Lingnan painting school is one of the outstanding cultures of the motherland with Lingnan culture. It, together with Cantonese opera and Guangdong music, is called "Three Shows in Lingnan" and is a revolutionary school of Chinese painting in China. It has the following characteristics:
First, advocate innovation and enrich the theme with the unique scenery of Lingnan;
Second, advocating realism and introducing western painting schools;
Third, learn from each other's strengths;
Fourthly, it has carried forward the fine tradition of Chinese painting. In painting technology, the "boneless method" and "water-washed powder collision method" are used instead of the sketch method, which is true. Lingnan painting school began in the late Qing Dynasty, with two high schools and one Chen as its early famous founders, and Gao, Zhou, Chen as Chen Ergao. Most of his disciples are famous artists, forming a famous painting school loved by Chinese at home and abroad.
In Zhao Shaoang and Yang Shanshen, in Li Xiongcai and Guan Shanyue, these four masters are the main representatives of Lingnan School of Painting. Zhao Shaoang is regarded as the best successor after Gao Qifeng, and overseas friends pay more attention to collecting young flowers and birds. Li Xiongcai and Guan Shanyue both teach in the Academy of Fine Arts and have many disciples. Yang Shanshen now presides over the Spring Breeze Painting Club he founded and teaches painting skills. In the early 1980s, they collaborated to complete more than 100 works, each of which embodies the collective wisdom and the profound friendship of the four masters, which can be described as "the gathering of four great families in Lingnan is amazing". The emergence and development of Lingnan School of Painting embodies a new cultural spirit. This new cultural spirit includes four aspects:
(1) revolutionary spirit, which is the ideological basis for the emergence and development of Lingnan School of Painting;
(2) The spirit of the times, which is the main feature of Lingnan School of Painting that distinguishes it from the old school of Chinese painting;
(3) the spirit of all-embracing, which is an important way for Lingnan painting school to advocate and innovate;
(4) Innovative spirit, which is the driving force for the continuous development of Lingnan School of Painting.
These four spirits are interrelated, which constitutes a fairly complete system of Lingnan School of Painting, and is also an important reason for its enduring. Revolutionary spirit is the ideological basis of Lingnan School of Painting. This revolutionary spirit is inseparable from the special experience and ideological tendency of the founders of Lingnan Painting School. In the spirit of the times, "Lingnan School of Painting" made bold innovations in subject matter and content, which is also the reason why this school can remain young forever. The spirit of inclusiveness, that is, "eclecticism, linking the past with the present", is the most important proposition of Lingnan School of Painting, and it is also the most important artistic principle and innovative road of Lingnan School of Painting. Innovative spirit, which is the motive force of Lingnan School of Painting, is also the enduring mystery of Lingnan School of Painting. Only innovation has vitality, and innovation is not only the development goal of this painting school, but also the driving force for development. The reason why "Lingnan School of Painting" can continue to grow and develop is because of its innovative spirit. Gao, Chen and the three "Lingnan Three Masters" have the same ancestry, the same artistic concept, but their own innovations and different styles. The second generation of outstanding painters, such as Guan Shanyue, Li Xiongcai and Zhao Shaoang, also have different styles. Their successors, such as Yang Zhiguang, Chen Jinzhang, Liang Shixiong, Lin Yong and Wang Yujue, also have their own characteristics. Gao doesn't want his students to study like him. He claims it is a sign of futility. He asked students to "shine on you is better than blue".
The most outstanding painters of the second generation of Lingnan School surpassed their teachers in aesthetic consciousness and artistic achievements, and formed their own different artistic styles. Guan Shanyue's transcendence first lies in the development of major themes and the embodiment of the spirit of the times, which is the soul of painting innovation of Lingnan School.
Guan Shanyue's second transcendence is based on sketching, constantly seeking innovation and change. This is also the secret of the continuous development of Lingnan painting school. Guan Shanyue's achievements in Chinese painting come from two aspects. First, he attached importance to sketching, broadened his horizons and felt fresh. It is full of life, the style of the times and the feelings of painters. Because of its extraordinary conception, it is elegant in style. Secondly, he has a profound theoretical accomplishment, especially a deep study of China's traditional painting theory. This is guided by theory. By comparison and analysis, we can go our own way firmly. He not only surpassed Gao in art, but also constantly surpassed himself, making outstanding contributions to the inheritance and development of Lingnan School of Painting.
