Xu Yansun Gongbi classical character appreciation

He can paint both fine and delicate brush strokes like silk, as well as a few vivid and vivid freehand paintings. Xu Yansun can be said to be a milestone figure in the history of the development of Chinese painting in the 20th century, which greatly influenced and promoted the healthy development of Chinese painting in the 20th century. In his lifetime, he created more than 100 figure paintings, all of which are exquisite.

Xu Yansun (1899-1961), famous Cao, lord of the Frost Red House, Sai No. Frost Red House, Hanshui Hall, Guiyan Lou, etc., a native of Xujiawan Village, Shenzhou, Hebei Province, participated in the Chinese Painting Research Society in his early years. It is one of the outstanding gongbi figure painters in China in the 20th century. He was a creator of the People's Fine Arts Publishing House, the vice president of the Chinese Painting Academy, and the leader of the Chinese Painting Creation Group of the China Artists Association.

| family is well-off

Xu Yansun's grandfather, Ming Hai, inherited his ancestral business in Beijing, and developed from a tribute silk tribute to a department store trade to Mongolia, with a lucrative and solid family. He was once awarded the title of Marquis of Hualing for his meritorious service in disaster relief, and was placed in his ancestral home of Xiushi Arch, with the inscription "Happy Charity and Good Charity" by Li Hongzhang.

The origin of the word |

Xu Yansun lost his mother at the age of two and was raised by his grandmother. Since the age of seven, he has studied in the family hall from three school teachers. At the age of fifteen, he was admitted to Qiushi Middle School. During his studies, he once watched the Peking opera "Zhan Wancheng", had a general admiration for Cao Cao's talents, and named xu Cao for self-motivation. At the same time as the name of Cao, he took the word Yansun, which means the grandson of Yantang, in honor of his grandfather.

| studied ancient methods

Xu Yansun studied poetry and songs, ancient scriptures and paintings from an early age, and after graduation, Xu Yansun worshiped Guan Nianci, the chief court painter at the end of the Qing Dynasty, as his teacher. He also learned from the Hai school painter Yu Difan, attacked the characters, and learned the famous paintings of the Song and Yuan Dynasties, and deeply understood the true essence of the famous paintings of the Song and Yuan dynasties. His paintings are often based on historical figures and historical allusions, and express the character of the character by highlighting the inner realm. In 1920, Xu Yansun was the first to join the "Chinese Painting Research Society" established in Beijing with the main purpose of "refining ancient methods and absorbing new knowledge", and later transferred to the Lake Society.

< h3 class= "pgc-h-arrow-right" >| master and apprentice</h3>

Xu Yansun served as a clerk in the Presidential Office during the Xu Shichang era. In 1921, he entered the Central Political Science and Law College to study law, and after graduation, he taught at the Jinghua Art School and the Peking Art College. During his teaching at the Beijing Jinghua Academy of Fine Arts, he cultivated a group of talents in promoting the development of Chinese objects. Xu Yansun has made great contributions to art education, and Wang Shuhui, Ren Zhiying, Huang Jun, Liu Lingcang and other brush painters are all from his disciples. He also organized and participated in the creation of "Ode to Peace" and "Long March Scroll". During the War of Resistance Against Japanese Aggression, he published the "Painting of the Frost Red Chamber", borrowing ancient metaphors from the present and pinning patriotic feelings.

Xu Yansun used more than sixty seals, of which there were four often used idle seals: "Xu Gong in the North of the City", "Swallowing the Great Desolation", "Those Who Did Not See the Ancients Before and Those Who Did Not See after", and "The Heroes of the World Are Only Ambassadors".

These four-square idle chapters are not only the confirmation of Xu Yansun's paintings, but also the portrayal of his life.