Appreciation of works:
Close-up trees are lush and the hut is faintly visible; The mountains in the distance are steep into the clouds, and the sails in the river are like fairyland; A large number of blank spaces highlight the ethereal depth and mystery. The painter is ingenious, and with simple brushstrokes, he has constructed a beautiful picture in which man and nature live in harmony.
? Reflux the old mounting, and draw the core size: 135cmx33.5cm, with the appearance as shown in the figure.
Tomioka Tessai was born in 1836 and died in Kyoto in 1924, 12 and 3 1 year. 1986 10 to commemorate the 50th anniversary of Tomioka Tessai's birthday/kloc-0, calligraphy and painting exhibitions were held in China, Beijing and Shanghai, which had a wide influence. As a giant ink in modern Japanese painting, its position in China can be compared with that of Qi Baishi, leaving more than 20,000 works. Tessai was originally named Yan Fu. In his youth, he advocated the festival of peace and Taoism. By 1872, he was once named Tessai. In the future, he became famous and tireless, and he was named Tessai. He worshiped Su Shi all his life, had contacts with China literati Luo Zhenyu and Wang Guowei at that time, and also exchanged letters with Wu Changshuo to learn calligraphy and painting skills. Painting can be combined with Japanese ink painting and China literati painting in Ming and Qing Dynasties. His main works are Moon-looking Map in Abe, Mingzhou, and Hermit Mountain Club. Full map of endless peaks, fairy high meeting, Wuling Taoyuan map, Chibi map, etc.
? China literati painting after studying painting.
? The origin of Tomioka Tessai's family studies made him influenced by Confucianism since he was a child. When Tessai was in a weak position, he often devoted himself to Wang Yangming's theory of mind and began to learn painting at the same time. Although I studied painting from Nangeng in Dajiao and Yi Hui in Fu Tian, I basically taught myself. Later it was the shrine palace. After 1882, he returned to the secular world and became a member of Imperial Academy of Fine Arts and Japan Southern Painting Society. He believes that "reading thousands of books and walking on Wan Li Road" is a necessary accomplishment for literati painters.
At the age of 26, I went to Nagasaki, which opened Tessai's eyes. Nagasaki is a port for Japan to receive foreign information, and Nagasaki is a destination for Japanese painters and works to flow into Japan. Tessai observed a large number of original paintings of Ming and Qing literati in Nagasaki, and the exquisite artistic conception and profound cultural connotation of China literati paintings deeply attracted Japanese youth. He studied Dong Qichang and Xu Wei. At the same time, he translated and revised many sinology works, and became famous as a scholar in his thirties.
? He is knowledgeable and likes to collect rare books and paintings. He is not only a painter, but also a sinologist. 1866, when Tessai was 3 1 year-old, he revised and published two volumes of Sun Tzu's Talk about Wu Ziyue, which included two articles in Deng Tan Ge Zheng written by people in the late Ming Dynasty, as well as military-related contents such as Wu Hou's letter, general biography, military equipment map, formation map and general strategy. At the age of 32, he published Tessai Tea Spectrum. In addition, at the age of 33, Tessai revised Yayoi Kusama's Dangerous Words (written by Nakai Takeyama), and at the age of 34, he published works such as Calling for a Private Well and Reading Notes on Yang Shan's Poetry. During the period from 190 1 to 1905, Tessai also published eighteen lectures on figure painting, the story of the wooden rhinoceros, the talk of sixteen arhats and the theory of painting.
? Although Tessai has never been to China, he has forged an indissoluble bond with China all his life. 186 1 year, at the age of 26, he stayed in Nagasaki for several months. Besides associating with Nagasaki painters, he also contacted China people in Nagasaki and saw many literati paintings in China in Ming and Qing Dynasties.
When I was young, I used to associate with people with lofty ideals and run for state affairs. After middle age, ask less about politics and take painting as the lifelong pursuit goal. After Meiji Restoration, he began to concentrate on the study of China literati painting. His painting style combines Japanese water dish painting and China literati painting, forming a distinctive and unique appearance. 188 1 year later, he lived in Kyoto as a scholar painter and joined the South Painting Association of Japan. 19 17 was appointed as an imperial craftsman. 19 19 years into the imperial academy of fine arts.
? Tessai is a literati painter with a growing reputation. However, no matter how highly the world thinks of his paintings, Tessai always thinks that he is only a Confucian, and treats everything firmly from the standpoint of Confucianism. Tessai's painting can't be created from scratch, mainly because he looks at painting from the standpoint of Confucianism. What he needs is not a form of expression, so his pursuit of techniques is free and the means he uses are laissez-faire.
? Love Su Dongpo all his life
? Tessai especially likes Su Dongpo. Although he and Dongpo are 800 years apart, they were born on the same day, which is something to be proud of in Tessai. To this end, a special seal for "Dongpo Contemporaries" of Wu Changshuo, a contemporary of Tessai, was given to Tessai, who had never met before. Su Dongpo's poems, books and paintings are not only praised by later generations, but also his artistic theory has a deeper influence on later generations. Tessai was also attracted by Su Shi's personality, knowledge and talent.
