<h1 class="pgc-h-arrow-right" data-track="1" > artistic creation</h1>
Huang Binhong's landscape painting creation path has gone through three stages: shi guren, shihuahua and melting ancient human creation to form an original style.
Before about the age of 60, he was mainly a teacher.
60 to 70 years old, mainly teacher creation.
After the age of 70, he stood on his own, gradually matured, his style was thick and huazi, and his artistic conception was lush and vigorous, which was the basic feature of Huang Binhong's landscape and Cai Bo's paintings.
From the perspective of pen and ink, the "black, dense, thick and heavy" that belongs to the traditional body, that is, the accumulation of pen and ink is dozens of weights and deep layers, which is the most significant feature of his landscape painting. Color In terms of color, there are water halo ink chapters, vibrant ink landscapes, there are also danqing and colorful turquoise colors, more colored ink splashes, and pure lines of scorched ink thirst pen.
From the perspective of inheritance and innovation, you can find the shadow of a certain ancient brushwork, but it is not an ancient person at all. His paintings of flowers and birds are occasional, elegant and elegant, unique. Calligraphers Chengzhong Dingwen and Jin Wei. Xingcao took the Fa Wang Xianzhi and Yan Zhenqing, and the Calligraphy took the Fa "Zheng Wen Gong Monument", "Shi Men Ming", Chu Suiliang, etc. Eclectic and talented, out of their own minds, there is a hint of qinggang and beauty in the simple and deep male. Profound knowledge and rich practice of calligraphy and painting make Huang Binhong's research on the history of painting have profound and unique insights.
The main manifestations are:
Thick and thick. In view of the phenomenon of soft and weak temperament in qing dynasty landscape painting, he briefly included the four words "Hun Hou Huazi" as the artistic realm and aesthetic standard he pursued, and raised it to the height of the Chinese national character.
(2) Advocate creation. He believes that in order to inherit and develop the fine traditions of the nation, the teachers and the ancients must abandon the old-fashioned copying and must be created by the teachers.
(3) Pen and ink are virtual. In terms of technical theory, he summarized the laws of brush and ink used in Chinese painting, and proposed 5 kinds of brushwork: flat, round, retaining, heavy, and variable, and 7 kinds of ink methods: thick, light, splash, broken, stained, scorched, and sueded.
(4) Learn to paint. He advocated the painting of scholars who were knowledgeable, noble in character, solid in skill, and creative in their work.
Huang Binhong's painting creation has a clear theoretical guidance, and its theory contains a summary of the practical experience of creation. His landscape paintings and painting theories have enriched the expressiveness of landscape painting, and in the development of modern Chinese painting, it has the significance of inheriting the past and opening up the future.
Huang Binhong is a great figure in the Chinese painting world of the twentieth century. Before the age of 50, he traveled through hundreds of homes, tracing back to the Tang and Song dynasties. After that, he was full of sightseeing and watching, nine on the Huangshan Mountain, five on the Jiuhua, four on the Taishan, and then climbed the Five Ridges, Yandang, and Free Tour bashu, and the footprints were half the world. The post-70s generation has become a generation of famous craftsmen. His paintings are condensed and sublimated on the basis of in-depth study of tradition and refinement, and then melt into his own artistic personality. Compared with other great masters of the twentieth century, Huang Binhong is more learned and more literati. In addition to the creation of landscape painting, he has made outstanding contributions in the fields of epigraphy, art history, poetics, philology, and the collation and publication of ancient books.
Huang Binhong believes that painting does not care about appearance, should not focus on the beauty of appearance, but should strive for internal enrichment, the pursuit of "internal beauty". He also said: "The highest state of Chinese painting art is to have pen and ink. Huang Binhong systematically sorted out and summarized the experience of his predecessors in the use of pen and ink, and summed up the saying of "five strokes and seven inks" in his later years - "five strokes" are "flat, retained, round, heavy, and change", and "seven inks" are "thick ink, light ink, broken ink, stained ink, splash ink, scorched ink, sumo" methods. In this way, with the pen as the bone and the ink gathering, the image of "thick Huazi" can be presented.
