There are traces of low tide
Text/Riverside
The latest book of young scholar and connoisseur Yang Runhui, "Traces of the Ebbing Tide- Huang Binhong's Penmanship Exploration and Appreciation", was published by Anhui Fine Arts Publishing House, and he was sincerely pleased with it, as if he was as happy as his own book. In addition to the excitement, I returned to the bits and pieces of wen and runhui pen and ink fate...
I met the Ming and Qing Dynasty calligraphy and painting masters and the Xin'an School of Painting series and Huang Binhong's appreciation topic "Shangshi Jingshe" public account, because this is a more comprehensive and systematic thematic platform at present, so I paid attention to the host Yang Runhui. Runhui was born in Lu'an, Anhui in the early 1970s, with the character Xiaohui, the pen name Percussion Mountain, Knocking Mountain Asking Water, The Name Si Jin Zhai, Xiaohui Mountain House, shuangqing Xiaoguan. In the summer of 1993, it was also a kind of fate, we came to the Huangshan Scenic Area at the same time, he resigned from the Huainan coal mining unit, helped the township sage finger painter and enlightenment teacher Han Yin sell paintings in xihai mountain villa, did more than half a year south to Guangzhou, in 1997, the north drift engaged in kitchen and bathroom home appliance distribution or went to Rongbao Jai Jiade to participate in the auction, the initial involvement in the auction of calligraphy and painting collection has become the direction of Runhui decades later full-time and life career. After SARS in 2003, it was really going to the auction of calligraphy and painting, in 2006, "Abandoned Electricity from Art" first started in Beijing and then established its own auction company in Shanghai, when it officially went deep into the calligraphy and painting art auction circle to understand the seriousness and cruelty of this industry. At the beginning of the industry, he did not rush to raise the card, but calmly copied the ming and qing dynasty modern masters' law books, ran through the provincial and municipal museums to observe the fine works and take photos and archives, which showed that Runhui did enough homework for his later specialization in art ontology and high-end auctions. For auctions across the country appeared regional "moving bricks", as the saying goes, "Beijing buy Guangdong sell", with the Internet and convenient transportation to 2009 after this "leakage" can not be picked up, and during the period Runhui inadvertently found many Huizhou Ming and Qing dynasty calligraphers and painters, they began to consciously collect their works and sort out and analyze their pen style, of which the "Xin'an Four" in the early Qing Dynasty and Huang Binhong in the late Qing Republic of China were the most admired. It is not difficult to foresee that Runhui is to combine collection and appreciation as an academic topic for macroscopic exploration and microscopic truth-seeking, so as to achieve "collecting and looking at each other", which is not the same as the pure business concept of hoarding goods to rise, and through the process of calligraphy and painting collection, it has bred the birth of an expert and scholar in the industry, and enhanced the height and style of the overall art appreciation in the current calligraphy and painting industry.
We also have a similar topic in the friendship with Runhui brothers, I am from Lü Bicheng's hometown, he is from Lü Bicheng's hometown. Lü Bicheng was born in Taiyuan and grew up in Lu'an, Anhui. One of the initiators of the early feminist movement in China and the pioneer of women's education in China, Lü Bicheng has been praised as "the last female lyricist in the past three hundred years". According to Lü Bicheng's "Lü Bicheng Collection", an appendix to his father Lü Fengqi's self-written chronology "Annals of the Shizhu Mountain Agricultural Bank" (行年錄 · 11th Year Yi Unitary) states: "Yu Xiao'an (that is, Xiao Nian, Xiao Chinese New Year's Eve) arrived in Lu'an, and pretended to live in the old age. The following year, "Jia Shen Nian bought a small zhuangzi in the southeast township of Lu'an, four miles away from Zhangmu Bridge." "In the tenth year of Shen Guangxu (1884), Lü Bicheng settled in Lu'an with his father's family at the age of two." Four miles away from Zhangmu Bridge, "it is the Liu'anShi Bridge that is about to reach the boundary of Shucheng, because Zhangmuqiao belongs to Shucheng. Lü Fengqi is a native of jingde temple in southern Anhui, Lü