen Gorge", "Songxue Poetic Intention", "Hushan Qing mist", "Frost Point Bilan", "Pseudo-Sun Xueju Brush Intention", "River Line Map", "Rain Over the Clouds and Wet", "Fuqin Diagram Under the Tree", "Imitation Fan Kuan Pen Meaning", "Xianxia Ridge", "Flower Four Screens", "Landscape and Water Four Screens", "Mountain forest autumn color", "Wuyi Landscape", "Huangshan Tangkou Map", "Huangshan Yehui Map", "Zunyi Jiyou" , "Autumn Forest Map", "Autumn Color Map of Zhilong Mountain" ("Zhilong Mountain Map" Taipei, "Zhilong Mountain Map" Beijing), "Huangshan Songgu Bailongtan", "HuangBinHong Statue", "Fuchun Mountain Residence Map", "Jiaomo Jia Color Landscape", "Quhe Small Scene", "West Lake Qixia Ridge", "Xiling Distant Overlook Map", "Autumn Pan boat map", "Su Causeway Spring Dawn", "Minjiang Rafting Map", "Xishan Hermitage Map", "Lakeside Mountain Residence", "Qingcheng Mountain Color Map", "Quasi-Giant Landscape Map", "Huanyang Gorge", "Mountain and River Reclining Scroll", "Xishan Caotang", "Xishan Caotang", " Nohashi Mountain Shop See Village Residence", "Emei Mountain Color", "Ink Landscape", "Night Mountain Map", "Liuting Gaohui", "Wansong Smoke Mist" and so on.
Appreciation of Huang Binhong's "Huangshan Map" by Huang Binhong, a generation of masters of the Modern Xin'an School of Painting
"Huangshan Tu" This landscape work was composed by Huang Binhong when he was 71 years old. At this time, it was the time of Mr. Ming's transformation from 'White Binhong' to "Black Binhong", that is, gradually formed a thick and thick style. In the spring of 1934, Huang Binhong went to Huangshan Mountain again, and made this painting in the autumn. Points, lines, and ink are all simple and thick, and the old and spicy are longitudinal. From this, we can glimpse Mr. Wang's exploration and change in pen and ink, which can be described as a representative work of the transition period. Another precious point is that the famous connoisseur of calligraphy and painting Yang Renkai painted the title "Huang Binhong Huangshan Tu AuthenticIty" in 2001 (Xin Has), which increased the weight of the work.
Huang Binhong, a generation of masters of the modern Xin'an Painting School, appreciates "Autumn Colors of Mountains and Forests"
"Autumn Colors of mountains and forests" axis, paper line color. Length 122.8 cm, width 48.8 cm. It is now in the collection of Tianjin People's Fine Arts Publishing House.
"Autumn Colors of Mountains and Forests" This picture can see at a glance that the mountains overlap, the trees are sparse, and the clouds are swirling. The vista view is a hillside, ancient pines and lush, with several bungalows, staggered back and forth. There is a four-corner pavilion at the back of the garden, in which a person sits. The mountainside is overgrown with trees and branches, and the upper mountains are towering and independent. On the left is a vast lake, and two sailing ships sail downwind between the two mountains, lining the mountains with water and drying the mountains with water, so that the mountains and rivers have a close relationship of mutual beauty. Although this picture is lofty and mountainous, the mountain road is winding and winding, the forest is overgrown, and there are many layers, the picture is still beautiful and beautiful, and the meaning is vivid. The idea is strange in the ordinary, close to its quality, far away from the momentum, not falling into the ordinary path, the pen and ink are dry and moist, there are virtual and real, complex but not chaotic. This is inseparable from the painter's long-term artistic practice, which has brought his painting art to a state of pure fire.
Huang Binhong, a generation grandmaster of the Modern Xin'an School of Painting, appreciates the "Axis of Colored Landscapes and Rivers"
"Color landscape map axis", Huang Binhong, color on paper, figure axis, length 172 cm, width 121 cm, collection place unknown.
The main peak of "Colored Landscape Map Axis" is prominent, surrounded by small peaks, and the painting is strict and thick, giving people a sense of thick and vast. The mountain stone and trees fly with the pen, all with the pen to win, but also with the ink to win, tight and airtight, sparse can go to the horse, bone method with the pen to reveal a vivid charm. The flowing springs and streams leave a euphemistic and tortuous blank space, and its momentum flows gently, appearing to be falling and ethereal. The canvas is full of paper and smoke, but it is not urgent, there is no sense of stagnation, and the calculation of white and black has been vividly reflected. Due to the staggered layers, there is no disadvantage of going up and down. The composition is surprising in the ordinary, and the reality is virtual, which shows the ingenuity of Huang Binhong's meditation and mysteriousness. The unique style and excellent pen and ink of "Colored Landscape Map Axis" is a powerful example of his painting theory advocating "using soldiers" on paper, and also reflects the characteristics of his thick and huazi style and artistic conception.
Huang Binhong, a grandmaster of the modern Xin'an Painting School, appreciated the "Fuchun River Map"
"Fuchun River Map", Huang Binhong, color on paper, figure axis, length 60 cm, width 33.5 cm, collection place unknown.
