Huang Qiuyuan
Huang Qiuyuan (1914-1979), a native of Nanchang, Jiangxi, named Mingqi, courtesy name Qiuyuan, nicknamed Dajuezi, Half a Monk, and Qingfeng Old Man; born in 1914, 1979 He passed away in May 2016. He loved painting since he was a child, and later worked in a bank. All his calligraphy and painting creations were done in his spare time. He was smart, studious, profound, and made great achievements. After 1970, he devoted all his energy to calligraphy and painting creation, reaching the peak of his artistic creation in his life. Gao Feng; five years after his death, his works were made public to the world, shocking the entire Chinese painting world; Mr. Li Keran, a great master of the generation, sighed: "It is a shame for the state-owned Yan Hui to not know about it"; in 1987, the Central Academy of Fine Arts appointed Mr. Qiu Yuan as an honorary Professor; the Chinese Painting Research Institute appointed Mr. Qiu Yuan as an honorary member of the Academy Committee; in 1987, the "Huang Qiuyuan Memorial Hall" was established in Nanchang; the "Huang Qiuyuan Former Residence" was listed as a provincial and municipal cultural relics protection unit.
Chinese name: Huang Qiuyuan
Alias: Mingqi, Qiuyuan, Dajuezi, etc.
Nationality: *** and the People's Republic of China< /p>
Nationality: Han
Birthplace: Nanchang, Jiangxi
Date of birth: 1914
Date of death: 1979
< p>Occupation: Famous Chinese traditional Chinese painting artistMain achievements: Good at painting and drawing, especially landscapes
Inheriting the tradition, the use of accumulated ink method has been pushed to new heights
Representative works: "Dream Traveling in Lushan", "Residence in the Autumn Mountains", etc.; edited "Traditional Techniques of Chinese Landscape Painting"
Character Profile
Mr. Huang Qiuyuan (1914~1979), born in Nanchang City, Jiangxi Province; his grandfather once served as counselor of the Governor-General's Office of Guangdong and Guangxi, his father graduated from Jiangxi Legal and Political College, and served as county sergeant and police sergeant in Ji'an County and Fengcheng County; he later abandoned politics to teach at Nanchang Jiansheng Middle School, and his mother Be a wise man for your hometown.
Mr. Qiuyuan started his education in a private school when he was young. He later attended Nanchang Tengwangge Primary School and graduated from Nanchang Jiansheng Middle School. After dropping out of school, he worked as an apprentice in a painting shop for one year.
Mr. Qiuyuan has been passionate about painting since he was a child. When he was more than ten years old, he learned traditional Chinese painting from his father's friend Mr. Zuo Lianqing (who is also the teacher of the master of Chinese painting Baoshi). Because of his good painting comprehension and relatively transcendent art, he is very popular. He started selling paintings to make a living at the age of nine, and his works were very popular. In 1938, on the recommendation of his uncle, he was admitted to Jiangxi Yumin Bank and worked as a clerk. He once served as the director of the material allocation department of Jiangxi Yumin Bank. After the founding of the People's Republic of China, he served as a staff member of the People's Bank of Nanchang, administrative level 19, until his retirement in 1970. He has been engaged in painting all his life as an amateur. He is good at landscape, fine brushwork, and freehand brushwork. He is also good at ink, green, and green, and his boundary painting skills are unique in modern times. He also paints figures, flowers and birds, is good at poetry and calligraphy, and is good at appreciating ancient calligraphy and painting. He is also an amateur political commentator. Comprehensive cultivation.
During the Anti-Japanese War in Taihe and Gan County, he participated in the Anti-Japanese Charity Art Exhibition. His works were sold out and all the proceeds were donated to the Refugee Relief Society. At that time, newspapers and magazines had special articles introducing the art of Qiuyuan.
In the 1960s, Mr. Huang Qiuyuan initiated and established non-governmental organizations such as "Nanchang Painting and Calligraphy House" and "Nanchang Traditional Chinese Painting Research Association". He attended the Second Literary Congress of Jiangxi Province as a non-voting representative. In 1962, he went to Jinggangshan to sketch with other painters in Jiangxi Province. In the same year, he went to Shanghai to have artistic exchanges with painters such as He Tianjian, Wang Ge_ and Tang Yun of the Shanghai Chinese Painting Academy.