As a result, Huang Binhong has established an aesthetic standard for Chinese brush and ink in practice and theory. This is a historic contribution that surpasses those of its predecessors. Huang Binhong's landscape in his later years is full of vitality, rounded pen strength, and ink flying, with "black, dense, thick and heavy" as the most prominent characteristics. Its artistic conception is clear and deep, and it is full of traces of axe chiseling and carving, and it is very interesting to blow, which makes the viewer moved. From such a lush image and Gao Hua's temperament, people felt the strong tension of the Chinese national cultural spirit.
< h1 class="pgc-h-arrow-right" data-track="9" > work</h1>
In his exposition, Huang Binhong repeatedly emphasized the inevitable connection between character and painting, and proposed: "The height of the painting is rooted in the character." This is not a personal view of Huang Binhong. Song Guo Ruoxuan's "Narrative of Pictures and Pictures" has: "Since the character of the person is already high, the qi rhyme has to be high, the qi rhyme is already high, and the vividness has to be reached." He also said: "The husband draws the book of Judah, and the yangzi knows: 'Words, the voice of the heart, and books, also the painting of the heart.' Sound and picture shape, gentleman and villain see'. The text is like its person, the book is like its person, and the painting is like its person, which is often mentioned by the ancients.
Some people question this statement: how can a work of art be "like its own person"? Which word, which painting will look like the author? Character is very good, painting is not good, painting is very good, character is not good, this kind of example is not many?
Ambiguity arises from the understanding of "character". Character, here, is not just a moral evaluation, but the whole inner quality of the person. Huang Binhong explained: "Pure inner beauty, is the author's character, learning, mind, and circumstances, and has a wide range of contents." Huang Binhong said: "Ancient painters, multiple personalities and learning, do not seek fame and fortune, enter the moral cultivation, and know that their ways do not count their merits." Although his life is peaceful and indifferent, he is lonely and unknown, and he does not know or regret it in the world."
The kind of divine pleasure that lives at the highest level in the art hall not only requires extremely high artistic talent, but also requires a long period of accumulation and cultivation. This long process, difficult and lonely, does not have this kind of tenacity and extraordinary quality proposed by the old man Binhong, and will certainly deviate from the right path under all kinds of resistance and temptation, and will not achieve positive results.
When Huang Binhong was eighty years old, he wrote "Self-Narration of Life", one of which was particularly touching.
"Nearly fuju yan city will be ten years, refuse to socialize, but in the old paper pile with silverfish to fight for life, books and stone calligraphy and painting, even day after day." There are those who look at the clumsy painters, and the jiyou paintings they have made on weekdays are as many as 10,000 pages, sketched on coarse linen paper without staining; those who see it do not hesitate to be industrious, but scorn their pedanticness, and discard it after a little reading. There are also people who come to ask for paintings, which vary from year to year. Whoever knows that his collection has a famous deed shall receive a fable and give it to him. Those who have been to the distant road, choose their own people, and do not hesitate to do so. ”
This is a documentary written by Huang Binhong in 1943 when he was in his seventies and eighties. In the long days, he searched and cultivated silently. On days like this, a few painters endured. Is it not such a piousness, can Huang Binhong understand the Tao thoroughly? Can it reach such a high level?
In June 1937, at the request of the Beiping Antiquities Exhibition Center, Huang Binhong went to Beiping to examine and approve the southward relocation of calligraphy and paintings from the Forbidden City. In July, the Lugou Bridge Incident and the outbreak of the War of Resistance Against Japanese Aggression immediately occupied Beiping, and Huang Binhong was unable to return south. An old man in his seventies, trapped in this situation, what can be done? The best choice is "Fujuyan City" and "Dumen All Day". However, to be able to do so all the time, there must also be an economic basis.
Forced by life, after the fall of Beiping, Huang Binhong still taught at the Antiquities Exhibition Institute and Beiping Art, and in 1938, he also served as a director of the Beiping Ancient College. With income, Huang Binhong is likely to close his door to write books and paint. Only in light of the specific circumstances at that time can we understand this passage in the "Self-Narrated Life" quoted earlier.