? Out of admiration for Su Shi, Tessai also created a large number of works with Dongpo as the theme. Su Dongpo is an inexhaustible theme of Tessai's paintings, from Su Shi's anecdotes to Su Dongpo's poems and paintings, as well as the red wall paintings painted by literati in Ming and Qing Dynasties, all of which are shown in Tessai's works. Tessai has two seals of "Dongpo mania" and "Dongpo was born on the same day" to show his admiration and love for Perilla frutescens.
1922, 87-year-old Tessai held the "Dongpo Hundred Pictures Exhibition" in Osaka, and published the "Dongpo Hundred Pictures" album. 1924 Before he died at the age of 89, he also wrote Su Dongpo's "Former Red Cliff Fu" in calligraphy. At the same time, the relevant information of Su Dongpo was collected and a "Ju Su Shu Liao" was built.
In addition, there is a picture album with Dongpo anecdotes as the title, and * * * has collected 14 small paintings with Dongpo titles. At the same time, he kept close contact with Wu Changshuo. At the age of 80, Wu Changshuo wrote the inscription "Mandala Cave" for Tessai. Tessai has great respect for Wu Changshuo. He often said: "Yu Dui's calligraphy is especially fond of Wu's paintings, but his seal cutting is his favorite." .
Gradual change of painting style? Advocating strangeness and clumsiness
? Tessai's early works strictly abide by statutes, and there is an elegant atmosphere in simplicity. His early works, whether calligraphy or painting, are rigorous and the characters are elegant and interesting. In his early years, he copied Fujitsu's "The Mother of Rattan" and studied China's late Qing painter Gao's "Shan Yu Ji Tu". From his flowers, we can see that although the brushwork is slightly weak, we can see the rough momentum in the later period, and at the same time, the colors are fresh, without losing a beautiful flower-and-bird work. Although the brushwork of Tianbao Jiugao Rutu is bold, it has not got rid of the traces of imitation and patchwork. Through the analysis of Tessai's early works, we can see the exploration of the artistic conception of ink painting, as well as the careful attempt of various techniques such as sketching, rubbing and stippling.
? After middle age, the pursuit of artistic aesthetics is gradually clear, the painting language is more mellow, and the artistic techniques are more sophisticated. Such as "Wuling Taoyuan Map", pay attention to composition, and the composition is rigorous. In addition, The Ancient Stone Map of Changchun, which was created around 70 years old, has beautiful painting style, clear pen and ink, and even tone, which shows the author's exquisite skill in pen and ink.
? In his later years, he entered the realm of "doing whatever he wants without overstepping the bounds". Especially Tessai's works after the age of 80 are eccentric, stubborn, spicy, pale, beautiful and humorous. For example, "Looking at the Moon in Mingzhou" shows that his pen and ink in his later years are unrestrained and rigorous, and the calligraphy of poetry is obviously influenced by Jin Nong. In his later years, Tessai's mood changed greatly, his painting scene changed obviously, and his painting art also made great progress. At this stage, there are Shi Tao's Wild Escape, Freedom of Rainbow and Refreshing of Empty Valley. "Xiju Qingshitu" (86-year-old) boasts that "I am dazzled by my ears and fascinated by my wrist, but I still sweep away the dust from the inkstone field with my pen", which is a self-confidence from the bottom of my heart and a * * * fusion of pen, ink and mind.
It should be said that the works that truly represent Tessai's style and realm should be his later works. "Ink Painting Interesting Pictures" (89 years old) and "Fusang Shenjing Map" (89 years old) have changed from strong agitation to a natural, smooth, leisurely and peaceful natural environment. Their management is not dangerous, strange and impartial. The peaks, streams, pavilions, pines, scenery, people and composition here are extremely ordinary, but they make people feel fresh and quiet. There is no exotic wonderland that has been pursued continuously in a long life. This is a natural place with nothing. The painting at this time, after decades of tempering the iron will, is the ultimate of Xinzhai.
? Tessai's artistic creation and development is an innovation and progress from the standpoint of oriental culture. Surprisingly, however, western modern art has many similarities with him. The reason why European and American critics compare Tessai's art with Van Gogh and Cezanne refers to the modernity of self-spirit in such works of art..
? Tessai regards painting as a process of life, which flows naturally and has no obstacles. In "Stay Fools to Make Up Fools", he boasted: "If you learn a little dementia, you will be happier, and the rest is painting. You often learn this meaning. " Tessai's paintings are often "stupid, strange, clumsy and ugly". That is, "writing has no choice" and "only follow one's inclinations", that is, the overflow of the soul and the confession of the soul.
? Tessai is a world-renowned artist and master of literati painting. He is in an era when western culture is dominant and literati painting is declining. He stayed away from fashion and noise alone and devoted himself to the study of oriental culture. Influenced by the thoughts of God, Buddhism, Confucianism and Taoism, he made a breakthrough in inheriting the tradition in his later years and completed the frank and colorful construction of pen and ink language. He is called the "last master" of modern Japanese literati painting.