"The eyes are high, the mountains are up".
Before the withdrawal of the exhibition, I enjoyed the "Changbai Relic Pearl: The Exhibition of works of the "Beijing-Tianjin School" collected by the Jilin Provincial Museum", and in addition to the works, there was also a strong sentence in the guestbook of the Lu Xun Museum in Beijing.
- Draw the bottom line -
What is the Beijing-Tianjin School of Painting?
In modern China, in various fields of economic geography, although there are other cities that shine in some aspects, most of them are driven by the Yangtze River Delta, the Pearl River Delta and the Capital Circle of Beijing-Tianjin. The art history of the Republic of China is no exception, in addition to the Chang'an School of painting in the isolated northwest, the Maritime School, jinling school and Zhejiang school are from the Yangtze River Delta, and the Lingnan school is the spokesperson for the Pearl River Delta.
As for the Beijing-Tianjin school at the foot of Tianzi, it is not an exaggeration to call it the "Royal Forest Army" or "National Team" of the Republic of China painting circle. Although the four major art groups Xuannan Painting Society, Chinese Painting Research Society, Hu Society and Songfeng Painting Society can be said to be cultural by-products of the Beiyang Department of Politics in a sense: the earliest Xuannan Painting Society (1915), founded by Yu Shaosong, then vice minister of justice, was founded by Yu Shaosong, the chinese painting research society and even the then president Xu Shichang. The leaders and generals of the three groups included Jin Beilou and Chen Shizeng, who were serving officials of the Beiyang government, the "N generation of officials", and Liu Kuiling, who was from a local gentry family such as the "Liu Family of Tucheng", the "Eight Greats of Tianjin". As for the Songfeng Painting Society, the members include royalty such as the "Four Pus" before and after, clans such as Guan Songfang, and Qing Dynasty widows such as Chen Baochen and Luo Zhenyu. The "threshold" is higher than the other.
Lake stone red medicine diagram Chen Banding
The Maritime School and the Lingnan School, which are located in the most developed and outward-looking regions of the commodity economy, are also based on various associations, but the associations are essentially guilds or even trading companies, and the ultimate purpose is to sell paintings or even export. The beijing-Tianjin painting school, in essence, all came together as a painter and came together for interest - for example, Chen Banding, who was idyllic by nature, did not even like the excessive pursuit of profits in the Shanghai painting world, and "defected" to beijing in the north. The important Beijing Painting Academy was established on the basis of the China Painting Research Society and the Lake Society, and some members were embarrassed to mention their painter status all their lives - thinking that painting was just play.
The Beijing-Tianjin School of Painting has never been just a regional concept, but also a cultural concept. After the end of the Qing Dynasty and the change of the Yuan Republic of China, the new cultural movement will naturally not be less controversial and practical in the field of painting. The Lingnan School, which is located at the center of foreign trade and non-governmental exchanges, even once advocated total Westernization, which is in stark contrast to the Beijing-Tianjin School, which is deeply rooted in the heart of traditional politics and culture and has the basic purpose of preserving and carrying forward the essence of the country. It is the existence of the Beijing-Tianjin school of painting that, to a certain extent, corrected the damage caused to Chinese painting by the extreme ideological trend of the "art revolution" from both action and thought, and set an example for promoting national art, and also drew a bottom line.
In the view of the Jingjin School, the "Four Kings" of the Qing Dynasty, which has always been regarded as orthodox, still have to learn, but they must not be blindly studied, otherwise they will enter a dead end like the last childish and weak painting style since the middle of the Qing Dynasty, and the "study of ancient methods" is to focus on the famous relics of the Song and Yuan Dynasties and the previous laws and techniques. In the exhibition hall, there are "imitation of Zhao Mengfu" and "imitation of Huang Gongwang", and it is not difficult to see the stupid kung fu of the first-class smart people willingly. Some works, such as Chen Shizeng's imitation of Song landscapes, are very deep in the juvenile Tong Zi Gong.
- Eclectic -
It is true that the guiding ideology of the Beijing-Tianjin School of Painting is "refining ancient methods", but the other half is "absorbing new knowledge". Later, those who returned from overseas and used professional institutions such as the National Art College as their base not only had more radical artistic ideas, but also their main field was not in Chinese painting. Leaders such as Jin Beilou and Chen Shizeng are all well-established returnees who have based themselves on the world of Chinese painting with a broader academic background and life experience.
As the first true founding leader of the Beijing-Tianjin School, Jin Beilou's works are solemnly placed at the beginning of the exhibition, and his proud protégé, Chen Shaomei, a young leader of the Hushe Society in Tianjin, is on the side. From Jin Beilou's landscape paintings created in the 1910s, the shadow of Impressionism can be clearly seen – which means that ancient Chinese paintings are almost synchronous with Europe in terms of innovation, even at the technical level.
Autumn Light Diagram Qi Baishi
This exhibition has no shortage of "top streams" such as Pu Xinhu and Qi Baishi, but it is Chen Shizeng who occupies the C position in the exhibition hall. His fame is inferior to the former, in addition to his early death in middle age, his achievements are mainly focused on the study of art history is also an important reason. His book "History of Chinese Painting", especially the "Value of Literati Painting" in it, is in a sense the program of the Beijing-Tianjin School. It was precisely because of his unique understanding of literati painting that he discovered Qi Baishi, who was already quite old at this time, and warned him that "Qi Meiren" could not eat in Beijing, and might as well open the situation with "safflower ink leaves".