Bicheng's mother Yan Shiyu is not a Lu'an person, and Lü Fengqi did not buy a house in his hometown of Jingde after resigning from the government, which shows that he had long planned to return to Lu'an, but the reason why he settled in Lu'an with his family after he resigned is unknown. Lü Fengqi was a Shu Jishi of the Hanlin Academy elected in the third year of the Qing Dynasty (1877), and successively served as the assistant of the National History Museum, the Yumuguan Xiu, and the Shanxi Xuezheng, and together with Zhang Zhidong founded the Lingde Academy, the predecessor of the present-day Shanxi University; according to Lü Fengqi's "Records of the Year of The Nineteenth Year of the Year", the second daughter Xianxian Said: "The first emperor bought a house in the south of Lu'an City with four hundred gold, and the Chang'en Jingshe of the collection of books was built in the east of the house. It can be known that Lü Fengqi built a mansion and a Chang'en Jingshe Book House in Lu'an City after "Jia Shen nian bought a small zhuangzi in the southeast township of Lu'an", but the Chang'en Jingshe was completed three years after the construction of the Chang'en Jingshe, and Lü Fengqi unfortunately died of illness in the autumn of that year. The "Liu'an Zhi" clearly states that the Lü family is in the south of the city, wensheng street in the east, the north gate pagoda of Huang avenue in the west, and there are Qing Dynasty Catholic Church and the Republic of China Sandao Lane Primary School in the alley, which was changed to Chengnan Primary School after the founding of the People's Republic of China close to the former residence of the Lü family. Lü Bicheng's former residence is a Huipai building, the gate of the gate tower is closed, and the broken wall in the courtyard is broken, but looking at its scale pattern, we can still imagine the prosperity of the Lü family at that time. Today, the strange ruins of the demolition lane still exist, and the old houses of celebrities are not there, and the ruins of the change of time after a period of time will be gone. Lü Bicheng's poem "Three Sisters And FangChen Sealing The Frame" ends with a self-note cloud: "First Yan built a Chang'en Jingshe, with a collection of 30,000 volumes, and suffered from family difficulties, and none of them survived." "Lü Bicheng's female history once said: 'My family used to live in Lu'an Prefecture, Anhui Province. When I was thirteen years old, I accidentally got a scroll of Guanyin white-clothed mantras, saying that if you chant for a hundred days, you can eliminate disasters and be blessed; then bandits and white wolves came to invade Anhui, and Lu'an was ravaged to ruins. At that time, in my family's old house, there was only her sister-in-law and her daughter Cuixia, and her son-in-law Wang Jun lived. The white wolf broke into the house and killed Wang Jun, and Cui Xia was martyred at this time. My sister-in-law fled to Shanghai and soon fell ill and died. It can be seen that lü Bicheng's "family difficulty" refers to the white wolf bandit difficulty, and the Lü family's Chang'en Jingshe Book House and the 30,000 volumes of books should also be destroyed in this difficulty, which also proves that Lü Bicheng has been living in Lu'an until he was thirteen years old. This time in Lu'an was probably the happiest day in Lü Bicheng's life.
Brother Runhui told me that Lü Bicheng's family is in the village next to Guangcheng Middle School, Lü Father is the director of Shanxi Provincial Education, when this Guangcheng Middle School was formerly the largest private school in Lu'an, her family may have a relationship with private school, but there is no way to verify, Guangcheng Middle School in the Republic of China is also a very cattle national middle school, after liberation there is no, and now the ruins have become the houses of the common people. More than 20 years ago, Runhui accompanied his little grandfather to see the original site, where his retired grandfather, who had been the deputy director of the Gansu Provincial Construction Department, graduated from the original site, and had previously engaged in revolution with Zhou Nan and Wang Daohan, but unfortunately the original site had long been demolished in the city. Nowadays, The temple town where Lü Bicheng has hardly lived has instead restored Lü Bicheng's former residence, unfortunately, Lu'an, where she has lived for thirteen years, has no traces to find, and originally wanted to visit it deliberately.