The Japanese, as occupiers, still tried their best to co-opt the upper echelons. When Binwong was eighty years old, The Japanese host of the Peking Art College, Tetsu Ito, wanted to hold a birthday ceremony and send a car to greet him, but Binwong resolutely refused. Who are the "Soguan Clumsy Painters" and "So-Painters" mentioned in the text? Bin Weng did not explicitly say that from the perspective of Huang Binhong's attitude of coping, he was only willing to let the visitors see Ji Kui's paintings, and the Paintings were even more "different over the years", which should be Bin Weng's attitude towards the Japanese, traitors or people who did not know the details, which was both integrity and avoiding scabies. At this time, Bin Weng was very generous to "those who collected famous traces" and "those who sent letters from afar", and also made "Yuanshan Tang Tu" for Hong Kong people Huang Jusu, "Xie Cha An Tu" for Yang Mou, and why he felt that he was "Mengshan Xiao Hidden Tu Tu". Compared with the two, there is a very different difference. This bland narrative flashes the brilliance of the old man's national integrity.
In the fall of Beiping, Bin weng continued his research and wrote a lot. "The Deeds of Master Gradually Jiang", "Compilation of The Deeds of Shi Mao", "The Affairs of the Dirt Dao People", "Bin Hong on Painting", "Chronology of Painting History", etc., were all written during this period.
The fall of Beiping caused Huang Binhong's life of "Fujuyan City" and "Dumen all day", and the elderly in their seventies, who had food and clothing, could fully hold their grandchildren, raise flowers, play chess, and play mahjong to live. The reason why he is so diligent is still that he has the impulse of irrepressible inner energy. Great people have an innate energy, they are driven by this energy, and all their actions are to release this inner energy. Just as salmon swim up a rushing river to lay their eggs, it is inevitable that caterpillars will turn into beautiful butterflies. For Huang Binhong, it is this inner energy that makes him never stop. This kind of doing nothing is a driving force that ends with life, and it is the greatest quality.
Reading huang Binhong's deeds, his strong interest in gold stones, calligraphy and painting and tenacious efforts have never diminished throughout his life.
Huang Binhong showed great interest in painting at the age of seven, and at the age of twenty, he "visited the paintings made by Shi Xian" and gradually accumulated knowledge in this area. In 1908, at the age of 45, he came to Shanghai to write for the Journal of National Essence, and the following year, he served as an editor, and together with Deng Shi and others, he was responsible for editing the "Journal of National Essence", "Guoxue Series", "Shenzhou Guoguang Collection" and other books and magazines. In 1911, he co-edited the "Fine Arts Series" with Deng Shi.
"National essence" is the essence of traditional Chinese culture, books, paintings, seal carvings, of course, is an important part of it. Binwon's work was in tune with talent. This job position, which he does all day long, provides the best conditions for him to expand his knowledge, improve his horizons, and conduct academic research. Gradually, he formed his own theoretical system. In the process, he will study and publish articles continuously. In 1936, he was appointed as a director of the provisional board of directors of the Shanghai Municipal Museum, responsible for the acquisition and appraisal of calligraphy, paintings and antiquities. In fact, he has become a recognized authority in this regard.
In the process of his meticulous study of painting theory and observation of the continuous practice of mountains and rivers, he cultivated his own artistic taste and his own aesthetic concept. He identified this goal and pursued it for a lifetime. In the process of decades of pursuit, he has continuously improved and strengthened his aesthetic concept.
Huang Binhong's landscape paintings, from beginning to end, are purely yangchun white snow, and there is no trace of kitsch in it. What is kitsch? According to the market's interesting paintings, it is kitsch, Huang Binhong has lived in shanghai for a long time in this world of flowers and flowers, don't you know that beautiful paintings are easy to sell, money is a very cute thing? He just refuses to bow his head, he is really extremely devout to art, Huang Binhong does this, completely sober, conscious behavior, he deeply recognizes the interference of fame and fortune in painting.
This can be seen in his article published in the Shanghai Republic of China Daily in 1923:
"The painter is not to blame for not getting a name and not making a profit; but for the rush for fame and profit, the harm of benefit." It is not only the pursuit of fame and profit that is the harm of the painter, but the name and profit of the acquired name are especially harmful to the painter. Before the name is obtained, there is no one who does not expect the exquisiteness of his skills, copies the ancient and modern names, visits the teachings of teachers and friends, occasionally makes a painting, does not worry about it, or abandons it and does not use it, does not show it to others, thinks about it, and does not get tired of it. As for the slightly negative name, a hundred peace advocates, ear eaters, hear the sound, ask for it, the household limit is worn, it is not difficult to get, it is not regarded as a treasure, it should be taken as a rate, and it is not intended to be refined. At first, because of the disgust of the times, the embrace of the past, and then the indulgence of the heart, the abandonment of the ancient law to be strange, self-deception, and do not know what to do."