Mr. Huang Qiuyuan was in a difficult situation during his lifetime, but he was aloof and unconventional. He stayed away from fame and fortune and did not seek publicity. He was rejected by a few people in the local art circle and was not admitted as a member of the local art association before his death. Mr. Huang Qiuyuan was listed as one of the one hundred Chinese art masters from the Jin Dynasty, Tang, Song, Yuan, Ming and Qing to modern times in the "Chinese Masters Art Weekly" jointly published by People's Fine Arts Publishing House and Taiwan Jinxiu Publishing House.
Huang Qiuyuan is good at landscapes, figures, flowers and birds, and calligraphy. Especially landscape painting has the highest achievement and greatest influence. His landscape paintings started from tradition and created a painting style with a strong personal style. As Li Keran commented, "it has the roundness and thickness of Shixi's brushwork, the freshness of Shitao's artistic conception, and the dense layout of Wang Meng's layout. It contains elegance and splendor, and is a unique style."
In his creation, Huang Qiuyuan is especially famous for his large-scale paintings. The composition and layout are often towering up to the sky and the ground. The entire painting is filled with ink, dense dots and lines, leaving no blank space. It is said that no sky is left above and no earth is left below. Its layout is unparalleled among modern Chinese painters, and its dense areas reveal aura of shades and depths, so it has the highest reputation as a painter of "one star in the sky". His landscapes often "use the pen and ink of the Yuan Dynasty to convey the hills and valleys of the Song Dynasty", with dense composition, a collection of dots and lines, full-frame management, complexity but not chaos.
Although the characters in the painting are small, they still have both form and spirit, and every detail is flawless.
Huang Qiuyuan also created a new technique called "Qiuyuan Cun" that was different from famous artists in the past. During his lifetime, he compiled the book "Traditional Techniques of Chinese Landscape Painting".
Art Life
Mr. Huang Qiuyuan has been passionate about painting since he was a child. As a young man, he came from a poor family and entered a painting shop as an apprentice. He saw ancient and modern masterpieces and worked hard to paint them. He was especially fond of Wang Meng, Shi Xi and Shi Tao. All families.
In 1932, he held personal exhibitions in Wuhan, Changsha, Jinan and other places. After that, he worked as a bank clerk and continued to paint in his spare time. He retired in 1970.
In the 1960s, Mr. Huang Qiuyuan initiated and founded non-governmental organizations such as "Nanchang Painting and Calligraphy House" and "Nanchang Traditional Chinese Painting Research Association". He attended the Second Literary Congress of Jiangxi Province as a non-voting representative. He is the founder of "Nanchang Painting and Calligraphy House", the president of Nanchang Traditional Chinese Painting Research Association, and the honorary president of Jiangxi Geshan Painting and Calligraphy Association; his works include "Zhu Sha Chong", "High in Lushan Mountain", "Dream Traveling in Lushan", "Residence in Autumn Mountain", etc. Hidden in the National Art Museum of China.
In 1986, an exhibition of Huang Qiuyuan's posthumous works was held at the National Art Museum of China, which aroused strong response. Later, he was posthumously appointed as a member of the Chinese Artists Association, a part-time honorary professor at the Central Academy of Fine Arts, and an honorary committee member of the Chinese Painting Research Institute.
In 1988, an exhibition of his posthumous works was held in Hong Kong.
Huang Qiuyuan was good at many aspects of painting, and he was good at landscapes, flowers, figures, and boundary paintings. His landscapes in his later years had two very eye-catching features. One pattern is close to that of the Song Dynasty, with mountains and mountains. , the bones are solid, the ink technique is subtle, the picture does not emphasize the depth of the space, and the grimaces are repeatedly used to create a sense of modernity. The snow scene is especially pure and clear, and the other brushwork is far better than that of the Yuan Dynasty. The hills and valleys are majestic and intricate, and the vegetation is lush. Changeable, as if there is a spirit shining in the steaming clouds and clouds. It can be seen that his understanding of traditional landscapes has reached an extremely high level.
In the long-term study and creation, he inherited the fine traditions of Chinese painting and pushed the application of ink accumulation to new heights. The landscapes he created are majestic and vast, full of vitality and unique in style. Its traditional Chinese paintings, meticulous ladies and freehand flowers are all exquisite.
After Huang Qiuyuan's death, his novels, poems and literary works gradually became known to people and recognized by the art world. In the 1980s, Huang Qiuyuan fever arose in Beijing. In 1986, a personal exhibition of Huang Qiuyuan's paintings was held.