Yang Runhui's book "Traces of Ebb tide - Huang Binhong's Penmanship Exploration and Appreciation" is 250,000 words and 256 pages, and more than 200 works are selected, of which nearly 90 are from the auction market. After more than 20 years of accumulation and auction, Runhui has a certain depth of systematic research on the Xin'an School of Painting, and has analyzed the works from a unique and sharp point of view from the perspective of calligraphy and painting authenticity, and his personal "Dayin Xisheng - Hongren's Pen Exploration and Appreciation" and "Bright Moon Breeze - Xin'an Baijia Series Pen Exploration and Appreciation" (1-10 episodes) will be published one after another in about 2022. The whole book of "Traces of The Ebbing Tide" is analyzed by Huang Binhong's works: First, systematically sort out Huang Binhong's calligraphy and painting works of various ages, and analyze the pen and ink characteristics of this period with an article every 10 years; second, use pictures to illustrate Huang Binhong's pen appreciation of calligraphy every year from the age of 29 to 92; third, use the pictures of the works to explain the pen and ink characteristics of "five strokes and seven inks" and "ancient paintings", as well as the brushwork of flowers and landscapes. This book is characterized by both academic and reference books, and is a standard for measuring Huang Binhong's painting style and calligraphy year by year; it is an important reference book for calligraphy and painting enthusiasts, collectors who love Huang Binhong, or scholars who study art history.
For the officially published "The Complete Works of Huang Binhong", Runhui can also objectively and rationally explain that there are still several controversial works in it, not to mention the lots of first-line and second-tier auction houses. It can be said that the technical standard of Huang Binhong's calligraphy and painting counterfeiting is declining today, far from the pen and ink forged in the 1980s and 1990s. First, there is no confucian and elegant atmosphere of the former mr. and scholar, and the qi rhyme lacks the precipitation and thickness accumulated over the years, and there are also some more western painting perspective sketching effects; second, there is no calligraphy skill of "painting with books", and there is no fierce power of "cone painting sand" in the pen and the mottled and chaotic transformation of "house leakage marks" and "moon moving walls", the number of pseudo-works is less literacy, and more is easy to reveal; third, there is no "five strokes and seven inks" and the level of change of the hand pen and elephant invisibly calm, and the lack of the level of the fusion of the multi-change pen and ink of the round and astringent seal. Even if there are the above three skins, the counterfeiter draws a small landscape through reinforcement and reinforcement exercise, and the final step will also expose the traces of counterfeiting. Runhui believes that Huang Binhong's calligraphy achievements have been ignored by posterity, which is expected to be said later, I think this is also a slight regret, it is precisely I think that Huang Binhong's landscape painting is the conclusion of modern masters and passed down as a painting name, and his Chinese painting is his calligraphy creation Zhong Shenxiu's observation or the foundation of the book into the painting, without the depth of his scholar's style of calligraphy, it will not be a breakthrough creation of his painting, all his brushstrokes are derived from the calligraphy itself and as he himself said: my calligraphy is better than my painting. It is true that our interpretation of his Chinese paintings and seal engravings and even theoretical appraisal are essentially inseparable from his pen and ink concept and calligraphy perspective. Another thing that is easy to misread is that the contemporary grass saint Lin Sanzhi, as his disciple, seems to have surpassed his mentor Huang Binhong but in essence it is also blue out of blue and not necessarily better than blue, but only draws on the tributaries of neimei and carries forward the ink-colored line of "painting into the book", and at the same time inherits the volume and Zen demeanor that penetrates into the literati's style, but the old spicy and clumsy tension and rich scholarly background are not as deep as that of the master. Including Chen Zizhuang and Li Keyan, two inheritors of Huang Binhong who have different paths and similar works, they also found a shining gold mine suitable for their own point characteristics in the "trash can", thus forming a self-eternal inheritance. Although he was quoted by his disciples as saying that Huang Binhong was a garbage "bucket" instead of garbage, he ignored half a sentence of picking up treasure in the garbage can out of context, and saw Lu Yushao's inscription for Huang Binhong's posthumous inscription hall "Fine Product" and his painting quotations specifically praising Binweng for "Pen and ink landscape is called the absolute sound of the Xin'an School of Painting", there are also huang Binhong's "Xixi Tu" inscription, and also see Huang Binhong's antique flowers on Lu Binhong's inscription: "Huang Binhong's old flowers are smooth and inky and the color is good for the painting of Zhongxing Comrade Jian Lou got this treasure love also", can imagine Lu Huang complex or even absorb "garbage" Essence, Koichi said that there is no garbage and bad things in the world, only gold that is misplaced in time and space... Lu Yu ShaoYunshui is of course fluent and original, slightly still partial to the external formal language and "pen and ink when the times" of the scene consciousness of the creation of the topic, but in the academic evaluation of Huang Binhong and Lu Yu Shao are artists with similar circumstances and are not widely understood; prefer Lu Yu Shao calligraphy, although a color characteristic painter character, there is no traditional calligraphy to follow the form of appearance, the law of inability is naïve, has always suspected that this unintentional writing must be left-handed, Zhejiang has a Ding Maolu learning Lu book is very realistic, I don't know if I can leave the left hand, It is difficult for the right hand to find this feeling of getting rid of people who are "unsure of their minds" and "care about the pen first", just as Xu Beihong's calligraphy has no intention of being interested in Jia Naijia, which is also the source of Huang Binhong's law book and its solemn depth of human nature and less fun, which is difficult to get universal favor.