Ink taro seedling figure Qi Baishi
What is even more breathtaking is Liu Kuiling, the leading figure in Tianjin in the Beijing-Tianjin School, who has never been abroad, never gone to university, or even left Tianjin in his lifetime, but has become a "feather king" who created his own stick figure without bone and wet pen hair tearing method. He is expected to be a family scholar, and has received a new-style education in the church primary school and the first class of the Nankai Middle School of the "Taishan Beidou" in the history of modern Chinese education, and after entering the society, he engaged in art design work in the earliest commercial media. From Liu Kuiling's experience and his works, it reflects the spiritual background of Tianjin, the former first industrial and commercial capital in the north where China and the Ocean were mixed, and it and Beijing are accompanied by each other in the spiritual field, and the ink and ink are poured into this "Tale of Two Cities". His re-disciple He Jiaying said that he "not only painted a zoo, but also a botanical garden", and his vividness lies in the japanese obscure school and Yamato painting brush techniques, the use of light and color by European Impressionism, and even the exaggerated deformation of the pioneering experiments in the West at that time... All the elements that are suitable for the representation of the object of creation can be used by me. Tianjin, where Mr. Liu lived, was once the base camp for the Japanese invasion of China in North China. In the exhibition hall, there are three of his works, which happen to be created before the fall, during the fall, and after the restoration, and are presented in front of posterity, and it is clear that a painter who is bold and open in art takes the Sun as a teacher, the posture of resistance against the invaders and the pain of the people's livelihood, which is undoubtedly more precious.
- Old Days King Sun -
After Puyi left the palace, the "last imperial brother" was deeply shaken, fortunately, there was still an artistic body, he could chant, he could escape the world, and he could also exchange money for subsistence. Compared with the other three major organizations of the Beijing-Tianjin school, the Matsukaze Painting Association has a more cooperative flavor. "Old Wang Sun" and "Changbai So-and-So" and other payments have exposed their inexhaustible inner world and identity.
Pu Ling, the oldest and most prestigious of these royal painters, was the benefactor of the eldest brother and even the younger brothers. After Pu Zuo's attempt to study in Japan for some reason, Pu Ling, who was 25 years older than him and was then the head of the art department of Fu Jen University, feared that his brother was depressed and even took the wrong road, so he left him by his side to teach his skills. After Pu Zuo completed his studies, he also became a university professor.
Jiangshan Pingyuan Tu Puru
The disciples of Jin Beilou set up a lake club after the death of his mentor to commemorate Mr. Lotus Lake, who had deep still water and tolerated the character of Tuna, and the Songfeng Painting Club took the character of Jinsong as the spirit and artistic purpose, and each member should also take a number with "pine". In the early stage, Pu Shu (Song Xue), Pu Shu (Song Lin), Pu Ru (Song Chao), Pu Ru (Song Window) "Four Pu" as the core, and later Pu Ru Nandu, his youngest cousin Pu Zuo (Song Kan) supplemented, and became the leader of the second generation of painting Society, or the "Four Pu" pattern, plus qi gong (song canyon) as a junior. Although the choices of life paths for birth or entry into the world are different, this group of brothers and baylors has indeed adhered to the character of independence and snow in their own positions, and they will not bend.
In the spring of 1931, Zhang Boju wrote for Yuan Kewen: "The old king and grandson, the new pavilion tears ... Boundless wind and moon, such a river and mountains" of the eternal absolute union, among the guests who came to mourn, there were snow fasting, heart and so on. The same is the true friends who feel sorry for each other, several legitimate old wang grandchildren who were born with flowers and plumes, who are already self-supporting cultural and educational workers at this time, and compared with their former "rich and idle people are busy with nothing", and now they are dying in poverty and illness, I don't know how Zhang Boju feels.
30 years later, Zhang Boju, the first deputy director of the Jilin Provincial Museum in charge of cultural relics appraisal, personally collected the works of old friends from various sources and personally marked them for identification. Previously, he was classified as a "rightist" and forced out of Beijing, but Jilin's work was still carried out with the care and help of Marshal Chen Yi. And Chen Laoshuai's masterpiece "Green Pine" as a poet is precisely for this old friend who has a very different birth experience but sees the same old friend. "Heavy snow presses the green pine, and the green pine is straight and straight. Know that the pine is high and clean, and stay until the snow melts. ”
It is precisely under such encouragement that Zhang Boju has saved enough for the Jilin Provincial Museum (Courtyard) in the past ten years to become a first-class museum in China. Including in this exhibition, we see more than 40 "lost pearls" of the Beijing-Tianjin School: from the still water of the "lake" flowing deeply and containing vitality, to the high cleanliness of the "pine" and the independence of the world.
Such as Zhang Yi and evaluate her this world uncle, the old man this lamp, only if he is extinguished, you know how bright he is. What a connoisseur and collector with a high eye master can do for a group of great painters with high eyes is to leave their works to future generations with the best appearance and complete genealogy.
Wen | Huang Zhe
Edit | Yu Jing