After visiting Huang Qiuyuan’s painting exhibition, Mr. Li Keran said to Huang Qiuyuan’s eldest son Huang Liangkai: “I admire Mr. Huang’s paintings very much and would like to exchange one of my own paintings for one of Mr. Huang’s paintings.”
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He also wrote an inscription and postscript himself: "Mr. Huang Qiuyuan's landscape paintings have the roundness and thickness of Shixi's brush and ink, the freshness of Shitao's artistic conception, and the dense layout of Wang Meng. They contain the grace of beauty and are his own style. The sky is vast and the smoke is full of clouds. Paper, looking at the myriad of things, and the simple eyebrows, I will be amazed even if Ershi and Shanqiao are still alive!"
It is extremely rare for this kind of evaluation to come from a master like Li Keran.
The excellence of Mr. Huang Qiuyuan lies in his ability to keenly grasp certain traditions that have been almost forgotten by contemporary painters; these may be regarded as historical inertia, but they are actually the essence of tradition. , even shining with the light of truth.
Many fine works in his later years show that his lifelong "passion for people" and his devotion to art enabled him to go from confusing the ancients to borrowing from the past to open up the present.
Art Appreciation
Appreciation of the painting "Snow and Rivers"
"Snow and Rivers" is a masterpiece of Huang Qiuyuan's landscape paintings and has a unique position in the history of Chinese ice and snow landscape paintings. The significance of milestones. In traditional landscape paintings, there are only two techniques to express ice and snow: adding powder and leaving white space. It seems that there is no cracking method to express ice and snow. Huang Qiuyuan discovered in life that the thin, transparent, leaky and wrinkled characteristics of Taihu stone are easy to incorporate into paintings, so he combined it with traditional chaffing methods to create a unique skull chamfer that represents ice and snow. This painting was drawn in this way, showing the mountains and rivers after snow at the end of autumn and the beginning of autumn.
The author is good at painting large paintings, and the larger the size of the painting, the more obvious his extraordinary ability in managing composition and structure. This work has protruding peaks and majestic momentum: mountains, rivers, woods, houses, small bridges, waterfalls, and flowing springs. There are primary and secondary, ups and downs, echoes, backwards, gatherings and dispersions, looming and appearing, light and heavy, virtual and real. The scenery is diverse but not cluttered, the top, bottom, left, and right are unevenly changed but the charm is consistent, and the composition is cautious but not ethereal. The entire painting is painted using the skull-cracking method, and mostly uses light ink to create a crystal clear, bright and cold atmosphere in the snow-covered mountains. The ancient wood has been transformed from Guo Xi's crab claw method, and the branches are more dense and orderly. The interweaving and moving of the branches reveals even more exquisite skills.
The surrounding area is then covered with light ink to create an artistic conception of cold mountains and smokey forest. Only the characters, houses and catalpa trees in the painting can add a little vitality. It is like a fairyland with beautiful buildings and jade buildings in a dream, and it is also a real mountain and forest that can be lived in and visited. It is a unique ice and snow landscape painting in the history of Chinese painting.
The painting "Forgetting to Return"
This painting is a representative work of Huang Qiuyuan's lush and profound style. Like most of Huang Qiuyuan's works, the painting adopts a nearly square format, with a full and substantial composition and a modern feel. The work fully demonstrates the spirit of Chinese painting. In the whole painting, the charm of ink is strengthened, and the ink accumulation method is used more frequently. The author absorbed Huang Binhong's ink accumulation method, but made some changes and developments. First of all, he does not use permanent ink. He believes that although permanent ink can increase the thickness of the painting, the ink is turbid and dull, which is not suitable for achieving the green and dripping effect he is pursuing. Here he repeatedly used dry, wet, thick and light ink, layer by layer, criss-crossing. Distant mountains, near rocks, grass and trees are often highlighted with heavy ink to increase the sense of hierarchy. Some of the ink lines are repeatedly outlined, sometimes complex but not chaotic, or seeking to make sense in the chaos. There are pens everywhere and ink everywhere, lush and ethereal. A comprehensive view shows a strong sense of wholeness, great momentum, profound artistic conception, and a symphonic world of dots and lines. Huang Qiuyuan developed the landscape painting that Wang Meng, Gong Xian, and Huang Binhong relied on, and established his own method.
