Wu Hufan is a gardener, and he is also good at pine, bamboo and lotus. From the "Four Kings" in the early Qing Dynasty, following the efforts of Dong Qichang in the late Ming Dynasty, he was deeply influenced by Dong Yuan, Guo and others in the Song Dynasty, and his painting style remained unchanged, but his brushwork became dignified. Its painting style is beautiful and rich, beautiful and elegant, with deep colors and mist, and the spring stone is washed away. Wu Hufan's landscape paintings are the most distinctive. When he combs his hair, he sprinkles it on the paper with a large pen, dries it a little, and then dips it in light ink with an ordinary pen to render it a little. Once installed, it looks like a cloud, absolutely wonderful. Sometimes it is more expensive to draw birds and cows. There is a long scroll "Five Cattle Map". The cows in the picture are leaning or leaning, or leaning or standing, which is very imposing. The lines are both rigid and flexible, and they are really exquisite.
Wu Hufan is also known as the first modern bamboo painter, and this picture of enjoying spring also shows his superb bamboo painting skills. He painted bamboo from the double hooks of the Song Dynasty, and added Zhao Yong's boneless method of harmony and cloud. Painting bamboo with light ink or light color, the bamboo in his works has a faint elegant charm, especially the proper use and control of water, which makes the bamboo leaves have the trend of "phoenix tail and phoenix tail". Although it is not colored, it still has a gorgeous, rich and luxurious feeling. Although this picture is a bamboo bush, Wu's charm of ink and bamboo has been fully revealed.
During this period, a lot of efforts have been made in flowers, pommel horse and figure painting, such as Zheng's Orchid Imitation in the South of China in 193 1 year, Imitation of a Lady in Tang Yin in 1935, Xinyi in 1935 and Xinyi in1935 1936 Fog Barrier and Qinglong is the representative work of Wu Hufan's lotus painting. This painting depicts the blooming lotus with freehand colors and pen and ink. Judging from the inscription, this is a scene sketched by Wu Hufan by accident. As can be seen from this painting, Wu Hufan's lotus painting is wonderful in color, beautiful and elegant, and bright in color, which has a deep relationship with Yunnan days.
Yun Biao Qifeng is Wu Hufan's masterpiece. It was first published in Art Life on 1936. The main body of this painting depicts the peaks, the distant peaks reach into the clouds, the valleys full of white clouds come out of the caves, the mountains covered with rows of pine trees in the middle scene, the pavilions hidden in the lush green leaves, the close-up streams, and the water vapor and clouds in the distance. . . . . . The whole picture is beautiful. In painting, or with boneless baking and dyeing, it is dull and bright; Or use a Jie Suocun, or a leather horse, or a small axe to cut the stone to make it deep and thick. In this painting, we can see Wu Hufan's eclecticism of traditional landscape painting "North-South School" and green ink painting, and he got rid of the shackles of schools, thus forming his own pen and ink style. In addition to Qifeng in Yun Biao, Xiaoyun Zhang Bi, Hai Ye Yungang and Qiu Ling Heng Yun are all important works that mark the maturity of his painting style.
Yupu Peach Blossom is another masterpiece of green landscape painting in Wu Hufan. This painting depicts the beautiful scenery of Jiangnan in March. In the south of the Yangtze River in spring, the grass is flourishing, birds are singing and dancing, peach blossoms are in full bloom in Anh Hong, and fishing boats in twos and threes are rippling in the blue waves, which reminds people of the ideal world depicted in Tao Yuanming's Peach Blossom Garden. Its composition adopts Pingyuan method, which can be seen from Jiangnan School represented by Dong Yuan and Ju Ran. In painting, Peach Blossom in Yupu mainly absorbs and synthesizes Dong Yuan's, Huang's methods, such as Pima on the Mountain. These notes come from Dong Yuan's Xiaoxiang Map, Xiashan Map, Xiashankou Waiting Map, Qiushan Asking Map and Stratified Trees Map, especially Huang's Fuchun. Wu Hufan's works were basically read during the Republic of China. The remnant volume of Fuchun Shan Jutu is one of the important secrets of Wu Hufan Meijing Bookstore 1936. Wu copied it many times. From this painting, we can see that Wu is deeply impressed by Huang. However, compared with Huang's ci, they have subtle differences. For example, Huang Zhi's pen is weak in spirit, while Wu tends to be vigorous on the basis of spirit, which has a lot to do with Wu's imitation of Tang Yin. In fact, this is also a great contribution and feature of Wu Hufan in inheriting the tradition. The use of color is a major feature of Wu Hufan's paintings, especially his landscape paintings, such as Snow in the Cave, Autumn Ridge Crossing Clouds, Peach Blossom in Yupu, etc., which are bright and decorative. This is the result of his tracing back to the source and repeated exploration. The Tang and Song Dynasties were the peak of turquoise landscape painting. In addition to murals, Jiangfanting, Qianli River Mountain and Song Wanjin Que are all immortal masterpieces in the turquoise landscape. Zhao Mengfu in the Yuan Dynasty, Wen Zhiming, Chou Ying and Dong Qichang in the Ming Dynasty, and Jincon in the Qing Dynasty. It can still inherit the development of green mountains and rivers, but generally speaking, after the Yuan Dynasty, ink and wash became the mainstream, while green gradually declined. Green landscape is divided into big green and small green. The former has more hooks, fewer strokes, strong coloring and strong decoration; The latter is dominated by the light color of ink and wash. Although there are some differences between them, they are mainly composed of azurite and turquoise. Therefore, the high purity of the formal language of green (golden jade) landscape in Tang and Song Dynasties is its important feature. On the other hand, the high purity of formal language does not hinder its richness. This is because its color has been rendered and regressed many times. In 1930s, Wu Hufan discovered that there were as many as seven layers of green landscape in Zhao Boju, which was of great benefit to his landscape painting creation. Wu Hufan has further developed on this basis. His landscape color far exceeds that of stone green, azurite and clay gold, and almost all Chinese painting pigments are used. In this way, in Wu Hufan's works, the ancient green landscape language has been highly purified, the style is simple and elegant, and it has developed into a rich language and a bright and beautiful style.