This painting "A Corner of the Landscape in the Fuchun River" has a beautiful ink and a strict structure, the various kinds of imagery are properly arranged, the valleys of the mountains, the steep valleys of the dense forests, the Xiuyun Mountain Trail, there are many layers, but the picture is still through the pulse, the Qingyan is beautiful and the meaning is vivid, the dense places can not accommodate needles, and the regulation and control of the picture structure and the grasp of the scale can be described as wonderful. Huang Binhong painted the peak of the Fuchun River on rice paper of only three square feet, did not seek qi rhyme but qi rhyme to generate itself, did not seek the law to prepare but had the ten thousand laws, which can be called the excellent practice of BinHong Gong's late master's fa creation.
Huang Binhong, a grandmaster of the modern Xin'an Painting School, appreciates "Emei Longmenxia"
Emei Longmenxia, 1932-1933, Huang Binhong, vertical axis, color on paper, length 118 cm, width 40 cm, collector unknown.
The painting depicts a landscape of Longmenxia in Emei Mountain, Sichuan.
Emei Mountain Longmen Gorge is located on the banks of the Emei River, for the two mountains facing each other, like a gate, there is a large hole in the door wall, legend has it that there was a dragon living there. The stream is clear, the color is like jasper, this section of the river, also known as Yuxi, Yuxia, Seed Jade Creek, the original "Two Dragons Playing water", "hole mouth throwing pearls", "Longmen Fish Watching" and other landscapes.
From the subject matter of the picture, it can be inferred that the creation of this painting should not have predated Huang Binhong's trip to Bashu between 1932 and 1933. The painting takes the Northern Song Dynasty panoramic landscape chapter, pen and ink clustered, layer by layer, but it is ink dripping, a good school of living natural scenery, the picture of the mountain stones, trees, peaks of the outline with the pen is beautiful and clumsy, the pen pen to the bone, the painting realm is integrated, mountain stones, trees, clouds intertwined, the natural landscape of the layered, verdant and lush simple atmosphere is vividly depicted, the painting area ink, broken ink, ink staining, water, all use its extremes, on the paper arbitrarily vertical and horizontal, showing sometimes particularly wet and thick The aesthetic effect of whitening in the dry place from time to time. In short, the painting reflects the important influence of the real mountains and real waters of Emei Longmenxia on Huang Binhong's landscape creation, making him understand the "principle" of his change of law in his later years. Painter's inscription: Emei Longmen Gorge, strange and majestic. Written in the Northern Song Dynasty painting method, Bin Hong. Plutonium: BinHong.
Appreciation of Huang Binhong, a generation of masters of the Modern Xin'an School, "Songxue Poetic Intentions"
"Songxue Poetic Intention / Songfeng Gao Hidden Map", 1920, Huang Binhong, vertical axis, color on paper, 112 cm in length, 37 cm in width, collector unknown.
"Songxue Poetic Intention", also known as "Songfeng Gao Hidden Map", this landscape painting is Mr. Huang Binhong's early pen, the pen and ink are thick and concrete, quite a northern school of landscapes and mountains. In this old age, the landscape changed, the ink color was incomprehensible, the dot dyeing was hazy and clear, and the meaning was very high, which was enough to open up a new style for Chinese landscape painting.
Inscription: Rumors and pine winds, leisurely dust outside the heart, with my pure ears, listen to this ancient sound, the watch of all things, not invaded by the world, what year from this old, the valley hidden in the clouds. Gengshen (1920) wrote songxue poetry in winter, Mr. Bo Jingcheng Ren brother smiled and smiled, and Bin Hongqing. Plutonium Seal: The seal of yellow matter.
Huang Binhong, a generation of masters of the modern Xin'an School of Painting, appreciates "The Mist of Lakes and Mountains"
"Lake and Mountain Mist", 1955, Huang Binhong, color on paper, figure axis, length 66 cm, width 45.8 cm, collection place unknown.
This is Huang Binhong's masterpiece depicting the beautiful scenery of Jiangnan. He reversed the commonly used heavy ink painting method, first splashing with dripping ink, and then according to the situation, improvising, using flower cyan to outline the rubbing, and then using light ochre as a proper preparation, so that the color and ink blended, blended, and presented the beautiful scenery of Jiangnan Qingxia like a god.
Huang Binhong, a generation grandmaster of the modern Xin'an School of Painting, appreciates "Frost Point Bilan"
"Frost Point Bilan", Huang Binhong, color on paper, figure axis, length 147.2 cm, width 53 cm.
This work has no year, the picture chapter method is roughly from Huang's many years of experience in "hook ancient painting method", the method is mainly based on hemp, but the weeds and grasses are dyed with dots, and the force is in the emphasis on "pen and pen distinction", the pen and ink style has changed from the "hardness" of the Ming people to the pine show after learning the Yuanren, slightly plump; the book is slightly out of the sharp, flat and elegant.
Huang Binhong, a generation of masters of the modern Xin'an School of Painting, appreciates the "PenManship of Sun Xueju"
"Pseudo-Sun Xueju PenManship", 1949-1951, Huang Binhong, color on paper, chart axis, specifications unknown, collection place unknown.