"Smoke clouds are rich, iron and stone hearts; endure this cold age, in order to promote the glory of the country." Huang Binhong's Chinese painting is a summary of the theory and practice of the Xin'an School, he inherited and carried forward the charm of the Xin'an School's "Jingge", broke the situation of "dead silence and dullness" in the past 300 years, and guided the development of modern Chinese painting aesthetic ideas and the "five strokes and seven inks" technique theory. In the current period of China's economic and cultural prosperity and outward export, modern Chinese painting is still hovering at the intersection of confusion, but Huang Binhong has opened another aesthetic window of Chinese painting, which is his historical contribution to Chinese painting to inherit the past and open up the future!
In order to have a deeper understanding of Runhui Brother's connoisseurship, I also deliberately searched for the copy of the special lecture invited to him by the Yiwu art circle, which is attached here to the readers -
First, from calligraphy to painting
From the perspective of calligraphy to understand the appreciation of painting will save a lot of energy, look at the line with ink and then look at the author's poems and seals, almost can distinguish the truth. There have always been many people and even famous artists who have forged, such as Dong Qichang, Chen Jiru, Zhang Daqian and Wu Hufan, but Kung Fu will not be fake. Today's calligraphers and painters need to make money and promote their own style, they need to attract fans, it is inevitable that they are not so pure, and calligraphers are slightly purer than painters. Calligraphers have been constantly approaching the ancients and painters are constantly seeking new changes, which is related to the way different art traits are educated, and it is also related to each other's respective personalities. Calligraphy to the basic skills of more need talent, talent is the cultivation and accumulation, familiar with ancient poetry to know astronomical geography, the humanities, history, society, Zen philosophy, Confucianism and Taoism and other fields are involved. Therefore, there are very few calligraphers in the folk, because the pattern is not enough, you see that none of the four families of the Song Dynasty are from the homes of ordinary people. Why there are almost no great calligraphers in modern times, in fact, it is related to calligraphy education, once you come up to learn the seal of the calligraphy, too rigid and constrained, and your talents are consumed, in fact, learning calligraphy, you should start with cursive (here I think that the general public can be enlightened and practical, if you intend to take the professional deepening of the purpose of the purpose of the grass to start with the great seal of the grass is better).
Second, there is actually a shortcut
From ancient times to the present, there are thousands of famous painters, and each painter will change accordingly in different periods, which feels very large and complicated. In fact, there is a shortcut to go, that is, to find a representative painter you like, such as Cha Shibiao, have a deep understanding of it, copy his calligraphy and paintings and then extend the study of Dong Qichang and the like will become much easier; there is also a shortcut is to deeply understand the author's painting style and ink style, etc., and then find a standard piece, see the relevant works and study it by analogy. Song Yuan's paintings are two extremes, either very large or very small but very delicate, Chinese painting is raised in small, painting is very small scale is enlarged to paint, now the painter seeks a big painting and painting small can not be painted. For example, like Pan Tianshou himself is to learn the eight big, and then added some things including Huang Binhong, flowers he is also affected, so Pan Tianshou he took a shortcut out; there are like Fu Baoshi "bouldering" in the Yuan Dynasty Huang Gongwang paintings, he also took shortcuts, including like Lin Fengmian, Liu Haisu himself The subject matter of painting is Westernized, and they use Chinese paintings to express this fauvism and impressionism produced by oil painting, which are shortcuts. Compared with painters, it is easier to be famous, such as flower landscape figures or painting brocade ash piles are easy to be famous, but if you want to leave a stroke in the history of art, it is more difficult, because Only Huang Binhong has made a breakthrough in Chinese chinese painting for hundreds of years, and everything else is repeating.