According to the textual research of Mr. Guan Ruizhi, a contemporary senior landscape painter and traditional Chinese painting theorist, the first combination of pen and ink of China's famous painting Fuchun Shan Jutu, after 300 years of martyrdom, was 1954 165438+ October, which was composed by Mr. Wu Hufan according to his collection of Canshan Tu and Qing Palace Useless Teacher Shu. Mr Wu Hufan's version is a combination of pen and ink. Coincidentally, the after-fire edition painted by Shen Zhou 1954 and the before-fire edition painted by 1487 were both made by two 60-year-old Chinese painting masters. Guan Ruizhi carefully compares Yu Huo Ben, Useless Teacher Volume, Yu Shan Tu and Pre-fire Ben, and points out that Mr. Wang's pen and ink are extremely vast, and his charm and brushwork are closer to Fuchun in Yuan Dynasty than Shen Zhou's Pre-fire Ben.
Wu Hufan often reads Tang and Song poems in his spare time. Su Shi once said that Wang Wei's art is "poetry in painting". Therefore, we might as well call Wu Hufan a poet in painting, especially an elegant poet. Calligraphy was close to Song Huizong's thin gold book, and later came the original work of Mi Fei's Poems of the Classics Building, and he began to specialize in Mi Fei.
The font of the inscription is not Song Xuanhe,
It's Mi Xiangyang.
Consistent with his health, the 1960s was another period of Wu Hufan's painting style transformation. Learn Huai Su's cursive script Autobiographical Notes in calligraphy, with his expansion of Su Shi and Zhao Mengfu's dead wood and bamboo stones and their freehand brushwork, and change the title to cursive script instead of the usual script of Xue Ji and Mi Fei. Dead wood and bamboo stone (1963), bamboo stone landscape (1963), mainstay (1963), lotus flower (1964), Muslim Ci Meaning (. But as far as art itself is concerned, his works trying to change the style of painting are not completely successful. Mainly manifested in organizational confusion, slightly rotten ink. Of course, this is also closely related to his painting style, which was basically neat before the sixties. From neatness to boldness, the change of pen and the difference of paper quality are all necessary for him to master the control of ink painting, which seems beyond his grasp. Wu Hufan is also good at appreciation, and his family has collected four Song Tuoba, so he lives in the "Siou Hall". General collectors, please identify the true and false. Especially ancient paintings, after his glance, he stood up to distinguish the authenticity. Famous appraisers of calligraphy and painting, Zhang Heng, Yang, are all his disciples. When Wu Hufan paints and calligraphy, he must grind his own ink. People ask him why. He said: "grinding ink by yourself is not only to master the shade, but also to conceive a good opportunity."
Influenced by his family, Wu Hufan loved art. 13 years old studied painting, starting with the "Four Kings" and Dong Qichang, and then exploring in the Five Dynasties, the Song Dynasty and the Yuan and Ming Dynasties. While carefully observing the famous things in his family, he traveled all over the world, combining learning from the past with learning from nature, forming a unique style of beauty, richness, clearness and brilliance in art. His calligraphy is unique and unique, and he has become the most famous painter and connoisseur in Shanghai. Together with Zhao Shuru, Wu Daiqiu and Feng Chaoran, they are called "four outstanding men at sea". And, Wu Daiqiu, also known as "three Wu and one Feng". In 1930s, China painting circle was called "Southern Wu (Lake Sail) and Northern Zhang (Daqian)". Among the "two and a half painters" admired by Daqian all his life, the first one was Wu Hufan.
Before liberation, Wu Hufan was a judge in the Palace Museum. After liberation, he served as a member of Shanghai Federation of Literary and Art Circles (the second session), vice chairman of China Artists Association Shanghai Branch, and painter of Shanghai China Painting Academy.