This is Huang Binhong's masterpiece at the age of eighty-six, marking the transformation of his painting style from simple and loose to thick and luxurious. Although this picture is based on common natural scenery, the trees are hazy and green, the mountains and rocks are deep and beautiful, and the houses are stacked on top of each other, showing a business-rich atmosphere. Technically, the shape of the mountain stone trees is outlined with mottled and condensed ink lines, and then blended with wet pens; in coloring, it has developed from the ink staining method to the staining color painting method, so that the color stains of the picture are overflowing and the color is flying, so that the color and ink are integrated, plus the distant mountains outlined by those few light inks, paved with stains, with a sense of beauty beyond vision. The dot scene characters in the painting are exquisite and accurate, and the form is vivid, which plays the effect of "painting the eye". This kind of artistic treatment method of fixing the scene with emotion and writing the scene with love makes the life implied by the landscape exude the infinite vitality of nature.
Appreciation of Huang Binhong, a generation of masters of the modern Xin'an School of Painting, "Jiang XingTu"
"River Line Map", Huang Binhong, color on paper, figure axis, length 68 cm, width 33.5 cm, collection place unknown.
This painting best reflects Huang Binhong's solid traditional skills and unique aesthetic personality. Directly above the painting, a high mountain stands majestically, and the black-pressed mountain below the middle waist crosses its face, leaving a white belt in the middle, so that the high mountain and the low mountain form a strong contrast between black and white, opening and closing, and virtual reality. In the thick darkness of the mountain, there are several faint houses, lined with mountain roads, to make the mountains higher; with the roofs, the low mountains are lower. Coupled with the large white space left in the lower left, there is a small boat in the water, and two hermits sit in between, so that the picture presents an ethereal and quiet wordless beauty. The color and ink of the whole picture are harmonious, and the artistic conception is leisurely and elegant, conveying the author's indifferent and distant aesthetic taste. The composition method of the "Zigzag" shape draws the melancholy rivers and mountains in three different forms, resulting in a deep, abrupt and humorous charm.
Huang Binhong, a generation grandmaster of the Modern Xin'an School of Painting, appreciates "Rain Over Clouds and Wetness"
"Rain over clouds is still wet", Huang Binhong, color on paper, chart axis, specifications unknown, collection place unknown.
This painting depicts the scenery of the mountain village of Nodu, a few small trees, a few heavy rocks, a few huts, and a single wooden bridge lying on both sides of the river. The two Yamano Yi people talked eagerly on the slope, and a stream ran straight through the painting, quietly and silently flowing into the distance. Those few thick and light clouds that seem to be randomly smeared together present a wonderful state of the first sunshine after the rain. Huang Binhong's painting of rain scenes is a master. He paints rain scenes, both in the rain and after the rain, as well as the yin mountain after the rain, and even the rain scene of the deep mountain at night. This painting uses his skillful methods of accumulated ink, broken ink, and light ink to pour out at will. Then use the flower blue and light ochre as appropriate laying, so that it is suitable for thick and light, the color and ink blend, and the whole piece is blended, conveying the "rain over the clouds is still wet, and the water of the flat bridge is turbulent." Mo Yan wind and waves are fast, and there are fishing boats on the wild shores, "the moving realm of the streams and mountains.
Huang Binhong, a generation grandmaster of the modern Xin'an Painting School, appreciates "Fuqin Diagram Under the Tree"
"Under the Tree Fuqin Diagram Qin Wind Leads the Mountain Qi", Huang Binhong, color on paper, chart axis, specifications unknown, collection place unknown.
From the analysis of the style and style, this painting should be a representative work of Huang Binhong in the middle period. Although its brushwork is relatively clumsy, the use of ink is also relatively simple, but its painting method has not adopted the conventional method of first hooking and dyeing, first using vivid pen and ink to write arbitrarily, and then according to the situation, it will be generated and cleaned up. Sometimes the shape of the ink block outlines the mountains and hills, sometimes leaves a large blank space to show the clouds and smoke, sometimes according to the composition needs to use strong lines and ink color suitable for thick and light to decorate the tree huts, flowing springs and waterfalls, and sometimes when the ink color will be dry and dry, apply thymolite green, so that there is ink in the color, color in the ink, chaos blends, and the changes are unpredictable. In this picture, between the mountains and mountains, the mountain villages, the hut tile houses, and the waterfalls and springs, an old man plays the piano under the bushes of trees, as if he hears its sound, resounding throughout the valley, revealing the aesthetic characteristics of ancient clumsiness and thickness. At the same time, it can also be seen that the transformation trajectory of the high-grade painting style pursued by Huang Binhong can also be seen.
Huang Binhong, a generation of masters of the modern Xin'an School of Painting, appreciates "Imitation of Fan Kuan Pen Intention"
"Imitation of Fan Kuan Pen Meaning", Color on Paper, Huang Binhong, 174cm×94cm, Huang Binhong Memorial Collection.
