Sun Tianmu, a master of contemporary Beizong landscape painting school
Tianqi
Mr. Sun Tianmu, 95 years old this year, is the successor and master of Beizong landscape painting school in contemporary Chinese painting circles. .
In the history of the development of painting, it goes without saying that a person can be praised as the successor and famous master of a painting type, a school of painting, his great success, his high reputation, and his famous name. Metaphor. Mr. Tianmu, with 80 years of hard work, inherited the legacy of the sages of the Song, Yuan and Ming dynasties, inherited the Northern Landscape Painting School, worked hard day and night, and managed the business, turned the tide from the fall, and continued the dying of Yuanfang. Today, it can be said that it is well deserved.
Chinese landscape painting can be divided into "Southern School" and "Northern School". Although it is unknown to people today, its origins can be traced back to more than 300 years. Its influence is great and it has been spread. It is rare in the history of ancient painting theory. In the late Ming Dynasty, Mo Shilong first wrote "Painting Theory" and first advocated "the two schools of painting in the north and south, which are also in the Tang Dynasty". Then it was founded and completed by Dong Qichang, the leader of the literary world at that time and a giant of calligraphy and painting. Later, Chen Jiru added fuel to the fire, and Shen Jing echoed it. It said. Among them, Dong Qichang led the group and became the founder of the "North and South Sect" theory.
Mr. Tian Mu has decades of experience in studying and creating, so in his article "On the Theory of the Northern and Southern Schools of Chinese Landscape Painting", he expressed deep emotion: (Dong Qichang) has a high status and a great reputation. It can be said that His words are powerful, and of course his words arouse a great response. However, none of the Northern School landscape painters came forward to speak up and defend the Northern School of landscape painting. As a result, the Northern School of landscape painting failed to recover for hundreds of years. Although there were the brilliance of Yuan Jiang and Yuan Hui in the middle of the Qing Dynasty and the revival of Chen Shaomei in modern times, the decadence of the Northern School of Shanshui could not be saved. It is a pity that the Northern School of Shanshui has never been able to make a comeback!
Mr. Qigong early In the 1950s, he wrote a book criticizing the fallacy of Dong's "Northern and Southern Sects" theory. His writing is sharp and sharp, and he gets to the crux of it, pointing out: "Northern and Southern Sect" theory - the influence it has had over the past 300 years is true. When we study the history of painting, we cannot admit the teaching system of Wang Wei and Li Sixun, but we should admit the fact of the spread of Dong Qichang's fallacy. What should be more recognized is that after the spread of this fallacy, some vulgar formalistic tendencies did not emphasize skill and used the excuse of "one transcendence and direct access to the Tathagata."
At the beginning of the last century, Mr. Tian Mu, who was in his prime as a young man, followed his father Mo Fogong to Henan and entered an art school to study painting. Three years later, he returned to the Art Department of North China University for further study. In 1937 He moved to Tianjin and devoted himself to studying the schools of the Song and Ming dynasties. He studied the sages and famous masters he met, and imitated them with his heart and hands. The key is to feel depressed all day long. One day, while observing a painting exhibition, I came across the sage Chen Shaomei imitating Qiu Ying's landscape paintings. However, I noticed that his brushwork was vigorous and colorful, and his artistic conception was novel and imaginative. Tian Mu stopped for a long time and couldn't bear to leave. He wanted to worship Chen Shaomei as his teacher for the rest of his life. In his early years, Chen Shaomei, a native of Hunan, studied under Jin Beilou, a patriarchal family of the Song and Ming dynasties, especially Dai Jin and Wu Wei. He was adept at landscapes and figures and eliminated his rough habits. Later, he studied under Zhou Chen and Tang Yin families, and became unrestrained. The wind spirit is handsome and elegant, but it does not lose the precision and strictness. When Mr. Shaomei became famous for his paintings, he was still young and famous in the painting world along with Zhang Daqian and Wu Hufan. Unfortunately, he died at the age of only 45. Mr. Tian Mu is responsible for studying in Jinmen. He is a teacher of Shao Meiwei who is diligent and diligent. He has been studying for ten years without any distractions and has mastered the key points of writing and ink. Every time he talks about art and theory with Master Chen, they hold candles and talk at night, holding hands with each other. Even though it's late at night and the moon is setting, I don't feel tired at all. When Mr. Tian Mu was studying in Jinmen, he had another particularly unforgettable experience. His father-in-law, Lu Zhimei, studied in Germany and studied Western medicine with Dr. Juncker. Dr. Juncker came to China and opened a clinic in Tianjin, and Mr. Lu became his assistant and translator. After the 1911 Revolution, the Qing Emperor abdicated and moved to Tianjin. The royal family, relatives, and old people gathered there. The old man collected famous calligraphy and paintings from all dynasties and never showed them to others easily. Dr. Juncker and Mr. Lu had many friends with them, and Mr. Tianmu got this. I had the opportunity to browse to my heart's content. In addition to watching, I also listened to the analysis and lectures of my predecessors. My horizons suddenly broadened and my knowledge greatly increased. Here, Mr. Tianmu copied and copied Song Dynasty's "Viewing Plum Blossoms through a Snow Window" and "Looking at the Moon", Ma Yuan's "Listening to the Spring", Ming Qiu Ying's "Shadows of Songs", and Lan Ying's "Traveling in Streams and Mountains" There are many famous ancient paintings.