Wu Hufan had the reputation of "one eye" in 1930s and 1940s, which is enough to imagine his authority in the field of identification. He is also quite confident about his appraisal level. In the 27th year of the Republic of China (1938), Cao Youqing, the owner of Shanghai Ji Gu Pavilion, asked him to use a worn-out Canshan Map he just bought for identification. He knew that the painting was made by a famous artist, and after "negotiation", he replaced the bronze ware of Yi Zhoudun, a collector at home, with this remnant. Compared with the photocopy of Fuchun Shan Jutu in the Palace Museum, it turned out to be the first paragraph of Fuchun Shan Jutu in Wang Gong, Huangyuan. He also found a landscape painting with the inscription "Huang Pingyang Wang Gong, a Taoist with great delusions, painted in a sitting room in the cloud for eight years" among the broken paintings, which was neither sealed nor recorded by predecessors. However, after his textual research, this painting turned out to be a real big delusion in his later years. He bought it with a large sum of money, carefully framed it, and rescued and protected precious paintings and calligraphy.
Draw an atomic bomb radiation map: Wu Hufan's paintings are praised by people. He started from the orthodox school, traced back to the source, and borrowed from many painting schools, which was rare among painters at that time. In the 1940s, he was famous in the southeast. As a Wu man, he inherited and carried forward the essence of Wu Pai. Being in Shanghai, the "three noes and one abundance" headed by him is the epitome of an era.
1964, after China tested the first atomic bomb, he watched several documentaries and saw color photos, so he used his usual clever strokes to draw the radiation map of the atomic bomb. When the exhibition was on display, a visiting PLA man asked in his proposal: "Please make this painting into a plate and print it as publicity materials for the masses to buy and enjoy." You can imagine the great influence of this painting. After the founding of New China, Wu Hufan was treated with courtesy. Representative works include Snow Map in the Cave, Small Scenery of Lushan Mountain, Poem of Mifei, and Lotus Reflecting the Morning Dawn, etc., which are well collected in Wu Hufan. He is one of the famous collectors in modern times, with a collection of 65,438+0,400 stone paintings and calligraphy.
One is my grandfather's old collection. For example, Wu Dayou's Zhou Dynasty and its favorite ones, let's name their room "Xingke". Dacheng loved more than 40 ancient seals, 50 official seals and 28 general print before his death, and later collected them by Fan Hu. Yu Gong Bei inscribed by Ou Yangxun, a great calligrapher in the Tang Dynasty, is also an old relic of a great family.
The second is his wife Jingshu Pan's family collection. Pan, his great grandfather, was the prime minister during the reign of Daoguang in the Qing Dynasty. Pan Zuyinshu was the Minister of Military Aircraft and Minister of Industry during Guangxu period of Qing Dynasty. His cultural relics collected in Gu Lou are very rich in the southeast. When Shu Jing entered the door, there were three posts, namely, Hua Du Temple Tower Ming, Jiuchenggong Liquan Ming and Huangfu Birthday Monument written by Song Tuo Ou Yangxun, and Dacheng's old collection, Yugong Gonggong Monument, so the four famous posts of Ou Yangxun were collected in one room, which Wu Hufan cherished very much, so he named the hall in his home "Siou Hall"; He also named his eldest son Meng Ou, his second son Shu Ou, his eldest daughter Si Ou and his second daughter Hui Ou, meaning "four Ou". At the age of 30, Shu Jing met Xin at the age of 30, which coincided with Song Jing's engraving of Plum Blossom XiShen Spectrum, and her uncle Pan Zhongwu celebrated his birthday with Plum Blossom XiShen Spectrum. Therefore, Fan Hu renamed his apartment "Beauty Bookstore". There is also a kind of Yuhua inkstone given by Shu Jingzu, which is as clean as a pile of snow and as moist as grease. The husband and wife love each other for the whole life, that is, they call their room "Rain Flower Fairy Hall".
The third is the treasures collected by Fan Hu himself. He bought the epitaph of Dong in Sui Dynasty and treasured it. He specially built a house and named it "Dongbao Room". He usually takes this tablet with him for a while, and then sleeps with a book in his pocket, saying, "Dream with beautiful women." He is fascinated by historic sites and regards them as his "wife".
He also tried his best to collect the top writers of the Qing Dynasty. Some pay high prices, and some exchange precious collections with others. Twenty years later, 75 handles were obtained. Form one of his collection characteristics.
He has collected many famous paintings, such as Mi Fei's running script "Poem Book of Duojinglou" in the Northern Song Dynasty, followed by "Cherry and Yellow Crane", Song's "Sleeping Ape", Song Wangqing's "Swordsman's Clear Autumn", Song's "Thousand Characters", Song's "Han Palace", Liu Songnian's "Four Famous Mountains" and Song Tuo's "Liang".