Taking nature as a teacher, Huang Binhong integrated the creative spirit of Song and Yuan painters into his mind, took the essence of the macro, traveled thousands of miles, read thousands of books, searched for magic and created truth, and reached the realm of deification. He once wrote a poem: "Love the creek and mountain for photography, and pour ink to see the spirit." "The close-up view of this "Imitation Fan Kuan Pen" is a lake in the middle of the slope, there are two ancient trees, the slope bank is lush and caged, and a lonely boat on the left side is sailing forward; on the opposite side, there is another scenery, mountain stone house characters, clear windows, dense miscellaneous trees, ancient trees, and boulders. The contrast between light and dark in the whole picture is strong, the close-up is real and dark, the distant scene is virtual and bright, and the picture is stretched to the distant and vast sky, which is the extraordinary place of this painting.
Huang Binhong, a grandmaster of the modern Xin'an Painting School, enjoyed the "Xianxia Ridge"
"On the Xianxia Ridge", Huang Binhong, 1955, color on paper, 68.4×40cm.
Huang Binhong has a deep understanding of mountains and rivers, and he uses the pen in his hand to create a world full of paper, spring light and sunshine, and endless charm. He painted the trees by the lake and the stairs and the stairs, which were poetic. Trees, buildings, mountains, and slopes are outlined with a dry or wet center stroke, and then rubbed with different ink dots. Ink dots, color dots, intricate and miscellaneous, mottled, old and spicy, natural and mysterious. Due to the point method, the expressiveness is very strong, rich and not similar. Huang Binhong's decay and change method, kung fu in ink law, the unique style of his painting is also expressed in ink law, and his flexible mastery of ink method makes him create this seemingly large-scale, but it is actually a sketch of "Xianxia Ridge".
Modern and modern painter Huang Binhong's "Four Screens of Flowers" appreciation
Huang Binhong,"Four Screens of Flowers"
Modern and contemporary painter Huang Binhong's "Four Screens of Landscape and Water" appreciation
Huang Binhong's "Four Screens of Landscape and Water" is 146.7 cm in length and 39.9 cm in width, which is a cultural relic in modern times and is now in the collection of Zhejiang Provincial Museum. Landscapes, each with an inscription poem, printed: Zhu Wen "Yellow Seal Letter".
Appreciation of the great modern painter Huang Binhong's "Autumn Colors of Mountains and Forests"
Republic of China, Huang Binhong's "Autumn Colors of Mountains and Forests" axis, length 122.8 cm, width 48.8 cm, paper line color.
The painting is of overlapping peaks: the mountainside is overgrown with trees and branches, and there are several bungalows at the foot of the mountain, which are staggered. On the left side of the picture, there is a vast lake, and two sailing ships sail downwind between the two mountains. The mountains and waters on the picture contrast with each other, forming a relationship of mutual beauty.
Appreciation of the great modern painter Huang Binhong's "Wuyi Landscape"
Huang Binhong", according to the inscription, this Wuyi landscape vertical axis was made in Beiping in 1947.
This landscape vertical axis, that is, Huang Binhong's "choosing people and with" is a fine work he painted for the eightieth birthday of his friend's wife, so he took the color of Wuyi Mountain as the object of praise, and in the recollection of the white flower rock scenery, it contains the meaning of Shoubi Nanshan, which can also be appreciated from the composition of the Dashan Hall. The giant peaks of the picture rise from the ground, the mountains and streams flow, and the grass and trees are verdant. Along the mountain road twists and turns, there are manors in between, Qingxi at the foot of the mountain to form a flat lake, a small boat carrying passengers and goods slowly came, there is a sense of visitation. The paintings are rich in scenery, played through the theme, and have a deep meaning. Huang Binhong, Huangshan Mountain People. Inscription A cave day before the jasper rock, the spring breeze rises with the clouds. The Chongzhen Pavilion is still there today, and who dares to participate in the same thing as Saying Taixuan. Wuyi Mountain passes north and east through the Baihuayan Fangfusi Realm. Mr. Pei Fan Mo belonged to write a picture and congratulated his brother Mr. Lu Wu on the birthday celebration of Mrs. Ci's eighth rank. Ding Hai, Bin Hong was eighty and four years old.
Appreciation of the modern and contemporary painter Huang Binhong's "Huangshan Tangkou Tu"
This "Huangshan Tangkou Map" vertical axis Coloring paper 171 cm in length and 96 cm in width was made by Huang Binhong when he was 88 years old, and was carefully written in his later years.
Moving the clouds, relocating the mountains and forests, and making some artistic cuts. The lower end of the picture resembles peach blossom creek, its left side of the long pine high plant, old vines entangled, the side of the house a tree, when the waterfall building, the long pine sits under the two ghosts, for a meeting, the pine tree planting is a descending hilly land, rich soil and rocks, overgrown with weeds. Above the stream is the middle end of the canvas, there are three streams of water, it should be a zigzag waterfall and a hundred springs, and above it should be The Purple Cloud Peak.