This painting is particularly outstanding in its artistic conception. In the painting, mountains, rocks, trees, and huts cover each other, and are well-proportioned and layered. The brush strokes on the mountains and rocks are astringent, vast and thick, the vegetation is lush and shaded, some are misty and diffuse in the distance, or the scenery in the near field is moist and green. A hermit walked alone with his staff in it, searching for the secluded place and exploring the wonders. He was so overwhelmed that he forgot to return, which made him suddenly want to be born out of this world. The houses, floating clouds, flowing springs, autumn trees, and paths in the painting are completely vivid, which can make the work come alive and reflect the artistic effect of beautiful mountains and rivers, lush vegetation, and tranquility and emptiness.
Artistic Achievements
Mr. Qiuyuan’s landscape paintings started from tradition and wanted to create a painting style with a strong personal flavor. He is good at landscape, fine brushwork, and freehand brushwork. He is also good at ink, green, and green. His boundary painting skills are unique in modern times. He also works on figures, flowers and birds, is good at poetry and calligraphy, is good at appreciating ancient calligraphy and painting, is an amateur political commentator, and is well-educated. In his landscape world, there is no distinction between north and south, nor between literati and institutions. He explores the secrets with the mentality of a "southern" and cultivates the mind of a "southern" with various techniques and techniques of the "Northern Sect". Dong Yuan, Guo Xi, Li Cheng, Wang Meng, and Huang Gongwang of the Northern and Southern Sects, Dai Jin, Wu Wei, Ma Yuan, and Xia Gui of the "Yuan Style" as well as painters and literati Ni Zan, Shi Tao, Shi Xi, Gong Xian, etc., are all successfully reflected in his paintings.
In his later years, Mr. Huang Qiuyuan created a new "Qiuyuan Cun" technique that was different from famous artists in the past, and compiled the book "Traditional Techniques of Chinese Landscape Painting".
Huang Qiuyuan adheres to the value spirit of Chinese painting art. He successfully inherits the traditional essence of Chinese national painting. He boldly explores and is unique.
In his later years, he created an unprecedented, self-contained vocabulary with modern aesthetic connotations. Huang Qiuyuan gained subjective freedom through indifference and found creative space through the new artistic technique "Qiuyuan Chopping". The charm of his personality, like his fine paintings, is as relevant as the sun and the moon. Now Huang Qiuyuan's paintings have been published all over the world. His indifferent and quiet noble character will surely be revealed to the world together with his paintings.
Han Yingzui Hua's self-made family method
The world knows Mr. Qiuyuan. His posthumous works were exhibited in the National Art Museum of China in 1986, which was the year of his death. Seventh year. At that time, the national painting circle exclaimed: "Huang Qiuyuan was miraculously discovered" and "Huang Qiuyuan is one of the most accomplished and distinctive contemporary masters of Chinese painting." From the time he silently devoted himself to art during his lifetime, remaining unknown in his hometown, to his death at the age of 65 Later, the whole world attracted attention. This painter who lives in Jiangxi is indeed a strange person.
After visiting Huang Qiuyuan’s painting exhibition, Mr. Li Keran once said to Huang Qiuyuan’s eldest son Huang Liangkai: “I admire Mr. Huang’s paintings very much and want to exchange one of my own paintings for one of Mr. Huang’s paintings.” He also personally wrote an inscription and postscript: "Mr. Huang Qiuyuan's landscape paintings have the roundness and thickness of Shixi's brushwork, the freshness of Shitao's artistic conception, and the dense layout of Wang Meng's layout. They contain elegance and splendor and are his own style. The sky is vast, the smoke and clouds are full of the paper, and the sight of it is myriad." Even if Ershi and Shanqiao were alive, they would be amazed!" This kind of evaluation is extremely rare.
Qi Gong also wrote: "Qiu Yuan Jian's pen is a powerful person, closer than Zhang Yuan and distant rocks; where the first summer clear window is opened, the sea and sky are like mirrors reflecting the frost."
"Selected Paintings and Calligraphy by Ten Famous Modern Masters" published in Taipei ranks Huang Qiuyuan with Wu Changshuo, Qi Baishi, Huang Binhong, Xu Beihong, Pu Xinshe, Pan Tianshou, Zhang Daqian, Fu Baoshi, and Shi Lu. Huang Qiuyuan's paintings have become the most important works of the National Art Museum of China. , Chinese Painting Research Institute and other places; the drawings he taught students have also become long-term demonstration teaching materials of the Central Academy of Fine Arts.