This text is too profound. Eighty years later, today's painters are still in such a situation, chasing fame and fortune, and being immersed in fame and fortune. Before becoming famous, he painted a good work, and after becoming famous, he will be stereotyped, and even change from cooked to oily. If you want to ascend to the hall of painting, you really have to "be mighty and unyielding, poor and lowly cannot be moved, and rich and noble cannot be adulterous."
Freehand painting, which must be a cause that must be fought for decades, is talented, knowledgeable, and learned, and it is not necessarily successful, and it is very important that it must also be supported by character. Just like the Tang monks who take the scriptures, they have to live a lot of magic in order to obtain the true scriptures and become the right results. External conditions can often become disasters, but the most terrible and difficult to defend is the painter's own "inner demons". Materialism, when the head of the heart demon. All human personality, temperament, psychological ailments, such as alcoholism, lust, toughness, anger, aggressiveness, arrogance, cowardice, excessive caution, etc., are demons in the heart, and can lead the painter astray. The phrase "character is destiny" doesn't know where it comes from, but there really is some truth to it. Of course, it does not sum up the irresistible intervention from the outside.
Literature and history are forbidden to "orphan evidence", and the connection between paintings and personalities is not a phenomenon unique to Huang Binhong. Looking around the contemporary people, his achievements are inseparable from his character.
<h1 class="pgc-h-arrow-right" data-track="32" > revolutionary ideas</h1>
Huang Binhong's works In 1895, the Treaty of Maguan was signed, and 1300 people led by Kang Youwei were tested in Beijing to "write on the bus". When Huang Binhong heard the news during his funeral at home, he excitedly wrote a letter to Kang and Liang in favor of their proposal to change the law.
In the summer of that year, Tan Sitong, another important figure in the reform of the Law Restoration, went to Shanghai through Guichi because of the incident, and after Huang Binhong knew about it, he rushed to Guichi to meet with him. Tan Si listened to Huang Binhong's discussion for a long time and said: "Brother Park Cun is right, he must stretch out his fist to fight against ambitious powers. Later, Huang Binhong recalled That Tan Si and often said that Tan Si was also a heroic man, patriotic and admirable. In the winter of 1898, when Huang Binhong learned that Tan Si had been killed by the Nala clan in September of the same year, he cried loudly and angrily wrote down:"A thousand years of artemisia, worthy of the People of the Tao." "The elegy.
In the winter of 1898, Huang Binhong returned to Shexian County to visit hong peiquan and Wang Zuochen, two people in the late Qing dynasty, and persuaded them to use their agricultural leisure to recruit villagers to teach boxing. Soon, on the Yue Camp Beach where Yue Fei was stationed, they pulled up a team, rode horses to test swords, practiced boxing and martial arts, named enhancing physical fitness, and really wanted to defend the country. Just as they were training their troops in full swing, the news came that the "Penghu Restoration" had failed and the "Six Gentlemen" had been killed. In the spring of the following year, Huang Binhong was also accused of being an "accomplice of the Restoration Faction." Fortunately, he learned in advance and fled immediately, and did not return to Shexian until the same day. On the way out, he once wrote a poem: "Harsh pursuit of grain and abandonment of farmers, theft by the people to impoverish the poor." But for the sake of the jackal, the lion roared at the empty mountain and was deafened! "To express resentment and sorrow for the country."
In the winter of 1905, the first middle school in the history of Shexian County, "Xin'an Middle School", was established, and Huang Binhong was hired as a professor of Chinese language. Later, he invited Chen to come to Xin'an Middle School to teach. Chen Was a native of Wujiang, Jiangsu Province, who organized the Snow Shame Society in his hometown in the old years, advocated restoration and revolution, and joined the League in 1906. Chen went to Shexian County to carry out revolutionary activities to unite local intellectuals. Soon, Huang Hongbin, a group of Xin'an Middle School teachers, organized the "Yellow Society", called the Study of Poetry, which was actually named in honor of the early Qing Dynasty thinker Huang Zongxi and his non-monarchical theories, secretly propagating the revolution. Huang Binhong's thinking thus changed from the loyal monarch and royalist of the constitutionalists to the resolute anti-Qing faction of the revolutionaries.