Li Xiongcai's transcendence of Gao is first manifested in the blending of Chinese and Western pen and ink techniques, which makes Lingnan School present to people with a new look. Li Xiongcai's other transcendence is to use profound traditional pen and ink skills and absorb foreign nutrients, which better solves the contradiction that China's landscape painting techniques are difficult to express social reality.
Yang Zhiguang is a famous figure painter. As far as figure painting is concerned, it has made remarkable progress compared with the founder of Lingnan School of Painting. This is mainly manifested in Yang Zhiguang's figure painting, which not only gives full play to the traditional line drawing skills, but also complements the appropriate expression techniques in western sketch. Generally speaking, it is commendable that he is good at grasping the moment to draw a dancer's ink painting with high artistic generalization. Moreover, he paints with calligraphy, and his pen is active and vivid, with changes in simplicity. The simple expression technique makes the lines have a strong stone flavor and stimulates the audience's rich imagination.
Among the later painters in Guan Shanyue and Li Xiongcai, Chen Jinzhang, Liang Shixiong, Lin Yong and Wang Yujue are outstanding. They are all talented and accomplished middle-aged painters. Judging from the development of Lingnan School of Painting, they all have their own innovations and breakthroughs, and they all have relatively mature personal styles, which are worthy of attention. It is necessary to study the new trend of Lingnan School of Painting.
Anhui painting school;
Xin 'an painting has a long history. The founders of "Xin 'an Painting School" were Xiuning, Ding and Li in Ming Dynasty. At the end of the Ming Dynasty, Xiuning painters Cheng Jiasui and Li Yongchang admired Ni Zan, who was simple and profound, and began to form the style of "Xin 'an Painting School". However, the appearance of Xin 'an School of Painting and its unique brilliance in China's painting circle are marked by the appearance of "Four Seas" (Jiang Tao, Cha Shibiao, Sun Yi and Wang Zhirui) in the late Ming and early Qing Dynasties. Born at the foot of Huangshan Mountain at the time of the change of dynasties, these adherents' painters have a deep sense of desolation and detachment, advocate learning from nature, express their feelings for mountains and rivers, and their painting style tends to be dry and cold, reflecting the temperament of transcending worldly customs and being as cold as ice. The leader of "Xin 'an Painting School" is Jiang Tao (Red Man, alias Jianjiang, Plum Blossom View). From Wanli of Ming Dynasty to Qianlong of Qing Dynasty, there were more than 70 painters of Xin 'an Painting School. Master Huang is the most famous modern successor.
Tiandu Painting School refers to a group of painters who existed around Huangshan Mountain in the late Ming Dynasty. The members of this group come from Xiuning and Shexian near Huangshan Mountain. They all take Huangshan Mountain as the center, and their painting style is close to that of Ni Yunlin, a painter in Yuan Dynasty. The initiator of the name "Tiandu Painting School" is Gong Xian, a painter in the early Qing Dynasty.
Huangshan Painting School: refers to a group of landscape painters from different backgrounds who took root in Huangshan in the early Qing Dynasty, devoted themselves to enjoying the true scenery of Huangshan and depicting its wonders, and created a precedent in the history of landscape painting. As a proper name, "Huangshan Painting School" was put forward late, and was summarized by modern painters Huang, Pan Tianshou and He Ren. The recognized representatives of Huangshan School are Jianjiang, Mei Qing and Shi Tao. In addition, there are a number of successful painters, such as Cheng Ming, Shi Hongzhi, Xue Zhuang monk, Shi Banshan and Fa Ruozhen. The membership and time limit of Huangshan Painting School are wider than Xin 'an Painting School and Tiandu Painting School. Huangshan Painting School is famous because this group of painters all take Huangshan as their painting theme and form a unique style. The painter himself is not necessarily from Huang Shanren, Tiandu or Xin 'an. Many famous painters in modern times, such as Huang, Zhang Daqian, Wang Caibai, Liu Haisu, etc. , can belong to this school.