Third, the Xin'an School of Painting is actually a group of Huizhou painters
Strictly speaking, there is no Xin'an painting school, which is artificially summarized by researchers according to the characteristics of brush and ink writing in the region or the same style of painting, of course, all the so-called painting schools are academic concepts formed by this classification and division for easy analysis, and the "Xin'an painting school" should actually be called the Huizhou painter group. At the end of the Ming Dynasty, the Wumen School of Painting began to decline after Wen Zhengming, when Wang Shizhen led a group of three hundred people to Huizhou to compete, Zhan Jingfeng recalled the Huizhou painters who lived abroad, plus the calligraphers and painters at home fought for more than three months, and finally the Wumen School of Painting shouted: "The land of the little Huizhou has bred so many strange people." "For example, at that time, the fan base of Cha Shibiao was huge, and it was said that the Huishang Family must be hung by everyone, and now there are more than 600 pieces of collections and other stored pieces, and there are many folk. The cha shi biao learned Ni Zhan, less cold and more heavy static, its landscape seems simple and pen and ink kung fu, pen and ink pattern is clear, at that time they used ink and paper to chase the upper layer, unlike the best red star paper now is also treated with lime and the like. Huang Binhong will change every three or five years, it is very hard to study, painting like a person, Huang Binhong has opened an antique shop in Shanghai for 30 years, he has not felt that he is a painter all his life, he is constantly adjusting and constantly posting, he does not feel that his calligraphy and painting are mature works all his life, he has been exploring the improvement of Chinese painting.
Fourth, the decline and revival of culture
The economic base determines the superstructure, and the development of Huizhou merchants has allowed Huizhou culture to enter its peak, but it has also begun to produce faults in Huizhou culture with the decline of Huizhou merchants. Now Huizhou people, selling calligraphy and paintings in the eighties, selling miscellaneous items in the nineties, selling houses for two thousand years, and now selling land. In the 1920s and 1930s, because huizhou wooden buildings were afraid of fire, they thought of buying a set of then fashionable German fire extinguishing faucets, because they did not have enough money, they invited Tang Bohu out of the ancestral hall to four screens, sold 2,000 oceans to the Shanghai Museum, and then spent 1,500 oceans to buy a faucet. Financial support is the most basic foundation of culture, and survival is the most important thing at all times. Nowadays, many local governments also want to use culture to create momentum, and many people also want to get involved in culture, but the revival of culture still needs a long, long time. In the past, there may have been cultural people in ordinary counties and cities, but now it is a luxury for us to gather here to talk about calligraphy and painting. The book is still there, and the person who can read the book is gone.
For one of the inheritors of the Xin'an School of painting who was born and grew up in the water and soil of ancient Huizhou, he naturally had a thousand knots that were constantly cut and chaotic for Huang Binhong, and he must also sincerely pay attention to and favor Runhui's new book "Traces of Ebb tide". It is also with the "low tide" to read the tide rising and falling clouds cirrus clouds, walk to the water exhaustion, sit and watch the clouds rise. In addition to "White Binhong" and "Black Binhong", in fact, Huang Binhong also has the appearance of the Ancient Song Yuan Daoist System, the early light ink is light and exquisite, the middle-aged and elderly people continue to temper the pen and ink to cultivate their own faces, and in their later years, they are more out of the ordinary "semi-finished" sketch manuscripts after cataracts, and even have not had time to settle the money and the ink to break the ink to polish, it is these almost absolute strokes of the line construction to open up the ancient and modern Chinese and foreign large strokes of the heart and the life symphony of the rhinoceros, this yi pen grass oriental image "electrocardiogram" Similar to The Western abstraction of Van Gogh Picasso Cézanne, it seems that here we find that art is indeed the common language of mankind, with a high degree of refinement of the original essence of truth, goodness and beauty, and this simple and complex line contains the code of life and the information of life.