In 1987, the Central Academy of Fine Arts appointed Mr. Qiu Yuan as an honorary professor of Chinese painting. The Institute appointed Mr. Qiuyuan as an honorary member of the Academy Committee. In 1987, the Propaganda Department of the Jiangxi Provincial Committee and the Jiangxi Provincial Department of Culture decided to establish the "Huang Qiuyuan Memorial Hall" in Nanchang. The Jiangxi Provincial People's Government and the Nanchang Municipal People's Government successively. Huang Qiuyuan's former residence and Huang Qiuyuan's residence are listed as provincial and municipal cultural relics protection units. In the "Chinese Masters Art Weekly" jointly published by People's Fine Arts Publishing House and Taiwan Jinxiu Publishing House, he is listed as one from the Jin, Tang, Song, Yuan, and Yuan Dynasties. One of the one hundred Chinese art masters from the Ming and Qing dynasties to modern times
Nanren’s Mentality and Beizong Techniques
Huang Qiuyuan’s lifelong devotion to painting can be described as “obsessed”. Huang Liangkai said that Huang Qiuyuan spends almost all his time on painting every day, except for working, eating and sleeping. He reads ancient and modern masterpieces and writes diligently. He especially likes the works of famous artists such as Shi Xi and Shi Tao. He insists on Chinese painting. The value spirit of art inherits the traditional essence of Chinese painting, boldly explores it, and is unique. Among them, the landscape painting that he is best at starts from the tradition and creates a painting style with a strong personal flavor. Some critics believe that in Huang Qiuyuan's landscape world. There is no distinction between north and south, nor between scholars or institutions. He explores various techniques and techniques of the "Northern Sect" with a "southern" mentality, which naturally shows his broad mind.
When the famous painter Lu Muxun visited the Huang Qiuyuan Memorial Hall in Nanchang, Jiangxi, he wrote an ancient poem to express his feelings: "The poems, essays and pictures are true and straightforward, and the character and art are like Tsinghua University. "Lu Muxun believes that Huang Qiuyuan is a very comprehensive Chinese painter who is good at landscapes, flowers and birds, calligraphy, etc. He has the style of famous artists such as Shi Tao, but also knows how to come out of the styles of famous artists and form his own artistic characteristics." Huang Qiuyuan It is very admirable to spend a lot of time on the art of painting and stick to your own creation without any distractions. " Lu Muxun said.
Creating "Qiuyuan Cun" has made everyone successful
Some critics believe that Huang Qiuyuan's greatest success lies in his works such as "Snow and Landscape" created in his later years. Several masterpieces. The landscape structure of these paintings is created using a special chamfering method, forming a landscape style that is exquisite and unique, has its own vocabulary and has modern aesthetic connotations. It is not only amazing, but also a " It is an artistic creation that has never been done before or since.
Looking closely at the chaffing method used by Huang Qiuyuan, it is more complicated and sophisticated than the chaffing method created by predecessors. It is a unique Because of the new techniques used by famous artists in the past, it was later called "Qiuyuan Cun". The emergence of this kind of "Qiuyuan Cun" confirmed Huang Qiuyuan's position in the history of Chinese painting. As Dong Qichang said: "Every master is a god." The quality must be unique in the chapping method. "It is regrettable that Huang Qiuyuan died too early, and there are not many works that embody this kind of chamfering method.
After Huang Qiuyuan's death, his paintings, novels, poems and other literary works gradually became known to people and became popular among people. It was recognized by the art world. In the 1980s, exhibitions of Huang Qiuyuan's works were held in Jiangxi, Shandong, Shaanxi, Beijing, Shanghai, and Hong Kong. In 1986, the famous painter Li Keran visited Beijing. After Huang Qiuyuan’s solo exhibition, he said to Huang Liangkai: “I admire Mr. Huang’s paintings very much. "He also wrote a postscript himself: "Mr. Huang Qiuyuan's landscape paintings have the roundness and thickness of Shixi's brushwork, the freshness of Shitao's artistic conception, and the dense layout of Wang Meng. The sky is vast, the smoke and clouds are all over the paper, and the sight of the scenery is myriad, striking people's eyebrows. Even if Ershi and Shanqiao were alive, they would be amazed! "This kind of evaluation comes from a master like Li Keran, which is extremely rare.
