On the morning of October 28, Jiangsu Art Fund's 2021 annual art talent training funding project "Art Criticism Talent Training Class" continued wonderfully, and Huang Ge, deputy director of the Fu Baoshi Memorial Hall of the Jiangsu Provincial Academy of Chinese Painting, took pen and ink as the starting point to illustrate Fu Baoshi's artistic concept and painting trends with small views and big views.
Fu Baoshi's life and the evolution of his painting style can be roughly divided into four stages: the youth period, mainly the accumulation of traditional arts and theories; during the period of staying in Japan, the experience of studying in Japan expanded his artistic theoretical horizons, and his artistic style was influenced by the new Japanese painting style; during the Chongqing Jingangpo period, his personal painting style reached maturity and peak; during the New China period, art gradually integrated into political factors and began to depict the "new look of mountains and rivers" in the new period.
Subsequently, Huang Ge focused on analyzing the pen and ink characteristics of Fu Baoshi's calligraphy and painting art from three aspects.
First, the understanding of pen and ink
Pen and ink is a general term for Chinese painting techniques, which refers to the basic method of using brush and ink in Chinese painting. Fu Baoshi combined tradition and personal experience to create the "Bouldering Stone", which pushed the magic of the scattered brushwork to the extreme. When the predecessors used the scattered brush method, most of them were still limited to the use of the pen edge (the tip part of the brush), and at most it was used to the abdomen of the pen, that is, half of the brush hair part. Fu Baoshi made use of the entire millihair part, that is, he used the pen root all the time, using the "whole pen", which mobilized all the advantages of the Chinese brush to the greatest extent, and gave full play to the strengths of the scattered front, which in addition to the traditional pen's middle, side, reverse and rotation of various pen methods, it also contained many inexplicable stroke trajectories of wrinkles, rubbing, points, and hoards. Fu Baoshi's scattered brushwork completely does not see the traces of the up and down pen, and there is no trace of the pen root rubbing, pressing, pointing, and scratching at all, and the resulting large pieces of rubbing that seem to be chaotic and chaotic are extremely powerful, like the natural sound and there is no trace of artificial axe chiseling. However, looking closely at the picture, Fu Baoshi's scattered front has a strong regularity, and there is not even any norm that deviates from the traditional law.
Second, pen and ink and tradition
Huang Ge compared the landscape styles of Fu Baoshi and Pan Tianshou, who had similar artistic growth experiences and academic backgrounds, both studied traditional Chinese calligraphy and painting art and theory, but derived very different styles of art. If Pan Tianshou is a kind of refinement and condensation of the traditional literati freehand spirit, and Fu Baoshi has more elegant and common appreciation characteristics in the construction of landscape painting, after fully adding the realistic factor, the freehand spirit of landscape painting is displayed in a more readable and aesthetic form, and a balance and compromise are found between social mission and artistic ontology, opening up a new style of landscape painting that can freely control the thematic creation and express the feelings of literati and full of classical poetic circles.
3. Pen and ink and sketching
Fu Baoshi's thinking on sketching inherits the tradition of "master's creation" in Chinese painting, comprehensively and profoundly digests and absorbs the interpretation of concepts in traditional painting theories such as "truth", "sex" and "reason", and explores the essential characteristics and internal laws of the depicted objects. At the same time, under the influence of studying in Japan, he attributed the concept of "sexual theory" of objective scenery to the category of materialistic science "geomorphology", which in turn verified the rationality and effectiveness of the traditional landscape painting program, and also provided strong theoretical support for the transformation of the traditional form of the times. Fu Baoshi stressed the need to "reflect and express the beautiful tastes he feels hidden in the natural world with pen and ink." He summed up the sketching characteristics of Chinese painting into the four steps of "traveling, remembering, enlightening, and writing", which is a direct reflection and practical expression of the concept of "realism" in Fu Baoshi's painting thought, not only attaches importance to the selection and description of objective scenes, but also attaches more importance to the understanding and reflection of subjective thinking on scenes, emphasizing the role of the author's thoughts and feelings. In the whole process of landscape painting, it is necessary to implement the requirements of blending scenes. Although Fu Baoshi regards sketching as the main means to directly "brew creative ideas and absorb creative themes" from nature, he will certainly not rely on the paintings of the ancients and copy objective reality in the face of natural objective choices. He is good at grasping the trend of the times, in addition to the needs of artistic ontology innovation, his personal artistic orientation has been wrapped in strong political and social needs, so Fu Baoshi through the "sketching" method and its personalized understanding and the traditional landscape painting interest in the new social environment to complete the recognized value turn, which makes his landscape painting not only meet the function of social mission and close to the admirers who have the deepest attachment to Chinese painting.
In the lecture, Huang Ge showed Fu Baoshi's large number of landscape and figure works, made detailed image interpretation, and analyzed and compared with the works of Japanese painters, so that the students could have a more intuitive understanding of Fu Baoshi's artistic style and aesthetics. Finally, Professor Huang Ge stressed that academic theory should broaden its horizons, not be narrowly limited to this major, but should learn more about the knowledge of various disciplines, broaden the level of knowledge, and achieve interdisciplinary research. At the same time, it is also necessary to pick up the brush practice, personally feel the charm of pen and ink, communicate more with artists, and summarize their personal and fragmented experiences and experiences in words. Of course, the most important thing is to always maintain a critical, independent and skeptical attitude in order to push scholarship forward.
Correspondent Geng Zhongbei
Yangzi Evening News | Purple Cow News reporter Shen Zhao
Source: Purple Cow News