He (189 1 year-1977) was originally named He Jun, also known as He Bingnan, a native of Wuxi, Jiangsu, and a famous modern Chinese painting painter and calligrapher in China.
When I was a child, I liked painting. In his early years, he learned painting theory through on-site sketching, made good use of ink and wash, paid attention to levels in color setting and used more colors, especially for green mountains and green waters, which evolved into a unique style with bold ups and downs and rich flavor of the times. His calligraphy work "The East Wind Blows Good Jiangshan" won the first prize of the World Art Fair. He has published He Hua Ji and He Shan Shui Ji. , is the author of "Self-report on the process of learning landscape painting".
Chinese name: He.
Alias: He Jun, He Bingnan, a healthy old man and a healthy father.
Nationality: China.
Ethnic group: Han nationality
Place of birth: Wuxi, Jiangsu
Date of birth: 189 1 year
Date of death:1April 2, 977
Occupation: painter, calligrapher
Main achievements: won the first prize of the World Art Fair.
Representative works: He Hua Ji, He Shan Shui Ji, Self-report on the process of learning landscape painting.
outline
He (189 1 ~ 1977) painter, another famous Buddhist, Yu Jiancuo, starts his career every day. People from Wuxi, Jiangsu.
When I was a child, my family was poor and I learned to draw at the age of eight. When I was 14 or 15 years old, I observed the mountains and rivers from Wuxi to Yixing, only to know that the paintings of the ancients all came from nature.
1922 to 1924 full-time landscape painting teacher of Wuxi and Nanjing Art Schools, 1924 landscape painting teacher of Shanghai Academy of Fine Arts. At the age of 43, he was the editor-in-chief of Painting Monthly and Chinese Painting Monthly. He has been selling paintings for a living since he was 45 years old. 1950, researcher of China Institute of Fine Arts for Nationalities, then vice president of Shanghai Traditional Chinese Painting Academy and librarian of Shanghai Literature and History Museum. Director of China Artists Association, vice-chairman of Shanghai Branch of Artists Association, member of Shanghai Federation of Literary and Art Circles, representative of previous people's congresses in Shanghai, and member of Danish Connor Painting Association.
He is good at China landscape painting, occasionally writing characters, and also doing flower calligraphy. Landscape painting advocated Wu Yushan and Meiqu Mountain in the Qing Dynasty, and attached importance to sketching in the later period, forming its own style.
Calligraphy benefits from Zhang Menglong's stele, Zhang Hei's epitaph and Longmen.
He has held solo exhibitions in Beijing, Tianjin, Shanghai and Denmark. 1982, Shanghai held a legacy exhibition.
The work "Red Flowers in September in Tongjiang" was exhibited in China Art Museum, and the picture of a clear river was exhibited in the Shanghai Hall of the Great Hall of the People. "Splendid Rivers and Mountains" was collected by India after attending the World Expo. Xiangshan in Zhenjiang, Scenery Map in the South of the Yangtze River and Poems on Mountains and Mountains were selected for the second, third and fourth national art exhibitions respectively.
He has published "He Hua Ji", an account of the process of learning to draw landscape paintings, and a paper "The Beauty of China Landscape Paintings".
He's meticulous landscape painting, with profound techniques and rigorous statutes, has stepped out of the traditional methods and made some innovations. His paintings are based on "imitating the statutes and spirit of landscape paintings in the Five Dynasties and the Song Dynasty, which is the way to create today". The so-called "Song people's rhythm, Yuan people's brushwork". His landscape paintings are diverse, with deep mountains and valleys, and all kinds of techniques are in good order, and he is quite indulgent in conveying the skills of Song and Yuan Dynasties with cursive calligraphy. He is better at color setting, and thinks that nature is changing rapidly and there is no fixed color, so it is appropriate to use multi-color for multi-level performance.
Digital chronology
1907 was admitted to Suzhou single-level teacher training center.
Engaged in painting and calligraphy from 65438 to 0909. He used to be a photo editor of Zhonghua Bookstore, a professor of traditional Chinese painting in the editorial department of the First Bookstore of the Republic of China in Shanghai, a Chinese teacher and an art teacher in Wuxi University.