In the eleventh year of Beiping, Huang Binhong completed the transformation of "Black Binhong" and then carried out the experiment of "ink and Danqing fusion", using the dot dyeing method to dye the stone-colored cinnabar, stone blue, and stone green thick places into the black dense ink, "Danqing hidden ink, ink hidden Danqing", which is inspired by Western impressionism, the Chinese landscape painting ink and Qingbi two major systems for integration of a major initiative. Unexpectedly, the Qixia years of more than eighty years old were actually dead wood in the spring, and also received Li Jishen Shujian's concern for his physical and eye disease recovery, at this time often with tender yellow and green blue to write about the great rivers and mountains of the motherland, reflecting the inner hope of the quiet dawn of the new China from the rise of the republic of China, this series of green and blue landscapes is also not allowed to be hidden by the "black and white Binhong" label language, and his green and blue colors are not rendered but polished, and the color and ink melting is appropriate not to appear sweet and delicate and vulgar, On the contrary, it plays a warm turquoise-like texture and affectionate confession.
Runhui believes that Huang Binhong's painting concept and ideas have been fixed since the year of his weak crown: the first imitation of the Song Dynasty, Yuanming, and Qing dynasties and any famous artist used a center-forward pen, and who was not like whom had never changed in the end, which was also related to the calligraphy and painting business in his twenties when he was in the countryside of Huizhou to "shovel the ground", and in the early years of contact with Huishang merchants and studied art history at the same time, the painting world in the Peiping period knew that he could not paint much. Huang Binhong is a master of Chinese painting who has been born in the air for hundreds of years, after the pregnancy of Bao, his painting style has never come after the ancients, and Bai Shi's "those who learn from me are born, like those who die like me" Are also said today's people today, "those who learn Binhong, die", why is this? There are three reasons: First, no one has killed paper painting all the way since the beginning, how do you want to draw, and now there are many hopeless people in the college entrance examination who change the door to learn art, how many are they really fond of painting and enter the art school? Even if you enter the Academy of Fine Arts to draw and model for a few years, and then you can meet a few teachers who really understand the essence of Chinese painting to preach and teach karma to solve puzzles? Even if they understand, these teachers still have to carry their own paintings around the market to catch sales and boast about the exhibition to sell paintings, where do they have the time and mind to guide these students? Second, today's education is no longer the traditional culture of the past Confucianism, Buddhism and Taoism ideological education, but the popularization of scientific knowledge, from the beginning of the reader's life cultivation and world outlook values are different, this educational atmosphere produced under the life experience, cultural precipitation, ideology and artistic accomplishment is completely different from the traditional literati. Third, modern people may not be as cruel as Huang Binhong, so diligent and dedicated to the art of painting, and then there is a high lifespan, and now the painter is fifty or sixty years old and constantly wants to become a master on health problems? When we look at the works of the Beiping period before The age of 85, it is that after baoqian infertility, it has not yet reached the status of such a generation of grandmasters as it is today. Therefore, if we want to learn Huang Binhong's pen and ink technique, we must trace back to the characteristics of the brush and ink of the Painters of the Song, Yuan, Ming, and Qing Dynasties, learn from Huang Binhong's ancient casting for my use, and must not leave the tradition to learn Huang Binhong's pen and ink, otherwise it will be a word - "death".
"Traces of Ebbing Tide" expounds on Huang Binhong's life's pen and ink characteristics and his unique career in art and travel from eight chapters: pen exploration, peak moment, innocence, five strokes and seven inks, invisible elephants, false artifacts, graceful and colorful, and traces of ebb tide. Yes, Huang Binhong has actually been painting a picture all his life, which is painting his lifelong learning. His pursuit of a series of academic ideals such as "folk studies", "imitation of the ancients - sketching" view, "inner beauty", "hun hou Huazi national essence", as well as his sinology spirit, traditional knowledge and life experience, completed the most important revolution in Chinese painting in the twentieth century, and the process of attaching equal importance to learning and theory, mud and ancient, and innovating the old and innovating reflects the academic ideas of the assembled masters of freedom, openness, inclusiveness, knowledge of the past and the present, and accumulation of thick and thin hair. "The ink in the black tuantuan, the ink in the ink tuantuan in the heavens and the earth are wide," the large instrument is late, the black is dense and thick, and the painting style of cang and run presents huang Binhong's "unique and spiritual exchange with heaven and earth" In the realm of dahua.