This painting omits the scenery of ciguang pavilion and mid-levels temple that must be passed through the mountain, and highlights a main peak, surrounded by small peaks, towering into the clouds, like a lotus flower that has just bloomed - lotus peak, close to the upper part of the painting, and then smeared several distant mountains behind the peak, forming a majestic landscape painting, painted strictly and firmly, giving people a sense of weight. The whole lotus peak, without half a silk cloud, all won with the pen, all won with ink, painted majestically, lush; but on the banks of the springs and streams, there is a tortuous blank space of the snake, and its momentum is gentle and flowing, appearing faint and ethereal, used to set off the entity of the lotus peak. The lower end is like a beautiful woman with eyebrows and cicadas, which is quite complementary. Because the long pine is a pillar, there is no disadvantage of heavy and light. The composition is surprising in the ordinary, and the reality is virtual, which shows the ingenuity of Huang Binhong's meditation and mysteriousness.
Appreciation of the modern and contemporary painter Huang Binhong's "Huangshan Wild HuiTu"
Huang Binhong's "Huangshan Yehui Map", 85.2 cm in length, 41.8 cm in width, 41.8 cm in collection unit, Zhejiang Provincial Museum. Question: Thirty years ago, Mei Yan entered the Huangshan Mountains, and saw the wild hui in the valley, most of them did not know the name, because it was written as a picture. He is in the ninety years of Bin Hong. Plutonium Zhu Wen Fang Seal. It is the subject matter that Huang Binhong often painted in his later years, expressing his thoughts on the Huangshan Mountains in his hometown. Its rich, thick and harmonious pen and ink and color, colorful and blended, are the same purpose and realm as the landscape at this time.
The high mountains and mountains must be covered with Huazi grass and trees, colorful calyxes and even birds and insects singing, which is enough to fully express the "great beauty" in the center of Huang Binhong's eyes. We believe that only with the compassion of heaven and compassion, but also with the character of "water flowing and flowers" and "self-contained", is the complete personality and abundant emotions. Picking flowers and smiling to comfort his life is the flowers, birds, grasses and insects in Huang Binhong's eyes that accompany him to enjoy a high life and a great consummation in life.
Modern and modern painter Huang Binhong's "Zunyi Jiyou" Appreciation
Huang Binhong 1943 "Zunyi Jiyou" Mirror Heart 75×33cm.
Modern and modern painter Huang Binhong's "Autumn Forest Diagram" Appreciation
"Qiulin Tu", Huang Binhong, length 122.8 cm, width 48.8 cm, color on paper, Tianjin People's Fine Arts Publishing House.
Autumn Forest Map" Mountains overlap, trees are sparse, and clouds are swirling. The close-up view is a hillside, the slope is ancient and the pine is lush, and the mountain road is winding and winding. The houses on the slope are scattered, and there are four corner pavilions behind the garden, and one person sits in the pavilion. On the left side of the lake, there are two sailing boats sailing downwind between the rainy mountains, far away, thick or light, looming. On the right side of the painting there is the author's trek: "Birds peck at frost and praise Varga, and the mountains are full of red leaves." Over the years, he has been blindly dignified and plain, and prefers qiulin coloring. "The Great Han lived in Huangshan, and the poems and paintings he composed were seen in YanShi, and this was written in the color of the rivers and mountains. Ding Hai Eighty-Four Shu Binhong. ”
In the lower left corner of the "Qiulin Tu", there is Zhu Wen "Huangshan Mountain Man". The whole picture is interesting and vivid, lining the water with the mountains and baking the mountains with water, so that the mountains and rivers have a close relationship with each other's beauty. In terms of composition, the author takes its quality near and its potential from afar; the pen and ink are dry and wet, there are real and virtual, complex and not complicated; the pen is varied, and the lines are flat, round and heavy. The picture is between the virtual and the real, and the dense places are deep layer by layer, the empty place is not a little, the main body is prominent, and the vein is clear. Overall, this landscape painting has simple colors, but it can see the crystal color in the infiltration of dryness and wetness, showing a profound sense of space and charm, reflecting Huang Binhong's painting style of "thick peaks and thick peaks, grass and trees".
Huang Binhong, a grandmaster of the modern Xin'an Painting School, "Autumn Color Map of Zhilu Mountain" Appreciation
Huang Binhong "Autumn Color Map of Zhilu Mountain" Silk Color 73.3×40.8cm Collection of the National Art Museum of China. In the Ming Dynasty, Wang Pet painted "Zhilu Mountain". In the southwest of Gusu City, Zhilu Mountain belongs to granite geology, and the mountain has three peaks - south peak, middle peak and north peak, and each peak has a temple, all named after the mountain. Ming Dynasty painter Lu Zhi lived in seclusion in Zhilong Mountain after the age of 50, and the unique landscape and natural mountain stone beauty of Zhilong Mountain once brought him rich creative inspiration and left the famous "Zhilong Mountain Map". Huang Binhong came to Zhilu mountain and used his thick brush and ink to create the equally great work "Autumn Color Map of Zhilu Mountain". The two masters interpreted the same natural beauty they affirmed with completely different brushstrokes.
Ming Luzhi《 Zhilu Mountain Map, 83.6x34.7cm, National Palace Museum, Taipei.
