Huang Binhong: Turning his profound traditional cultivation, knowledge and love for the mountains and rivers of his motherland into a rich and colorful pen and ink style.
Pan Tianshou: His temperament has the simplicity of a farmer, but his education is completely that of a scholar. He integrated northern and southern schools into one, breaking through the clear and gentle style of flower and bird paintings since the Ming and Qing Dynasties, and creating a strange and powerful style.
Fu Baoshi, Pu Xinshe, Yu Fei'an, He Tianjian, Wu Hufan, Li Kuchan, Huang Junbi, etc. also enriched traditional painting with their different styles. The works of these modern painters are far from modern ideological trends and modern aesthetic ideals to varying degrees, but they express profound national cultural awareness and penetrate the emotional psychology of people at that time to varying degrees.
Qi Baishi's sincerity and virility, Huang Binhong's depth and enthusiasm, Pan Tianshou's vigor and strength, and Fu Baoshi's indulgence and affection are all connected with the modern spirit and have broken through the traditional literati in a certain sense. The ideological and emotional scope of painting. The development of Chinese painting over the past century has been accompanied by the phenomenon of integrating and absorbing elements of world art. This is a general trend of mutual promotion and common development of world cultures. The foreign art that has been absorbed and learned from mainly includes: Western (American, French, Italian, Russian, etc.) and Japanese.
At the end of the Qing Dynasty and the beginning of the Republic of China, especially since the May 4th Movement, a large number of Western art trends, treatises, art education and art works were introduced. Along with the cultural revolutionary movement against feudalism, the slogan "art revolution" was put forward. A large number of young artists studied in Japan, Europe and the United States, and the call and practice of learning from Western art to reform Chinese painting became a trend.
Cai Yuanpei, Kang Youwei, Chen Duxiu, Lu Xun and painters Xu Beihong, Gao Jianfu, Liu Haisu, etc. all advocated the integration of Western realist art or academic art and traditional painting. In the past few decades, fusion Chinese painting has become the main trend, which is one of the manifestations of the Chinese people's desire and struggle to push ancient civilization into modern civilization in the field of art.
The Lingnan School of Painting, founded by Gao Jianfu, Gao Qifeng and Chen Shuren, advocates an eclectic mix of Chinese and foreign paintings, integrating ancient and modern paintings. Many of them studied in Japan and studied Western and Japanese modern art, emphasizing sketching, drawing from reality, educating, and integrating Chinese and foreign painting techniques - such as light, color, and depth. Especially in the creation of landscapes, flowers, birds and animals, they blended Ju Lian's boneless painting method, water-colliding powder painting method with the painting methods of Yokoyama Taikan, Tanaka Yoribo and other Japanese painters, striving to create a unrestrained Powerful and contemporary beauty. Although the Lingnan School of Painting gathered a group of Chinese painting innovators from Guangdong, it was not a regional painting school that focused on depicting local customs or scenery. Although their bold exploration of creating new Chinese paintings was immature, it had a significant ideological impact.
Inspired by the founders of the Lingnan School of Painting, Gao Jianfu and Gao Qifeng, and the modern thinker Kang Youwei, Xu Beihong combined European realistic painting techniques with traditional techniques, combining lifelike shapes with national concerns. He introduced the artistic ideas of the people and paid close attention to modern life into the creation and teaching of Chinese painting, and made great contributions to the educational reform of Chinese painting from the 1950s to the 1970s.
Integrating Chinese and Western styles has broad possibilities and options, and can be blended into a variety of types, shapes and styles. For example, Chen Zhifo blended Eastern and Western decorative colors into meticulous flowers and birds without leaving any trace; Zhang Daqian's splash-color painting method in his later years drew on some elements of Western abstract expressionism without changing the traditional style of the picture; Li Keran absorbed the sketching method and realism of Western painting Concepts do not weaken the role of traditional brushwork; Wu Guanzhong uses the materials and tools of Chinese painting and the forms, tonal concepts and methods of Western modern art to express traditional poetry, realm, etc., each with its own merits.