19 10 went to Nanjing to study, and then transferred to Shanghai to work as an editor in Zhonghua Book Company. The following year, he was admitted to Nanyang Middle School and worked as a painter in the First Painting Bureau of the Republic of China.
19 14 worked as a Chinese teacher and an art teacher in Wuxi Yuji primary school. The following year, I stayed in Shanghai, specializing in painting creation and research.
19 15 engaged in the creation and research of calligraphy and painting art in Shanghai.
1920, Xishan Painting and Calligraphy Association was established in Wuxi.
Wuxi Academy of Fine Arts was founded by 192 1 with friends. He used to be a professor of Chinese painting at Nanjing Academy of Fine Arts, Shanghai Academy of Fine Arts and Wuxi Academy of Fine Arts, and the chairman of Chinese Painting Association. Editor-in-chief of Painting Monthly and Chinese Painting Monthly.
1923 was promoted to chairman of Chinese Painting Association, editor-in-chief of Painting Monthly, editor-in-chief of Chinese Painting Monthly and publisher of China Modern Famous Paintings.
1924 and 1926 successively established Wuxi Academy of Fine Arts and Xishan Painting and Calligraphy Society with Hu.
1929 Organized the Bee Painting Society with others in Shanghai. During the period, he taught in Wuxi, Nanjing, Shanghai Academy of Fine Arts and Changming Art College.
1942 edited and published China Modern Famous Painting Magazine.
65438-0953, researcher, Institute of Ethnic Fine Arts, Central Academy of Fine Arts.
1956 Vice President of Shanghai Painting Academy.
1959 Created the Chinese painting "Jiuhuangshan Meishan Reservoir" and participated in the exhibition of plastic arts in socialist countries. The work "The East Wind Blows Good Jiangshan" won the first prize of the World Art Fair. Create a huge map of Heqing Wan Li for the Great Hall of the People. He is the author of a book "Self-report on Learning to Draw Landscape" and has published a variety of "He Hua Ji".
1960 was employed as a member of Conner Artists Association in Denmark.
At the age of 32, he became a professor of landscape painting in Wuxi, Nanjing Art Institute and Shanghai Academy of Fine Arts, and edited Painting Monthly and Chinese Painting Monthly. After liberation, he served as researcher of China Academy of Fine Arts, librarian of Shanghai Museum of Literature and History, member of Xiling Printing Society, director of China Artists Association, vice chairman of China Artists Association Shanghai Branch, vice president of Shanghai Chinese Painting Academy, member of Danish Connor Painting Society and member of Shanghai China Calligraphy and Seal Cutting Research Association.
1962 held a solo exhibition in Denmark, and was known as the "master of ink painting".
1977 died in Shanghai on April 2nd.
Artistic experience
Since the beginning of the last century, the marine painting school has begun to take shape, and many wise men who are active in the painting world are surging, and the exhibition of elegant demeanor is full of artistic piety. Tian Jian has been an indelible existence for nearly a century.
Standing on the altar of landscape painting
He Tian Jian, in his early years, claimed to be "the first lady of a hundred-foot building". As a native of Wuxi, Jiangsu, I was lonely, poor, confused, introverted and eccentric when I was young. It seems that he is only interested in learning poetry, calligraphy and painting, and is completely rooted in family education. His father Rong Chu likes painting and calligraphy, and his grandmother is good at poetry, which left a deep impression on He's young mind. From the Sketch of the Ming Dynasty written by He as a teenager, we can clearly tell that the master's start and preparation are so heavy. At the age of 20, he entered Nanjing National University for further study, dropped out of school in the same year for some reason, and was admitted to Shanghai Zhonghua Bookstore as a Chinese painting editor.
Only one year later, I worked as a painter in Shanghai 19 12, the editorial department of the first publishing house of the Republic of China, and really started my painting career. He started in the first year of the Republic of China. Looking back at the beginning of the revival of the maritime painting school, there were about 20 people who were able to rank high in the early stage, with four representatives: Ren Bonian, Wu Changshuo, Xugu and Pu. Their achievements in painting art, connecting the preceding with the following, and so on. Unfortunately, landscape painting has somehow become their weakness. Even if Pu's ink landscape painting is the top grade among the four people, it can't escape the suspicion of careless pen and careless play, and it can't be completed.
