Author: Wang Qisen
Recently, I have watched several haipai landscape painting exhibitions in a row, full of paper and clouds, peaks and valleys, the scenery is quiet, and the danqing is colorful, which basically shows the brush and ink orientation and artistic level of haipai landscape painters, and several of them are quite skilled. However, I also feel that on the whole, at a higher level, there seems to be a lack of a pioneering and innovative spirit and the pursuit of excellence; in a wider range, there are also fewer displays of diverse pen and ink, and many works do not have a very distinct and strong aesthetic recognition and style presentation.
Homogenization, typing, and imitation are the prominent phenomena that I have noticed. If wandering in the exhibition hall, most of the spatial displays tend to be consistent, or superimposed by small brushstrokes, broken brushes, fine dots, or shrouded in a greenery, or filled by countless lines. Its color color is basically green baking dyeing, thin and thick compresses, etc.
Zhu Qizhan's Chinese paintings boldly change the method, open up the east and the west, mix the texture effect of oil painting in the rough and bold brushstrokes, and highlight the visual tone light and shadow in the color sprinkling, with a very strong personal style. The picture shows Zhu Qizhan's "First SunShine Danfeng"
Lu Yushao is well versed in the shape of mountains and waters, and creates his own "blank space" and "ink block", making his penmanship strange and ups and downs, the lines change and agility, the elegant and magnificent color, which truly shows the temporal and spatial structure of the chapter layout and the richness of the connotation of the rhyme, thus promoting the creation of landscape painting to the contemporary level, forming the vocabulary and logo of "Lujia Landscape". The picture shows Lu Yushao's "Qiushan Xiao Temple"
We may wish to make a brief review of the Haipai landscape paintings, in order to Guanlan to find the source, vibrate the leaves to find the roots. In the history of modern and contemporary Chinese art, Haipai landscape painting has produced many elites, masters, masterpieces, and storms, presenting a brilliant situation in which plateaus and peaks stand side by side. Whether it is from the creative concept, method reference, academic orientation, or from the genealogy inheritance, style creation, genre building tree, they have reached the peak period. In this way, almost everyone is a banner of style. From "Three Wu and One Feng" (Wu Hufan, Wu Waitqiu, Wu Zishen, Feng Chaoran) to the "Four Greats on the Sea" (Zhao Shuru, Wu Hufan, Wu Waitingqiu, Feng Chaoran), from Zhang Daqian, Liu Haisu, He Tianjian to Zheng Wuchang, Huang Binhong, Xie Zhiliu, etc., they have become the leading team of landscape painting in the country, and they have also cultivated elite talents such as Lu Yushao, Yu Zicai, Hu Ruosi, Ying Yeping, chen Peiqiu, etc., thus supporting the door of the century-old masters of Chinese landscape painting.
This group of Masters of Haipai Landscape Painting, who have created brilliant achievements, with their own lofty artistic ideals, unremitting pen and ink pursuit and valuable pioneering spirit, have inherited in the Landscape Painting Art Garden, adapted the north and the south, integrated the east and the west, and boldly innovated, thus showing the wonderful pen and ink forms, their unique schema structures and the profound and rich atmosphere. For example, Wu Hufan's elegance and richness, Zhao Shuru's Hua Zi Shurun, Zhang Daqian's Qi Kun Chaoyi, Feng Chaoran's meticulousness and strictness, He Tianjian's Shen Xiong Gumu, Huang Binhong's Pu Mao Gu'ao, Xie Zhiliu's elegance and exquisiteness can be described as showing a big pattern, grand style, and great realm. "The only thing that is difficult to pass on is the spirit." What the current Haipai landscape painting lacks as a whole seems to be such a big pattern, atmosphere, and big realm. In the pursuit of art, there is a lack of innovative ability, and there are few wise breakthrough strategies in creative concepts.
As an important part of Chinese painting, landscape painting focuses on the exploration of creative methods, the display of pen and ink forms, the collision of artistic concepts and the expansion of aesthetic spirit, etc., in order to consider the current situation of Haipai landscape painting, but it seems somewhat weak. This reminds me of Mr. Xie Zhiliu, who in his later years was not willing to be mediocre and spent a lot of time devoted to the research and innovation of Xu Xi's "falling ink method". Xu Xi was an outstanding painter in the Southern Tang Dynasty, and his greatest contribution to the painting world was to change the popular halo color method since the Southern Tang Dynasty, and created a kind of moist and smooth ink falling method, ink lining color, color does not hinder ink, ink color double hair, texture contrast, giving people a sense of freshness and freedom, the wind god glows. But unfortunately, Xu Xi's ink falling method has not been passed down from clear and credible paintings, only his cloud in the "Cui Wei Tang Record": "When the pen was dropped, it did not try to apply the color halo and fine fragments to attack." At that time, Xu Xuan remembered Xu Xi's "falling ink method" was only "falling ink as a grid, miscellaneous colors, and traces and colors are not hidden." Xie Zhiliu was thinking repeatedly in these pieces of words, constantly trying, and finally got enlightenment, he used ink smudge dyeing as the foundation, laid the foundation, and then because of the ink color, organically and flexibly integrated the ink and color, complementing each other, thus not only reproducing the charm of Xu Xi's ink method, but also making his landscape color gorgeous and ink halo, ink color intersecting and graceful and ancient, presenting a new style. Another example is that Wu Hufan has entered the open and colorful and brilliant Haipai culture from the rich and elegant, elegant and bright Jiangnan culture. His Shanshui patriarchal "Four Kings" and then spy on the Song and Yuan Dynasties, but after he broke into the tradition with the greatest strength, he broke through the tradition with the greatest ability. "He takes the taste of literati painting, the poetic spirit, and the aesthetics of the times as references, and his landscape brush and ink are exquisite and elegant, and his elegant and beautiful and clean painting style is elegant, thus pushing contemporary literati painting to a new height and the renewal of the genealogy." His "Cloud Table Qifeng", "Biyun Xiaoling", "Xiaoxiang Over the Rain", etc., were called by Xie Zhiliu: "A new look like ancient reality, unique, becoming the most brilliant painter of that era." It can be said that the innovation of Xie Zhiliu, Wu Hufan and others in landscapes and rivers truly has the expansive nature of art, the achievement of scholarship, and the leading nature of art history.