Middle-aged painters who matured in the 1980s and even young painters who have just entered the painting world have made various attempts and explorations in integrating Chinese and Western styles. Jia Haoyi absorbed Western abstract techniques and realized Eastern symbolism with large blocks of ink; Tian Liming integrated Eastern feelings about people and nature with Western Impressionism, pursuing the expression of light and shadow in Chinese painting; Yang Ruifen combined Western color awareness with Chinese painting Combining three vitriol and nine dyes, using techniques such as paper rubbing and dyeing to pursue texture, while absorbing Japanese decorative painting and Western design ideas; Jiang Caiping introduced rock color painting, which originated in China and was popular in Japan, into the creation and teaching of gongbi painting; etc. Firmly grasping the pulse of the times and profoundly understanding and learning traditions are common features of this trend.
From "going to the cross streets" to "depicting workers, peasants and soldiers"
Since the Yuan Dynasty, Chinese painting has gradually been closed to the world of scholar-bureaucrats and aristocrats. It rarely depicts lower-class workers and complicated social life, and does not describe the lower-class people. Social people are the main subjects of appreciation, and literati painting has become an aristocratic art. During the Republic of China, with the democratic revolutionary movement and the spread of Enlightenment and Marxist ideas in the political, economic and cultural fields, artists also put forward the slogans of "people's art", "going to the cross streets" and "popularization". Chinese painting Corresponding to this in terms of subject matter, content and formal expression, profound changes gradually occurred.
At the end of the Qing Dynasty and the beginning of the Republic of China, the famous painter Wu Youru, who used traditional painting techniques to depict urban secular life and fresh news from China and abroad, used lithographic pictorials as a means of disseminating his popular works, which had a wide impact. Before the May 4th Movement, the famous Chinese painter Chen Shizeng drew the album "Beijing Customs", using a semi-freehand and semi-cartoon style to depict the rickshaws, water-sprinklers, fortune tellers, knife sharpeners, dung collectors, lama monks, and old people on the streets of Beijing. Xi'er et al.
In the late 1920s and early 1930s, Lingnan painters Huang Shaoqiang and Fang Rending also took to the cross streets to depict the miserable lives of urban and rural workers with a sympathetic attitude. Zhao Wangyun from the north went to Jinan, Saishang and other places to do rural sketches. He used the painful life of farmers as the subject of his paintings and serialized them in Tianjin's "Ta Kung Pao", which aroused widespread social repercussions. He ignored the accusations of "not following the teacher's teachings", "unlawful to the ancients", and "arbitrarily smearing". He "abandoned all his teachers and schools and created the true spirit of his own creation" and "changed the old painting style... with 'Love of integrity' to awaken the power of the masses (Wang Senran, "Zhao Wangyun, the Mass Painter", "Ta Kung Pao"). Feng Yuxiang composed poems for a large number of his sketches, and Lao She, Guo Moruo, etc. all wrote articles to affirm it and regarded it as an artistic revolution.
During the Anti-Japanese War, Chinese painter Shen Yiqian went to the Fenghuo battlefield to sketch. Jiang Zhaohe, who lived in enemy-occupied areas, created "Refugee Pictures". Some painters in the rear areas of Sichuan, such as Guan Shanyue, also went to the northwest Regional sketching…. They closely followed the pace of the times, expanded Chinese painting into new areas, and enabled the elegant and transcendent traditional painting to step out of the ivory tower that escapes the struggle of life.
After the founding of the People's Republic of China, Chinese paintings began to generally depict real life, and a group of new figure painters emerged, such as Shi Lu, Huang Zhou, Li Hu, etc. Going to the cross streets has become a depiction of workers, peasants and soldiers, and a praising of workers, peasants and soldiers. Even the landscape, flower and bird paintings are connected with real social content, emphasizing ideological and educational significance.
Since the late 1970s and 1980s, Chinese painting painters have gradually summarized historical experience and rethought the relationship between painting and reality. A large number of young and middle-aged painters who dare to create and delve into tradition have emerged, and the Chinese painting world has taken on a new look.