Including Zhang Zixiang, Wu Qiunong and Lu Lianfu who are engaged in landscape painting creation, all failed to stand out because of the "Fourth Five-Year Plan". Until 1930s, He Cai made a breakthrough in the creation of Shanghai-style landscape painting. It smells fresh in the painting world and opens up a brand-new method. At the same time, He Tian Jian has completely solved the subjects that need to be completed in the middle and young age.
Establish an atmosphere of keeping pace with the times
With the growth of age and rich experience, He's painting theory has become more and more mature, and he knows how to paint with ease. With a passion for China's painting art, it has evolved into a sacred cause. During this period, He became a professor of Chinese painting in many art colleges, edited Chinese Painting Monthly, and held solo exhibitions in Shanghai, Beijing, Wuxi and Tianjin for many times. The cornerstone of modern Shanghai-style landscape painting is being consolidated, and its influence is also rising steadily. Artists should speak with their works.
As early as 1953, He was hired as a researcher by the Institute of National Fine Arts of the Central Academy of Fine Arts, and he was the only one who won this honor.
When China Painting Academy was founded, it was not only hired as a painter, but also served as vice president. At that time, his talents and talents in Tian Jian were fully brought into play. It is necessary to review He's creative experience. His landscape paintings began with Wang and were compatible with the original, traced back to Wang Meng and Xia Gui in Song and Yuan Dynasties, attached importance to learning from nature, insisted on "a bald pen all over the world", attached importance to sketching, and experienced footprints all over famous mountains and rivers. It is put forward that "Tao Zhen's celestial pole, the blending of things and me" should have the boldness of vision overlooking heaven and earth, not confined to the "Southern and Northern Dynasties", and have the courage to learn from others' strengths in order to enrich themselves. In the article "Huangshan School and Huangshan Mountain", it summarizes the incisive exposition that "Shi Tao gets the breath of Huangshan Mountain, Mei Qing gets the shadow of Huangshan Mountain, and Zhejiang School gets the quality of Huangshan Mountain". In the practice of painting, he emphasized that strict craftsmanship pays equal attention to quality and quantity, and said that "painting modern paintings should have the spirit of the times." Even if landscape painting does not draw people, one tree, one stone and one spring should have the flavor of the times. Painting should be durable and readable in order to attract the audience into the realm of painting. "This was the voice against any formulation at that time.
Teach students to be happy and sad.
After he gained a high reputation in painting, it was obvious that countless people came here. In my impression, Mrs. Xu Zhimo's Lu Xiaoman is his disciple. Of course, there are also cases where students have high hopes and are finally very disappointed.
He Tian Jian took in a student named Yang Shilang, who is from Haichang, Zhejiang. He liked painting and calligraphy since childhood, especially landscape painting, and regarded him as a proud pupil. Yang Shilang believes that calligraphy and painting should be based on nature and learn from the ancients, and it does not exclude asking for advice from contemporary famous artists and drawing lessons to avoid detours.
Yang Shilang fell at Tian Jian's door, and he taught and tutored him carefully. Professor Guang taught dozens of methods and chose to designate copies of ancient schools. To tell the truth, he had high hopes for Shi Lang, who was once regarded as the sole heir. Unexpectedly, unexpected things happened, and the complexity of society made Yang Shilang unable to resist the temptation from all sides and change his mind. I believe that most of the disciples in Wumen are rich in books, but they can't bear loneliness. They say that they are more prosperous, regardless of the teacher's feelings, and they switch to teachers. All of a sudden, he was depressed. In the Tang Dynasty, he said, "I am the only one in the garden, and peaches and plums are shaded by others." At this point, He Tian Jian was furious with Wu Hufan, saying that he had taken away his beloved disciple, which was detrimental to friendship. It was such an accident that two modern landscape paintings broke.
A few years later, they were still working as painters in China Painting Academy under the eaves of the maritime painting circle. Let the water under the bridge pass, and friends repeatedly lobbied to make up for it, but their inner haze could not help but linger.