Artistic creation is valued in the pursuit and expansion of style. Only in this way, style is people. It is true that the achievement of style is not an easy task, and some practitioners may have difficulty forming their own style in a lifetime. However, as an art group, we must not lack the pursuit and achievement of style. The reason why the Haipai landscape painting group was able to become the leader of the art world at that time was that they created the classic form and magnificent style of Chinese landscape painting in the 20th century with their different styles. However, in the current creation of Haipai landscape painting, everyone seems to be diligently seeking the repeated detailed drawing of pen and ink, the repeated smearing of a variety of methods, and the repeated superposition and complexity of using color ink, which fundamentally lacks a major breakthrough in a method of expression.
The famous painter Fang Zengxian once pointed out pertinently to the current situation of contemporary Chinese painting creation: "You are a painter, not a 'painter', and the traditional techniques of drawing and painting have disappeared." Mr. Zhang Daqian was lonely in seventeen mile bays in the United States, and created the splash color capitalization method, he once said to his friend Hou Beiren: "Li Rihua of the Ming Dynasty said, 'The ink splasher, the ink is subtle, and the pen scripture is not seen. Such as spilling out of the ear. 'Before painting, the hills are formed. When painting, the falling ink is sprinkled with color. It can be seen that Zhang Daqian was enlightened by the splash of ink from his predecessors, and it took several years to create a new painting style, realizing the artistic ideal of "people becoming old, painting becoming new" in the twilight years, and this "oriental brush" that came out of the Shanghai school in that year spent his life pursuing a breakthrough in style. There is also Zhu Qizhan, who is known as the Shou Weng of the Shanghai School of Calligraphy and Painting, although he was engaged in oil painting in his early years, but after turning to Chinese painting, while converting to "bone method with pen", "object pictogram" and "color with class", he boldly changed the method, opened up things, mixed the texture effect of oil painting in the rough and bold brushstrokes, highlighted the visual tone light and shadow in the color sprinkling, making it have the use of Cézanne's external light technique, and also the freehand of mattis color blocks, creating a very strong personal style.
Chinese painting has always had the feeling of home and country of "pen and ink when the times are contemporary" and the practice spirit of "searching for qifeng and making drafts". Although landscape painting uses natural scenery as the carrier, its creative direction should also reflect the spirit of the times and the meaning of the present. Especially under the guidance of the advanced concept of "Jinshan Yinshan is not as good as green water and green mountains", the natural ecological environment has attracted more and more attention and attention from the whole society, and the original famous mountains and rivers and scenic spots have been effectively rectified, so that the land, mountains, landscapes and rivers of Shenzhou have a new look. However, the current creation of Haipai landscape paintings, many of which are still limited to the traditional themes of Qifeng Valley, Qiufeng Waterfall, Pine Forest Ancient Temple, etc., lack extensive attention and timely reflection on the new appearance of the current landscape and ecological optimization, so as not to reflect the distinct spirit of the times, it is difficult to produce positive social repercussions.
In fact, attaching importance to sketching and paying attention to reality has always been the fine tradition of Haipai landscape painters. Liu Haisu also went up to the Huangshan Mountain on the occasion of the ninetieth and third years of the year, portraying the Seventy-two Peaks. In order to observe the Qifeng Xiu valley of the Three Gorges and the rapids of the Yangtze River at close range, Lu Yushao, who came out with "Lujia Landscape", drifted down from Shu on a raft regardless of safety and danger, and since then he has been well versed in the shape of mountains and waters, and has created his own "blank space" and "ink block", making his penmanship strange and ups and downs, the lines change and agility, the color is elegant and magnificent, and truly shows the temporal and spatial structure of the layout of the chapter, and the context of the connotation of the rhyme, thus advancing the creation of landscape painting to the contemporary level, forming the vocabulary and symbol of "Lujia Landscape". Another example is the landscape painted by Qian Shutie in his later years, in order to express the new style and new atmosphere of contemporary landscapes, he realized the courageous twilight change method. He pays attention to the block shape, spatial presentation, visual effects and momentum tension, using unbridled and strange, simple and clumsy brushwork, outlining the rubbing, in the use of color is more quaint and simple, heavy dyeing thick compress, integrating the Chinese and Western color views, highlighting the light and shadow of Fauvism and the hazy sense of Impressionism, which is refreshing. Therefore, our landscape painters should enter the big era of contemporary landscapes, and should not indulge in the small era of self-painting. Only in this way can we enhance the cultural identity, artistic innovation and social attention of Haipai landscape painting.
(The author is an art critic)
Source: Wen Wei Po