Ming Luzhi 《支硎山圖》Silk color 32x7.5cm Collection of the Palace Museum, Beijing.
Huang Binhong, a generation grandmaster of the Modern Xin'an School, "Huangshan Songgu Bailongtan" Appreciation
Huang Binhong "Huangshan Songgu Bailongtan" 67 cm in length and 46 cm in width
Paragraph knowledge, seen on the White Dragon Pond of Songgu, written by Mr. Yinglang Yazheng, founded by the East China Artists Association, Huangshan Binhong, Jia Wunian, ninety and one.
"Huangshan Songgu White Dragon Pond" is a painting work with important historical value, thick and full of huazi, full of momentum, showing Huang Binhong's skillful control and understanding of pen and ink at the age of 91; "Huangshan Songgu White Dragon Pond" is majestic and reckless, plain and innocent, brilliant, back to the basics, called yipin!
This work is mainly the center of the round pen, its circle is like a house leak, like a vajra pestle, round and not showing the traces of the edge, like a dead vine of long live, the momentum is like a thousand miles of clouds, the rhyme is like the sky of the horse, Mr. Bin Hong tasted this on the same origin of calligraphy and painting, and also practiced it by himself. Watching "Huangshan Songgu White Dragon Pond" essay sweeping, and the power can carry the ding, the ink color layer accumulation, mixed and mixed, the heart should be handy, the hand should be pen, the pen should be paper, blended in, the way of art is exhausted!
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, "Fuchun Mountain Residence Map" Appreciation
Huang Binhong "Fuchun Mountain Residence Map" colored paper vertical axis 126× 48.5 cm, 1953. Title: Li Xi's ancient realm is strange, with a sharp and refreshing atmosphere, writing Fuchun landscape, it seems to be different from the big idiot path. Winter. BinHongJi Tour. Seal: Huang Binhong, Huangshan Mountain People.
Huang Binhong, a generation grandmaster of the Modern Xin'an School of Painting, "Jiaomo And Color landscape" Appreciation
Huang Binhong composed "Jiaomo And Color landscape" at the age of 77. Created in 1942. Bin Weng's works have always had the reputation of "myopia has almost no objects to find, and the distant view is the scenery is unobtrusive", and if you look closely at this work, it is full of points and lines of "jagged clutch, size oblique, fat and thin, short and long, uneven", full of trees and trees, mountains and mountains, water is not water, almost all of them are lively, living and breathing calligraphy lines, these calligraphy lines are combined into a naturally interesting cosmic image through the interaction of thick ink, light ink, scorched ink, sumo, and ink accumulation. Looking back, the trees, houses, and stones are vividly remembered, and the calligraphic lines on the picture are fused into a natural picture.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciates "Small Scenery of Quhe River"
At the age of 82, he composed "A Small View of the Canal River" 102cm×51cm. Created in 1947. The scenery in the painting is the beautiful scenery of the mountains and rivers that he saw when he traveled to Sichuan in that year, and the picture is magnificent and open and generous.
Most of the mountains and trees on the screen are shaped by the long and short brush strokes and the ink dots of different sizes, which seem to be disorderly but gracefully dotted. The deep darkness of the mountains and vegetation on the one hand indicates the vitality and vitality of the plants in the land, and on the other hand, it also makes the white mountain paths and houses appear more eye-catching.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciates "Qixialing ridge in the West Lake"
When Huang Binhong was 90 years old, he composed "West Lake Qixialing" 87cm×43cm. Created in 1955.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciates the "Distant View of Xiling"
At the age of 86, he composed "Xiling Distant View" 81×51cm, composed in 1951. Before Huang Binhong painted, a piece of paper was unfolded, concentrating on meditation, and concentrating on it; once the pen was written, the spirit was sufficient, and the qi rhyme was born from the outside, as if it was born and matured. Here, a variety of ink methods are used flexibly and alternately, especially paying attention to dry ink, burnt ink, and accumulated ink methods, and taking the flower blue and light ochre colors as appropriate laying, so that it is suitable for thickness and lightness, color and ink blending, heavy and dense, chaotic and orderly, chaotic and orderly, blended with one piece; and clear and thick, black and shiny, beautiful and beautiful, radiant, really is the stroke of God.
Huang Binhong, a generation of masters of the modern Xin'an Painting School, appreciated the "Autumn Rafting Map"
Huang Binhong composed "Autumn Rafting Map" at the age of 88, 124cm×55cm, created in 1953.
Appreciation of Huang Binhong, a generation of masters of the modern Xin'an School, "Spring Dawn in Su Causeway"
Huang Binhong composed "Spring Dawn in Su Causeway" at the age of 86× 150cm × 40cm, created in 1951.
Huang Binhong, a generation of masters of the modern Xin'an Painting School, appreciated the "Boating Map of the Minjiang River"
Huang Binhong's "Boating Map of the Minjiang River" composed by Huang Binhong at the age of 84 was 149cm × 79cm, created in 1949.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciated and analyzed the "Xishan Secluded Map"
Huang Binhong's "Xishan Seclusion Map" composed by Huang Binhong at the age of 90 is 128cm×49cm, created in 1955.