In the 1950s, Mr. Tianmu went to Liaoning and was entrusted by the Shenyang Museum to copy the "Picture of Waiting for Ferry at Xiajing Mountain Pass" by Dong Yuan of the Five Dynasties. Dong Yuan of the Five Dynasties and Southern Tang Dynasty was the leader of the Southern Song Dynasty painting school under the leadership of Dong Qichang. "Xia Jing Pass Waiting for Ferry", "Xia Mountain Picture" and "Puxiang Picture" are Dong Yuan's masterpieces. In the history of Chinese painting, It can be regarded as the best throughout the ages and a model for hundreds of generations. Dong Yuan's paintings capture the spirit of mountains and rivers. They are purely ink and wash, using soft lines and ideas. You can see the low mountains and low hills with earth and rocks in the south and the shallow rivers and rivers in the south. Together with the sparse forests and distant trees, thatched houses and fishing boats, it gives you the scenery of the mountains and waters of the south of the Yangtze River. For its unique taste, Mitty called it: "plain and innocent" and "no pretense of cleverness"; Tang Gao praised it: "unparalleled in the Tang Dynasty", "illuminating the past and present, and serving as a model for hundreds of generations." Mr. Tian Mu resolutely inherited this masterpiece, abandoned sectarian opinions, did not stick to established laws, learned from others with an open mind, and was diligent in inquiry. He used his decades of accumulated knowledge and skills to comprehensively understand and finally complete this important task. The resulting work is indistinguishable from the original painting and is almost as real as the original. It provides a valuable replica for the museum's external exhibitions and has made a remarkable contribution to the development of the cultural and museum industry.
So far, Mr. Tianmu has copied ancient paintings for the National Palace Museum, the National Museum and many provincial and municipal museums in China, which can be listed as follows:
Song Dynasty. Wang Jinqing's "Snow in the Fishing Village" Long scroll. "Spring Thoughts on the Jade Tower". Guo Xi's "Traveling in Streams and Mountains". Li Cheng's "Cold Forest Picture" and "Jackdaw Picture". Liu Songnian's "Easy Pictures of Songchuang Reading". Li Tang's "Picture of Fishing Hidden in Pine Lake". Zhao Boju's "Autumn Colors of Mountains and Rivers". Ma Yuan's "Plum Blossoms on the Rock River".
Yuan. Zhao Ziang's "Drinking Horses in the Autumn Suburbs", "Buying Fish on the Snowy River", Zhao Zhongmu's "Picture of the Moon on a Cold River"...
Mr. Tianmu recreates the famous journey with exquisite and transcendent pen and ink, and vigorously conveys the ancient history There is no need to describe all the hard work of the virtuous God. One day, when talking about his copy of Zhao Ziang's "Horses Drinking in the Autumn Countryside", he said: "I copied it for the Palace Museum. The horse in the painting was brown when viewed from the front of the original work, and the color was very good under various lighting conditions. I was puzzled for a while, but later I looked at the back of the original work, and after reading it carefully, I vaguely discovered that Zhao Ziang had worked hard on the back of the horse. He rubbed it with cinnabar and penetrated it from the back. In this way, The brown color of the horse on the front looks extremely pure and full. The ancients’ spirit of striving for perfection is really admirable.” Pass on the fire, and at the same time strive to learn from and absorb the strengths of the Southern School and other schools. The northern school uses strong and refreshing brushes to create wet and dry shades in one pass, while the southern school makes good use of the accumulation of ink method, which is three-chamber and nine-dye, implicit and thick, and pays attention to the charm. It is deeply influenced by the ancient method, and its unique ingenuity can be seen. The works are all about mountain tours, boating, listening to springs, watching waterfalls, searching for poems, traveling, mountain dwellings and scenery of the four seasons. Although most of them are traditional, they are absolutely fresh and vivid, especially those created by Mr. Tian Mu in the 1960s. In the 1980s, he went to Jilin to teach, and he devoted his love to the majestic and quiet northern landscapes there. His works such as "Lin Lin Dye", "Lin Hai Chao Hui" and "Jilin Wang Qing Qiu Guang" tried to use traditional brushwork and ink to express their feelings. All-round progress and breakthroughs in composition, perspective lines and coloring. The so-called "pen and ink should follow the times" and "innovate" can be found here to find the most ideal interpretation. Here, the rules of the Song Dynasty and the charm of the Yuan Dynasty can be found. The seriousness of the Ming Dynasty and the atmosphere of the present are combined into one. If it is called "New Bei Zong Landscape", can Mu Lao think it is?
In August 2004, the autumn colors in Beijing were getting darker. "Sun Tianmu's Painting Career - 80th Anniversary Works Exhibition" was held at the National Art Museum of China. The 136 works on display are a summary of Mu's life-long painting career. Mu, regardless of his age, spared no effort to travel back and forth, and came to the exhibition hall five times to wait for him. Audiences, acquaintances and strangers, all expressed their admiration for Mr. Tianmu's demeanor: 80 years of hard work for art
It can be said that he has made great achievements for the nation and the country, and the museum exhibits one piece at a time. The artist's works spanning several decades are also a rare feat in the history of the exhibition.