Nowadays, the book "Traditional Techniques of Chinese Landscape Painting" compiled by Huang Qiuyuan in his later years has become a popular guide for art academies such as the Central Academy of Fine Arts. The school's textbooks. People's Fine Arts Publishing House and Taiwan Jinxiu Publishing House also published a collection of Huang Qiuyuan's works. "My father did not see the praise and achievements he received in art during his lifetime, but it is gratifying that his works were not buried. . He built a monument with his own personality charm and artistic trajectory. Huang Liangkai said with emotion.
Especially good at large-scale landscapes
Huang Qiuyuan's landscapes, flowers, birds and figures are all exquisite, but his achievements in landscapes are still the highest. He can be said to be a master of landscapes in the Chinese painting circle. His landscape paintings are from traditional Start by creating a painting style with a strong personal flavor. Huang Qiuyuan's landscape paintings are distinguished by their large scale. In terms of composition and layout, they often stand tall with the sky and the earth. The entire painting is filled with ink, with dense dots and lines, leaving no blank space. It is said that no sky is left above and no earth is left below. Its layout is unparalleled among modern Chinese painters, and its dense areas reveal aura of shades and depths, so it has the highest reputation as a painter of "one star in the sky". In Huang Qiuyuan's landscape world, there is no distinction between north and south, nor between literati and academic institutions. He learns from Shi Tao but has his own look. His techniques combine the great achievements of the ancients and form a vocabulary of his own; he describes the traditional literati as "living far away in the mountains and rivers, looking coldly towards the landscape". The wild and hidden feelings of "cross-current" are written in the thick smoke of pen and ink, giving the painting a modern aesthetic connotation. It can be said that he was a master of the last century who borrowed from the past to create the present.
In the 2005 spring "Finance and Collection" auction of Oriental International Auction Co., Ltd., one of Huang Qiuyuan's landscape works "Mountain Dwelling" was very eye-catching. This work has very outstanding artistic characteristics of Huang Qiuyuan. It was painted in Bingchen (1976), when the painter was in his twilight years. The painting "uses the brush and ink of the Yuan Dynasty to convey the mountains and valleys of the Song Dynasty". It has dense composition, a collection of dots and lines, and a full-frame management, which is complex but not chaotic. Although the characters in the painting are small, they still have both form and spirit, and every detail is flawless. The strokes with the pen are random and natural, easy and changeable; the mountain and stone shapes are outlined with thick ink, and the bare ink is used to dot the moss, and the light ink lines are broken with burnt ink stone dots, integrating thick ink, light ink and broken ink; the mountain top The dots are accumulated and the dark side is chaffed; the picture does not emphasize the depth of the space, but uses the bone method to win. It is a rare fine art.
There are two aspects of Huang Qiuyuan's landscapes in his later years that are very eye-catching. One is similar to that of the Song Dynasty, with layers of mountains, solid bones, and subtle ink techniques. The painting does not emphasize the depth of the space, and is repeatedly wrinkled with grimaces. It forms a sense of modernity, and the snow scene is especially pure and clear. Another kind of brushwork is far superior to that of the Yuan people. The hills and valleys are majestic and intricate, and the vegetation is lush and varied. It seems that there is a spirit shining in the steaming clouds and clouds. From this, it can be seen that his understanding of traditional landscapes has reached an extremely high level. Huang Qiuyuan also created a unique new technique "Qiuyuan Cun" that was different from famous artists in the past dynasties, and compiled the book "Traditional Techniques of Chinese Landscape Painting".
The market for ancient works is on the rise
Huang Qiuyuan is known as the "contemporary Tao Yuanming" in the Chinese calligraphy and painting circles. His works are of high style and rarely have social elements, so they can be seen now. Most of the yellow things I got are high-quality, and the number of his extant works is very small, only about 400, of which 1/4 are drawings.
In recent years, the prices of his paintings have continued to rise in the auction market, becoming a "blue chip stock" in the modern Chinese painting and calligraphy sector, and are sought after by collectors from all walks of life. At present, the average transaction price per square foot of his works is 42,000 yuan, ranking 20th in the price index of modern painters. Prices are still rising in the auction market. There are many works exceeding one million yuan, which are worthy of collectors' attention. .
