Qian Songxue (1899-1985), a native of Yixing, Jiangsu Province, graduated from Jiangsu Provincial Third Normal School in 1923 and taught in Suzhou and Wuxi from the 1920s to the 1950s. In 1957, he was hired as a painter of the Jiangsu Provincial Academy of Chinese Painting (Preparatory Department), and served as the president of the Jiangsu Provincial Academy of Chinese Painting, the executive director of the China Artists Association, and the vice chairman of the Jiangsu Branch of the China Artists Association. As a representative painter of the New Jinling School, his landscape paintings are known as "a model for pushing out the old and the new".
Qian Songyun
Under the guidance of his father Qian Shaoqi, Qian Songyao studied poetry, calligraphy and Chinese painting, and followed the tradition of literati painting to open the road of painting art. During his studies at the Normal School, hu Tinglu, an art teacher, gave him photographs of landscape paintings from the Collection of Pei's "Zhuang Tao Ge" in the collection of Wang Yi of the Song Dynasty, Tang Yin of the Ming Dynasty, Shi Tao of the early Qing Dynasty, and Shi Xi. Qian Songyao laid a solid foundation in the study of pen and ink techniques such as mountain stone scrounging and tree smudging and smudging. He is good at describing the landscape of Jiangnan region, with beautiful scenery, delicate brushwork and elegant style.
Qian Songlan Yangtze River (1964)
The work "On the Yangtze River" adopts a panoramic composition method, using a bird's-eye view angle framing, and the combination of Western techniques and Chinese charm traditions. The nearby rocks have been repeatedly stained many times, and the layers are richer and clearer. The middle of the picture deliberately leaves a large area of white space, so that the entire river mask has a thousand miles of momentum, and cleverly inserts the smoke emitted from the river, sailing ship and chimney of the factory on the shore into the whole picture, showing the production activities in full swing on the Yangtze River at that time, and the visual effect is spectacular.
Qian Songlan Beidaihe (1979)
The clouds flow for thousands of miles, and the Eagle Horn Pavilion is high and open-minded.
Xiawei sea and sky are picturesque, and qi welcomes the rising sun and competes in thousands of boats.
On September 6, 1979, you Beidaihe Dengying Eagle Corner Pavilion wrote a poem. Qian Songyao wrote an inscription in Beijing at the age of eighty.
Above is Qian Songyun's inscription, there are paintings in the poems, there are poems in the paintings, and the beads are combined and complement each other perfectly. At this time, Qian Songlan was already eighty-one years old. Its boldness and uniqueness, brilliant and bright, personal style is more significant, vividly interpreting the characteristics of "pen and ink when the times". "Beidaihe" is hidden in the Jiangsu Provincial Art Museum, the painting as a whole is magnificent and atmospheric, vigorous and thick, expanding the fusion and sublimation of color and pen and ink, and integrating calligraphy into the painting, "there is poetry in the painting, there is painting in the poem". The thick ink in the picture depicts the peaks of the mountains and the pine trees, and the light ink makes the terrifying waves jump on the paper, making people immersed in the magnificent landscape of Beidaihe.
Qian Songsong Steel City Autumn Morning (1960)
Created in 1960, "Autumn Morning in the City of Steel" is Qian Songyao, depicting a steelmaking scene in a corner of the city in the early morning of autumn. In the distance of the picture, towering chimneys rise from the ground, densely arranged with industrial steelmaking buildings, although it is still early in the morning, the steel plant has begun to work feverishly, and the white smoke is blown away by the breeze and melts into the wet mist of the morning sun. The red flag flying in the distance echoes the fiery red maple leaves in the close-up view of the picture, adding a fiery red to the autumn season. The picture adopts a bird's-eye view of the composition, the combination of ink and color, the combination of thick and light, the author depicts an early morning autumn scene between the hook points.