Appreciation of Huang Binhong, a generation of masters of the modern Xin'an School, "Lakeside Mountain Residence"
Huang Binhong's "Lakeside Mountain Residence" Ink on paper color Chinese painting 32 cm longitudinal 90 cm wide 1947 creation. The title of this painting is "Northern Song Painting Uses Scorched Ink, Here Is a Simulation", which reflects the painter's consistent admiration for Northern Song Painting. In the use of ink, he believes that a painting must be used with seven kinds of ink methods at the same time, which is the "law preparation"; even if it is used with scorched ink, it must also be "moist with spring rain, dry and cracked with autumn wind"; it must be able to "ink dripping, and then be able to scorch ink thirst pen". This later work is mainly scorched ink, but also thick, light, splash, broken and other ink methods, repeated with light green light ochre, in the rich and fresh interest, properly explain these propositions, but also reflect his ideal lakeside mountain scenery.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciated the "Color Map of Qingcheng Mountain"
Huang Binhong's "Qingcheng Mountain Color Map", set up a vertical axis on paper. The most distinctive feature of this painting is the "black, dense, thick and heavy" on its pen and ink, that is, the accumulation of pen and ink is dozens of weights, and the layers are deep. The style of this painting is thick and huazi, and the artistic mood is somber and light, which is the basic feature of Huang Binhong's landscape painting. However, due to the difference between the lyricism of the scene and the corresponding pen and ink chapters, it presents a variety of faces.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciated the "Quasi-Giant Landscape Map"
Huang Binhong's previous works "Quasi-Giant Landscape Map", this brush method is really thanks to the pen of Jin Wen Da seal, just soft, round and thick, spicy and clumsy, calm and strong; his ink method, the flexible alternating use of various ink methods, especially pay attention to the methods of breaking ink, scorched ink, accumulated ink, heavy and dense, deep layers, miscellaneous but not chaotic, chaotic and orderly, chaotic and clear, clear and clear, clear and thick, black and bright, beautiful and bright, beautiful and beautiful, radiant, pure for the machine, really is the pen of God. It is worth noting that his paintings are not only vigorous and energetic, penetrating the back of the paper, and seem to be sassy and sound, but also round and thick, such as ancient vine knots, with a strong sense of three-dimensionality and thickness.
Huang Binhong, a generation of masters of the modern Xin'an School of Painting, enjoyed the "Xunyang Gorge"
Huang Binhong, "Xunyang Gorge", 82.6 × 31.5cm, 1930s, National Art Museum of China.
This painting "Huanyang Gorge" is recognized as "on both sides of the Huanyang Gorge, Jie Xiu stands on the wall, layer by layer, and is sketched." Binhong"; the stamp is: "Huang Binhong (Bai Wen)". Xunyang Gorge is a gorge in the water, originally from Xinfeng County, Jiangxi Province, flows through the Qu River, located in the middle reaches of the Beijiang River. The strange peaks on both sides of the Hunyang Gorge are towering, the rocks are rugged, the cliffs are steep, and the water is turbulent. This work, like most of Binwon's works, has no age. From the investigation of the trajectory of the painting style, it has shifted from the sparse and elegant "white binhong" to the black dense and thick "black binhong". Binwong's painting can be described as a high-level system of "simplicity, washing away the dust, and existing alone", which is completely out of the ordinary. Writing about houses and trees, all minimalist, almost graphic symbols. And its brush is like a stroke of sand, the center is stable and changeable, and the book is full of meaning, which is the shape of the painter's cultivation and mentality. Although Bin weng has experienced a turbulent world, it is different from the eight majorities, so although his paintings are known as gaoyi, they do not lose their sense of harmony. This work is typical.
Huang Binhong, a generation grandmaster of the modern Xin'an School, appreciates the "Scrolls of Mountains and Rivers Lying In"
Huang Binhong's "Mountains and Rivers Lying Tour Volume", 1952. Huang Binhong is a true master. The author feels that as far as the work is concerned, after the pregnancy before the package, in terms of role, set up a generation of models, in terms of influence, open a new generation. The most critical thing is to carry forward the past and the future, and the latter two aspects are included in the "package before and after pregnancy". Among the painters of the twentieth century, only Qi Baishi and Huang Binhong can be called masters. Although other famous artists also have their own characteristics and influence a group of people, they have not opened a new generation.
Appreciation of Huang Binhong, a generation of masters of the Modern Xin'an School, "Xishan Caotang"
Huang Binhong, "Xishan Caotang", 1946. This painting "Dharma is higher than intention" was practiced on the basis of deep understanding of the mysteries of tradition. From an early age, he practiced penmanship and learned to draw, but before the age of seventy-five, he devoted his energy mainly to the study of tradition. In 1925, Huang Binhong was sixty years old, and the art department of Jinan University still hired him to teach art history. Huang Binhong was sixty-five years old and still engaged in art history. And at that time he published many papers and works on history. Huang Binhong went to Sichuan University to teach theory classes in 1933. At the age of seventy-two, he became a professor of theory in the Art Department of Jinan University. When he was eighty years old, he held his first exhibition in Shanghai, when his theoretical articles were still continuous, but he had turned to painting.