In 1989, the 10th anniversary of Huang Qiuyuan's death, Hong Kong officially listed Huang Qiuyuan's works for sale and became international art auction items. The first 3×2-foot vertical scroll landscape "Autumn Colors of Clouds and Mountains" was sold that year. " reached HK$180,000, and the other two smaller works also cost HK$40,000-60,000. The large vertical scroll (175 x 68.5 cm) "Hermitage in the Mountains" sold in March 1991 was sold for HKD 250,000. By September of that year, the price for another "Xishan Thatched Cottage" had risen to HKD 280,000.
At the China Guardian auction at the end of November 2003, the price of "Mountain Dwelling" was 638,000 yuan; the auction price of "Tangren Shi_" at the Shanghai Chongyuan auction in October of the same year was 572,000 yuan. Yuan.
In 2005, Rongbao Auction Company debuted several Huangqiuyuan treasures in the spring auction. The transaction price of "Lady Picture" was 165,000 yuan, the transaction price of "Penglai Wonderland" was 825,000 yuan, and the transaction price of "Yingtai" was 825,000 yuan. The transaction price of "Spring Scenery" was 605,000 yuan, and the transaction price of "Snow Scenery" was 682,000 yuan.
In 2006, "Ten Palaces" was rumored to have fetched 2.53 million yuan in Beijing, breaking the 2 million yuan mark for the first time.
In 2007, "Li Gong Chunwan Tu" was sold for 6.38 million yuan at the Guangdong auction, setting a new high for Huang Qiuyuan's works.
Although the prices of Huang Qiuyuan’s works have increased significantly, the price increase of his works lags far behind those of others. It is particularly worth mentioning that in 2010, Beijing Kuangshi International launched the “Introducing the Ancient and Bringing the New— "Special Auction of Huang Qiuyuan's Works", the result was that the transaction rate of 55 works was only 56%, and the transaction amount was 8.5624 million yuan. It should be said that the auction results were not very satisfactory.
However, the author firmly believes that gold always shines. As a master of painting, Huang Qiuyuan’s current market price is somewhat underestimated in terms of his artistic personality, achievements, and stock of works. As collectors understand the value of Huang Qiuyuan's art, the value of his works will return. Let's wait and see!
Character Commemoration
Huang Qiuyuan Memorial Hall
The Huang Qiuyuan Memorial Hall in Nanchang, Jiangxi Province was approved by the Propaganda Department of the Jiangxi Provincial Committee of the Communist Party of China and the Jiangxi Provincial Department of Culture in 1987 After establishing the "Huang Qiuyuan Memorial Hall", the Jiangxi People's Government and the Nanchang Municipal People's Government successively listed "Huang Qiuyuan's Former Residence" and Huang Qiuyuan's bedroom as provincial and municipal cultural relics protection units.
The "Chinese Masters Art Weekly" jointly published by People's Fine Arts Publishing House and Taiwan Jinxiu Publishing House is listed as one of the 100 Chinese artists from the Jin Dynasty, Tang, Song, Yuan, Ming and Qing to modern times. One of the greats.
Address: No. 21, Xiaotaohua Lane, Ximazhuang, Nanchang City.
Huang Qiuyuan’s former residence is a traditional Chinese building. The first floor is the Qingfeng Hall, which is the living room for receiving friends. Simple traditional Chinese furniture and the calligraphy of many celebrities occupy the wall. The second floor is the owner himself. The living room and small living room are now filled with traditional Chinese furniture and porcelain purchased from the private sector. The master's first half-length photo is hung in the center of the hall, making it look solemn, elegant and quiet. However, the spring of art is in this tranquility, as if flowing around me
The third floor is currently the exhibition place of Mr.’s works during his lifetime. On the wall are Mr.’s works from various periods, including landscapes, There are figures, flowers, animals, meticulous paintings and calligraphy works, etc. According to the staff in the museum, the museum changes Mr.’s works every six months. Many art lovers from all over the country come here. Twice, in this way, we can observe more of Mr.'s works and learn the essence of Chinese painting. Many people stay here for a whole day, studying and understanding Mr.'s painting style and inner artistic achievements extremely seriously.
Comments by famous experts
Master Li Keran
It is a shortcoming of our work that people like Qiuyuan have been buried for a long time without knowing the face of the state. In the entire history of Chinese art, there are not many people who can make ink, and even fewer who are successful. Gong Xian and Shi Xi have made outstanding achievements in the accumulated ink method. In modern times, there is Huang Binhong, and then there is Mr. Qiu Yuan. The art of Chinese painting is developing and is by no means at an end. Mr. Huang Qiuyuan's artistic achievements once again illustrate the strong vitality of Chinese painting. Beijingers are very discerning. After seeing so many exhibitions, I feel numb. There has never been such a successful exhibition. There are exhibitions in France, Germany, Japan, and even more domestic ones. None of them are as successful as this one. Dongshan , I think Pingshan is not as good as Qiuyuan.
