Appreciation of the painting "Snow and Rivers"
"Snow and Rivers" is a masterpiece of Huang Qiuyuan's landscape paintings and has a milestone significance in the history of Chinese ice and snow landscape paintings. 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. Mr. Qiuyuan's landscape paintings are based on tradition, and he hopes 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.
The world knows Mr. Qiuyuan when his posthumous works were exhibited at the National Art Museum of China in 1986, which was the seventh year after his death. 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 living in Jiangxi was 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. They contain elegant and elegant flowers and are his own style. The sky is vast, the smoke and clouds are full of the paper, and the sight of the scenery 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 Shi Tao; when the first summer clear window is opened, the sea and sky are like mirrors reflecting the frost." "Top Ten Famous Paintings and Calligraphy in Modern Times" published in Taipei "Selection", which 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 precious collections in the National Art Museum of China, the Chinese Painting Research Institute and other places; the drawings he taught students have also become long-term demonstration teaching materials at the Central Academy of Fine Arts.
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 Propaganda Department of the Communist Party of China Jiangxi Provincial Committee and the Jiangxi Provincial Department of Culture decided to approve the establishment of the "Huang Qiuyuan Memorial Hall" in Nanchang. The Jiangxi Provincial People's Government and the Nanchang Municipal People's Government have successively listed Huang Qiuyuan's former residence and Huang Qiuyuan's residence 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 was listed as one of the one hundred Chinese art masters from Jin, Tang, Song, Yuan, Ming and Qing to modern times. Huang Qiuyuan's lifelong devotion to painting can be described as "obsessed". Huang Liangkai introduced that Huang Qiuyuan spent almost all his time on painting every day, except for working, eating and sleeping. He read ancient and modern masterpieces and wrote diligently, especially works by famous artists such as Shi Xi and Shi Tao. He adheres to the value spirit of Chinese painting art, inherits the traditional essence of Chinese painting, boldly explores and is unique. Among them, the landscape painting that he is best at is based on tradition, creating a style with a strong personal flavor. Some critics believe that in Huang Qiuyuan's landscape world, there is neither north nor south, nor distinction between literati and academic institutions. He explores the various techniques and techniques of the "Northern Sect" with a "southern" mentality, which naturally demonstrates own mind.
The famous painter Lu Muxun once visited the Huang Qiuyuan Memorial Hall in Nanchang, Jiangxi, and wrote an ancient poem to express his feelings. One of the sentences reads: "The poems, essays and pictures are true and candid, and the character and art are as good as those of Tsinghua University." Lu Muxun believed that Huang Qiuyuan was a very comprehensive Chinese painter, good at landscapes, flowers and birds, calligraphy, etc., and famous painters such as Shi Tao style, and also knows how to step out from the styles of famous artists and form its own artistic characteristics. "Huang Qiuyuan spends a lot of time on the art of painting and is able to stick to his own creation without distraction, which is very admirable." Lu Muxun said. Some critics believe that Huang Qiuyuan's greatest success lies in several masterpieces such as "Rivers and Mountains with Snow" created in his later years. The landscape structure created by these paintings using a special chamfering method has formed a landscape style that is exquisite and unique, has its own vocabulary and has modern aesthetic connotations. It is not only amazing, but also an "unprecedented and unprecedented" landscape style. The artistic originality of "Comer".
Look carefully at the chaffing method used by Huang Qiuyuan. It is more complicated and more sophisticated than the chaffing technique created by predecessors. It is a new technique that is different from the chaffing techniques of famous masters in the past. Therefore, it was also later used. It is called "Autumn Garden Crab". The emergence of this kind of "Qiuyuan chaff" confirmed Huang Qiuyuan's position in the history of Chinese painting. As Dong Qichang said: "Every masterpiece must be unique in the chamfering 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 recognized by the art world. In the 1980s, exhibitions of Huang Qiuyuan's works were held in Jiangxi, Shandong, Shaanxi, Beijing, Shanghai, Hong Kong and other places, and "Huang Qiuyuan fever" arose in Beijing. In 1986, after visiting Huang Qiuyuan's solo exhibition in Beijing, the famous painter Li Keran 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. 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 landscape master in the Chinese painting circle. His landscape paintings started from tradition and created a painting style with strong personal flavor. Huang Qiuyuan's landscape paintings are based on The painting is huge, and its composition and layout are often upright. The entire painting is ink-filled, with dense dots and lines, leaving no blank space. It is said that no sky is left above, and no ground is left below. Its layout is unparalleled among modern Chinese painters, but it is dense. There are shades of aura everywhere, so he has the highest reputation as a "one star in the sky" painter. In Huang Qiuyuan's landscape world, there is no distinction between north and south, nor are there distinctions between literati and institutions. They learn from Shi Tao but have their own appearance. The technique is a collection of the great achievements of the ancients and has its own vocabulary; he writes the wild and hidden feelings of traditional literati who "live far away in the mountains and rivers, looking coldly at the river" in the thick smoke of pen and ink, giving the painting a modern aesthetic connotation, which can be said to be one of the masterpieces of the last century. A person whose name borrows from the past to create the present.
In the 2005 spring "Finance and Collection" auction of Oriental International Auction Co., one of Huang Qiuyuan's landscape works "Mountain Dwelling" was very eye-catching. This work has the 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 transport the hills and valleys of the Song Dynasty", with dense composition, rich dots and lines, and full-frame management. , complex but not chaotic. Although the characters in the painting are small, they still have both form and spirit, and the strokes are random and natural, easy and changeable; the shapes of the mountains and rocks are outlined with thick ink, and the moss is touched with light ink. The light ink lines are broken with burnt ink stone dots, integrating thick ink, light ink and broken ink. Dots are used on the top of the mountain, and chaffing is used on the dark side. The painting does not emphasize the depth of the space, but uses the bone method to win, which is not too much.
There are two aspects of Huang Qiuyuan's landscapes in his later years that are very eye-catching. One is a pattern similar to that of the Song Dynasty, with mountains and hills, solid bones, and subtle ink techniques. The painting does not emphasize the depth of space. The repeated use of ghost faces creates a sense of modernity, and the snow scene is particularly clear and clear. Another kind of brushwork is far better than that of the Yuan Dynasty. The hills and valleys are majestic and intricate, and the vegetation is lush and varied, as if there is a spirit shining in the clouds and clouds. His understanding of traditional landscape painting has reached a very high level. Huang Qiuyuan also created a new "Qiuyuan Cunbing" technique that is different from famous artists in the past, and compiled the book "Traditional Techniques of Chinese Landscape Painting". Known as "contemporary Tao Yuanming", his works are of high style and rarely contain social objects. Therefore, most of Huang's things that can be seen now are fine products, and the number of his extant works is very small, only about 400, among which 1/4 is a painting.
In recent years, the price of his paintings has been rising in the auction market, becoming a "blue chip stock" in the modern Chinese painting and calligraphy sector, and is sought after by collectors. At present, his works average per square foot. The transaction price was 42,000 yuan, ranking 20th in the price index of modern painters. The price is still rising in the auction market, and there are many works exceeding one million yuan, which are worthy of collectors' attention.
In 1989, which was 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 feet vertical scroll landscape "Autumn Colors of Clouds and Mountains" sold that year reached HK$180,000. The other two smaller works are also priced at HKD 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 Shihua" 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!