Huang Binhong, a generation grandmaster of the modern Xin'an School, appreciates "YeqiaoShan Dian Sees the Village Residence"
Huang Binhong, "YeqiaoShanDian Sees Village Residence", 1953. Huang Binhong's life left behind a large number of landscape paintings and other works, he kept painting, without false thinking, everywhere with the "Fagao" display, we look at his paintings, but also only marvel at his "Fagao", the power of the ink, connotation, internal changes, people can not get tired of reading, but forget his insensitivity, only mechanically repeat how to use the pen, how to express the connotation of pen and ink, to show his "Fagao".
Huang Binhong, a grandmaster of the modern Xin'an Painting School, appreciates "The Color of Emei Mountain"
Huang Binhong's "Emei Mountain Color" As Shi Tao said, "the ink in the black group is clustered, and the heavens and the earth in the black ink group are wide", Huang Binhong's landscape painting is characterized by "black dense and thick", and the work attaches importance to the unity of the virtual reality, complexity and simplicity of the chapters; the use of the pen is like a seal, vigorous and powerful, in the strict writing, there is a vertical and horizontal and strange interest. This painting was made after eighty years, the pen is moist and inky, the color is thick, and the ancient meaning is full of ancient meaning, although it is said that song Xu Daoning pen and ink, in fact, it is purely from oneself.
Appreciation of Huang Binhong, a generation of masters of the Modern Xin'an School, "Ink Landscape"
Huang Binhong, Ink Landscape, 1954, ink on paper, length 88 cm, width 36 cm. "Ink Landscape" was composed by Huang Binhong when he was 91 years old, and the pen and ink are more pure and pure, and they are fascinating. On the left side of the peak dangerous rock, the cliff is upright, an ancient pine tree in the middle is straight into Xiaohan, a courtyard behind the tree is backed by a green mountain, a person sitting cross-legged in the middle of the house, there is a Danding furnace on the table next to it, and the chai gate courtyard wall is facing the rugged mountain road, which is an ideal place for Taoist immortals to cultivate themselves. This painting is pure ink, with light ink, thick ink, and su ink, stacked layer by layer, appearing lush and pale. If you look at the rocks piled up, careful inspection is clear and orderly, and the hard rocks also produce a light pleasure, seemingly inadvertently, but see the ingenuity.
Huang Binhong, a grandmaster of the modern Xin'an School of Painting, appreciates the "Night Mountain Map"
Huang Binhong's "Night Mountain Map" Vertical Axis Coloring Paper. This "Night Mountain Map" brings out Huang Binhong's artistic characteristics to the fullest, he uses splashed ink, scorched ink, Su ink, and applies stone green and light ochre, the picture is thick and huazi, and the charm is endless. In the evening, the mountain color, the sunset afterglow is faintly visible, the near mountain is thick and dark, the distance is faint, and it is full of poetry.
Huang Binhong, a generation grandmaster of the modern Xin'an Painting School, appreciated the "Liuting Gaohui"
Huang Binhong's "Liuting Gaohui" mirror heart coloring paper. This picture was painted by Huang Binhong by the famous Peking Opera performance artist Mr. Cheng Yanqiu. The painter of this work adopts the traditional composition method, advancing step by step, rendering layer by layer. Pushing the flooding and Huazi of ink painting to an extreme, the water-full ink halo fully expresses the endless charm of natural life. There are several huts between the thick ink outlines and tree poles, and the natural subtle white space seems to float away from the water vapor clouds. This figure Huang Binhong attaches great importance to the quality of the lines, dot ink, color to see the brushstrokes and texture, strange rocks are rugged and abrupt, and the trees are lush and lush. Smoke and mist swirled around it, like a scene of paradise. Although the figure is simple with the pen, it is closer to the natural texture of the mountain stone forest, and the mountain and the humid air in the natural space are integrated in a delicate relationship, it seems that the smell of the soil and grass can be smelled, and the dense spot dye itself presents a rich beauty of Huazi, and the natural integration of the white space and the mountain houses and paths create a "living and swimming" artistic conception.
Appreciation of Huang Binhong, a generation of masters of the Modern Xin'an School, "Wansong Smoke Mist"
Huang Binhong, "Wansong Smoke Mist", 132.5 ×66.5 cm, about the 1940s, national art museum of China. "Wansong Smoke Mist" has no year, but the pen and ink are confused at close range, and the distant view is full of vitality, full of charm and simple, which should be the most mature "Black Binhong" work in the 1840s. In 1937, Huang Binhong was invited to Beiping to identify calligraphy and painting, and concurrently served as a tutor of the Chinese Painting Research Institute and a professor of Beiping Art College. Unexpectedly, the "July 7 Incident" broke out, and the whole family fell into Beiping and could not return to the south. Therefore, "Fuju Yan City, refused to socialize, but in the old paper pile, fighting with silverfish for life, books, gold stones, calligraphy and paintings, even loved it." ("Eighty Self-Narration") In the process of "Fujuyan City", his painting style completed the transformation from "White Binhong" to "Black Binhong".