Appreciation of the works of Mr. Wu Jingting, a famous artist of modern Chinese painting

Wu Jingting (1902-1972.11): alias Wu Mingxi Zeng, Character Jingting, No. Jinghu, a native of Shaoxing, Zhejiang, lived in Beijing. In 1918, he entered the Institute of Chinese Painting affiliated to Peking University, served as a lecturer at the National Art College, served as a professor of Chinese painting in the provisional eighth class of Peking University, entered the Chinese Painting Research Association at the age of 17 to study ancient paintings from Jincheng, and accompanied Jincheng and Chen Shi to Japan to participate in the Sino-Japanese painting joint exhibition.

Among the disciples of Jincheng, his attainments were profound. Starting from Wang Yi, he dabbled in the Song, Yuan, Ming and Qing dynasties, while paying attention to sketching, fusing tradition and creation into one furnace, the landscape is fresh and elegant, and the artistic conception is remote. In 1936, he was promoted to the Society of Chinese Painting Research, and in the early 1930s, he taught at the Jinghua Academy of Fine Arts.

In 1954, he was appointed as an associate researcher of the Institute of Ethnic Fine Arts of the Central Academy of Fine Arts, and in 1958, he participated in the preparation of the establishment of the Beijing Academy of Painting, serving as vice president, painter and art editorial board. He has successively served as the secretary of the Secretariat of the Beijing Branch of the Artists Association, the editorial board of Fine Arts, the deputy to the Beijing Municipal People's Congress, the representative of the National People's Congress, the director of the China Federation of Literature and Literature, the standing committee member of the Beijing Chinese Painting Research Association, the director of the China Artists Association and the secretary of the Secretariat.

Under the guidance of the famous teachers Jin Cheng, He Luzhi, Yu Difan, and Xiao Qianzhong, Wu Jingting followed a trail starting from the "Four Kings", especially Wang Shigu, and indirectly traced the trajectory of the famous masters of the Song and Yuan Dynasties, repeatedly copied the masterpieces of previous dynasties, and constantly studied them, laying a solid foundation for traditional painting. Wu Jingting is talented and very hardworking, his works are profound, and his style is elegant and handsome.

In the first half of his life, most of his works were colored with fine brushstrokes, comprehensively using the ancient painting methods, and forming a clean and powerful painting style according to his own understanding. After liberation, he traveled all over the famous mountains and rivers, trying to seek change by sketching, and his later works paid more attention to the portrayal of the atmosphere of the scene, and the pen and ink coloring was gorgeous and pleasing to the eye, sometimes using boneless methods, sometimes using mud gold outlines, gold and blue cover dyeing, and there is a kind of rhyme. It should be said that his new exploration is still basically in the scope of traditional pen and ink, but it is more inclined to the use of color.

Mr. Guan Ruizhi, a senior contemporary landscape painter and Theorist of Chinese painting, pointed out: The degree of effort used by Mr. Wu Jingting to study Chinese painting is rare among modern Chinese painting masters.

In the early 1960s, Mr. Wu tempered and sublimated his landscape painting skills through sketching, forming a bone method of depicting the natural form of trees and stones in a complex and ingenious chapter, with thick brush and ink and rich texture expression, which became one of the important contributions of modern Chinese painters to traditional brush and ink.

According to Mr. Guan Ruizhi's research: Mr. Wu Jingting has always been committed to the inheritance and promotion of Chinese painting, he always rescued in the period of Chinese painting and national poverty, he was an early member of the Chinese Painting Research Society and the Hushe Painting Society in the early 1920s of the last century, and he was also one of the main members of the first batch of Beijing Calligraphy and Painting Research Society in 1952 and 1953.