Master Liu Haisu
Mr. Huang Qiuyuan is an outstanding son of the Jiangxi people and an outstanding artist of the Chinese nation. His paintings reflect the inexhaustible creativity of the Chinese people, and his meticulous brushwork admires the Tang Dynasty. With a solid foundation, he used Song Xiu's brushwork from the Yuan Dynasty, the composition of the Song Dynasty, and the strengths of other schools in the late Ming and early Qing Dynasties. He is a representative of self-taught talent. His works prove that there is no so-called "crisis" in Chinese painting, but full of vitality. Turning the past into the new, people are getting to know him, and he will definitely bring glory to the motherland.
Mr. Panzi
Qiu Yuan’s works are still exquisite even if they are placed in the Forbidden City. He is the glory of Jiangxi and the glory of our nation. His works can be promoted internationally as a project of the Chinese cultural circle.
Mr. Cai Ruohong
Huang Qiuyuan's painting exhibition caused a sensation in the capital, and everyone applauded unanimously. This is not easy, and it is unprecedented. This is not a compliment, but Huang Qiuyuan's exquisite artistic works have brought the majority of art Home conquered.
Mr. Hua Xia
Huang Lao has profound skills and comprehensive cultivation. Yesterday Huang Miaozi and Mr. Qi Gong told me that Huang Lao's pen and ink skills may not be second to the contemporary.
Mr. Huang Miaozi
Mr. Fu Baoshi and Mr. Huang Qiuyuan were both from Jiangxi and contemporary painters. They both have high achievements, but Mr. Fu was already famous during his lifetime, and Mr. Huang Qiuyuan It was not until five or six years after his death that anyone discovered the astonishing harvest of his lifelong hard work. The art circles in Hong Kong and even the world never dreamed that there would be a Huang Qiu Garden in Jiangxi.
Mr. Huang Junbi
Mr. Huang Qiuyuan is a great painter who is rare in a century. He is amazing and even better than Mr. Huang Binhong.
Mr. Bai Xueshi
Now the whole capital is talking about the posthumous exhibition of Mr. Huang Qiuyuan and is shocked by it. His works are national treasures and he is a great painter.
Mr. Liang Shunian
: Qiu Lao’s traditional skills, artistic accomplishments, and character are very high. He concentrated on the best things of the ancients, and added his own understanding and new ideas in life. Feel and develop your own unique style. When I saw the exhibition, I wrote a poem on the spot to express my admiration: "The great enlightenment is always true, the cool breeze is clear, the two old people have retained the true face of Lushan, and the morals of their articles dare not be compared to the dust."
Mr. He Haixia
It is astonishing that Mr. Qiuyuan has such profound traditional skills, such comprehensive artistic accomplishment, and such rigorous academic spirit. I'm impressed, it's the first time we have such a good exhibition in Beijing. This is not only Jiangxi’s wealth, but also our country’s national treasure.
Mr. Chen Mowu
Qiu Yuan’s contribution to Chinese painting is very convincing. His meticulous layout and grasp of lines and ink can be said to be very good, which is difficult for ordinary people to match. He is worthy of being a master of Chinese painting art in the 20th century. Many modern and contemporary painters are influenced and influenced by him. He and Bin Weng can be called the "Double Yellow Mountains" in the history of Chinese painting art, or the two "Yellow Mountains" in the history of Chinese painting art.
Mr. Hou Yimin
Mr. Huang deserves to be a great master of his generation and a model for future generations of scholars. The college decided to re-appoint Mr. Huang Qiuyuan as a professor of the college, which was approved by all members of the college’s Art Academic Committee. The academy journal "Art Research" is preparing to publish a special issue on Huang Qiuyuan's research, and will hold an exhibition on Huang Qiuyuan in the academy at the appropriate time.
Mr. Jia Youfu
: Huang Qiuyuan’s artistic achievements are immeasurable. To achieve such a high achievement, one must be determined to work hard for it in the next life. Not only are his large paintings shocking, but even his many apprentice paintings are superb when I look at them.