Runhui brother also in the preface from his own relationship with calligraphy and painting to the origin and love of Hui culture and the Xin'an school of painting, telling the importance of the huishang spirit of "no emblem, no merchant, no emblem, no town" to promote the importance of the Xin'an painting school, some Xin'an painters themselves from the Hui merchant family and some living in other places, such as Li Liufang, Cheng Jiaxuan sent Jiading, Zha Shibiao lived in Yangzhou Yizheng, Wu Shantao, Xi Gang sent to Hangzhou, etc., even in the late Qing Dynasty, Huishang still dominated Jiuzhou, it was they who drove and influenced the birth and expansion of a large number of calligraphers and painters. Huang Binhong is one of them. Huang Binhong's ancestral home of Ancient ShetanDu was born in Jinhua, Zhejiang, his father and above are also a family of Hui merchants, at the age of 24, he went to Yangzhou to visit relatives He Weijian, He Hanlin was born as an agent of salt law and retired from Hubei to yangzhou, he gave Huang Binhong to appreciate Huang Gongwang, Ni Yunlin, Wang Meng and many other Yuan people, as well as many Ming and Qing dynasty fine works, and also introduced Huang Binhong to Cheng Shangzhai, the envoy of the two Huai salt transports in Huizhou, thus laying the cornerstone for the young Huang Binhong to become an expert in appreciating ancient paintings and calligraphy. Runhui also specifically talked about Huang Binhong is actually not an obscure painter, 30 years of life in Shanghai is to do antique business with foreigners to make a name for themselves, and what is more outstanding is his level of identification of calligraphy and painting and ancient seals. Nowadays, Huang Binhong's inscription is often obtained by the calligraphy and painting collectors or political celebrities in the auction. In the early 1930s, there were many paintings written by Jiyou in Sichuan, Liangguang, guangdong and Hong Kong, even during the War of Resistance Against Japanese Aggression; before he was 40 years old, the Huizhou scholar Wang Fuxi, the seal engraver Fang Wenjun, and the Mongolian prince Gongsan Norbu asked for paintings from him. In 1943, Fu Lei curated huang Binhong's eighty works sold well, why was it not taken seriously until the 1980s? First, Huang Binhong sells paintings to talk with buyers about pen and ink feelings, if you do not understand painting, you are not eligible to buy his works, which can be seen in the "Huang Binhong Letters Collection" that he described exactly to his disciple Zhu Yanying and his acting friend Hongyan Jianzha; second, Huang Binhong's mature or complete works are not many, nor do they deliberately cater to the popular commodity customs, a work must continue to accumulate ink for several days or even months after several months Of old works must be polished and cleaned up, in addition to the Zhejiang Museum donated a batch of unpaid sketches, circulation of entertainment works is rare, of course, This batch of seemingly intentional or unintentional "semi-finished products" is not inferior to the complete finished product or has more research value to a certain academic degree, and can also confirm Huang Binhong's solitude and indifference to the art of man; third, it is related to the instability of the cultural and political environment in the early days of the founding of New China, and of course, it is also related to the "pen and ink when the times" in the background of the human history turning point environment. After the reform of "a hundred flowers blooming", Anhui established the "Huang Binhong Art Research Society", published the "Huang Binhong Painting Collection" in 1985, as early as 1943 the Shanghai Jian zhen Society published the "Mr. Huang Binhong Landscape Album", in 1961 the "Central Printing Museum" in Hong Kong has published the "Huang Binhong Painting Collection", in 1962 the People's Fine Arts Publishing House published the "Huang Binhong Landscape Sketch Album", indirectly indicating that Huang Binhong is not a painter who was excavated after becoming famous overnight or disappearing. It is not that today's anecdotal rumors that Huang Binhong's works were not bought by no one or Danqing is difficult to write is the preciousness of the spirit, of course, the situation of Yangchun White Snow Song high and widowed is real, even if today can really understand and appreciate Huang Binhong is still very few, but from the unique "Huangshan Tangkou" auction of the market maturity opportunity and academic vision to open up, so that the public have known such a "seemingly ordinary and strange" strange deep and valuable old painter.
Let us trace Huang Binhong's pen and ink journey across the new China of the late Qing Dynasty and the Republic of China with traces of the ebb tide, and review the immortal fanghua of this sincere and persistent artist in the first century of waves and songs...
The riverfront is located in Xin'an Art Boat, Huizhou
2021、11、2 14：25