In the winter of 1906, Huang Binhong accepted the arrangements of the revolutionary organization and decided to privately mint copper coins in his backyard, on the one hand, as funds for the activities of the revolutionary party, and on the other hand, to disrupt the currency system of the Qing Dynasty. The revolutionaries brought in minting machines from other places and sent a master to be responsible for the minting technology. However, in June of the following year, just when the first batch of copper coins were out of the blank and had not yet been printed, someone reported the matter. Huang Binhong ran away overnight and went to Shanghai. After that, the "Yellow Society" was also dissolved.
But setbacks did not extinguish Huang Binhong's ideals. In October 1911, shortly after the Wuchang Uprising, he undertook the external transmission task of the Shanghai Merchant Group. After Shanghai announced its restoration, he excitedly hoisted the large white flag that had been prepared high to celebrate the victory of the revolution. Also in 1912, the first year of the Republic of China, Huang Binhong began to use the "Binhong" inscription to paint the genus to commemorate it.
<h1 class="pgc-h-arrow-right" data-track="44" > art reviews</h1>
In the modern and contemporary Chinese painting world, Huang Binhong is a very important painter. Its black, dense, thick and heavy painting style and thick Huazi pen and ink contain the great spirit of the Chinese nation's unremitting self-improvement, thick virtue and the aesthetic orientation of natural beauty. For decades, Huang Binhong's paintings have been widely concerned by the art world, and gradually released a huge amount of energy, influencing the Chinese painting world today.
Calligraphy has a unique practical significance for Huang Binhong, and is the "source of living water" for his pen and ink and painting methods. Huang Binhong's emphasis on the basic emphasis and practical operation of calligraphy on literati freehand painting almost accompanied him throughout his life. No one has actively applied the principles of calligraphy to painting like Huang Binhong, and achieved such a high realistic effect. It can be said that Huang Binhong's painting is a pavilion built on the basis of calligraphy, and its stability and height are related to calligraphy.
<h1 class="pgc-h-arrow-right" data-track="47" > posthumous commemoration</h1>
Huang Binhong's former residence in Jinhua, Zhejiang Province, is in Xitandu Village, Shexian County. The forest is lush and the scenery is beautiful. It is a Qing Dynasty building, a brick and wood structure house, the main house is a three-bay building, with a corridor and a patio in front. The main house Binhong inscription is "Binhong Caotang" and "Honglu", there is a small courtyard in front of the corridor, and there is a piece of exquisite Taihu stone on the west side of the courtyard steps is "Yusen Zhai".
People call it "Shizhi Room" or "Shizhi Pavilion". Mr. Huang Binhong is not only an outstanding master of art, but also a strong patriotic warrior. The "Minting Garden" of the former residence is named because in 1907, Huang Binhong secretly participated in the revolutionary activities to overthrow the Qing Dynasty, where coins were minted for the League to support the anti-Qing struggle.
In 1984, the 120th anniversary of mr. Huang Binhong's birth, a grand commemorative activity was held in his hometown, and the Ministry of Posts and Telecommunications issued a commemorative stamp "Huang Binhong" small stamp. The state funded a comprehensive renovation of Huang Binhong's former residence, and collected a large number of materials for display and exhibition, which was opened to the public. The former residence was opened as the "Huang Binhong Memorial Hall". Now the study and bedroom are basically the same.
<h1 class="pgc-h-arrow-right" data-track="52" > folded representative works</h1>
Huang Binhong's well-known paintings: "Fuchun River Chart Axis", "Emei Longmen Gorge", "Songxue Poetic Intention", "Four Screen Strips of Flowers", "Color landscape map" and so on.
"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. At a glance, you can see the overlapping mountains, the trees supporting the trees, and the clouds and mist.
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 steep, the mountain road is winding and winding, the forest is overgrown, and there are many layers, but the picture is still beautiful and orderly. 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.
This painting can also fully reflect his artistic style of "thick peaks and thick mountains, grass and trees".