Leave great beauty to the world
He has lived in an apartment on Xiangyang South Road for a long time, named "Kaitianlou". Mr. Shen Roujian said that before the Cultural Revolution, he often went to the studio to chat because of his work. "Open the building every day", the windows are bright and clean, and the shelves are full of good-looking books. It is not difficult to see that this master is knowledgeable and tirelessly travels in the ocean of art, and there are often guests coming and going, most of whom are students and friends. He is hospitable by nature and his words are profound and humorous. Once he touches the elegance of calligraphy and painting, he never stops talking. Shen Roujian said that he loves to depict weeping willows, and he often uses willow branches as materials to express his feelings, and vividly expresses the meaning of "the lingering moon in Yang Liuan". Appreciate more than ten famous books, with different ideas, rules and management positions.
At the exhibition of He's centenary birthday, Shen Roujian, as the host, said that his evaluation of He represented the common aspiration of most people who love art and was a symbol of the times. He's painting art not only left people with a simple cultural heritage, but also warned people that if they want to make first-class achievements in the study of China's traditional painting art, they must know the vast number of traditional classics like the back of their hands.
Art evaluation
Among the modern landscape masters, besides Zhang Daqian, there are others who can paint as painters. The so-called "painter" here refers to the tireless pursuit of painting theory or: painting with the brain. Zhang Daqian, as a "painter", relies on his talent of vertical and horizontal cooperation, and he is a spontaneous thinker of painting theory.
He realized the difference between learning landscape painting and learning landscape painting very early, so he proposed that there is essential difference between landscape painting and real landscape painting in reality.
"There are three kinds of landscapes in the world: one is the real landscape in the world, the other is the landscape in Tang and Song poetry, and the other is the landscape in painting." At first, He thought that the scenery in the world was never as good as that in poetry and painting. In order to prove this, he looked for scenery similar to that in poetry and painting in many places.
Later, because of the painter of the "Four Kings" school, He often wrote inscriptions for his paintings, tracing back to the source. After catching up with the Song and Yuan Dynasties, he suddenly realized, "I didn't know that the paintings of the Song and Yuan Dynasties were so good that I learned from the real landscape", so he changed his view of the real landscape and demanded himself by "learning from nature".
On the one hand, He's rational thinking on painting can be learned from his disciples' manuscripts: the systematic evolution from Tang Dynasty to Qing Dynasty, handed down from generation to generation; Compare real rocks with ancient masterpieces. On the other hand, it is also reflected in his unique thinking of teaching students to draw landscapes: When He Tian Jian teaches students to copy, he often chooses a copy that is not clearly printed for the students, because he thinks that if there is a clear copy, people in the room will not have to use their brains and will not find the problem. There must be contradictions before there is a chance to solve them, and students need the help of teachers at this time.
I learned Zhao Ziang's lower case letters in my early years, and I have a lot of experience in sorting them out. After the age of 23, he rewrote Twelve Kinds of Longmen, Zhang Menglong Monument and Zhang Heinv Monument. After he was 37 years old, he began to study Chu River South and Li Beihai.
Some people say that He's paintings are heroic, heroic, beautiful, elegant, exquisite and magnificent, which can be said to be a real master in the history of modern painting and calligraphy.
works appreciation
Guanshantu
He is one of the founders of modern Shanghai Chinese Painting Association. At the age of nine, he began to learn landscape painting, first learning Wu Li, Shi Tao, Xi Shi, Mei Qing, Jianjiang and other methods in the early Qing Dynasty, and then learning the strengths of various schools in the Song and Yuan Dynasties. In the end, I got "the rhythm of the song style and the style of the yuan style". He also pays attention to the study of painting history, painting theory and the improvement of artistic accomplishment. He often travels to famous mountains and rivers, and combines traditional pen and ink with brushwork found in nature to publish his creation. His works are characterized by rigorous statutes, diverse layouts, elegant brushwork in Chiang Mai and distant artistic conception.
He's "Mountain Scenery Map" was painted on paper, with a length of 179.5cm and a width of 69.5cm, and was painted on 1936. The Woods in the painting are all over Shan Ye, and the fog is long and echoes the vast water surface. "It is a vast atmosphere." "In the distance, a path is high and deep, and several peaks are inserted in the sky outside the customs", which makes the picture feel "quiet, which makes people feel a sense of distance in this atmosphere" (He's Self-report on the process of learning to draw mountains and rivers). There is a yard near the picture, and there are several houses scattered. There are two people in the house who seem to be chatting. A woman at the door is looking around, watching a child playing outside the courtyard. Not far away, one man rode a donkey, and the other followed. These paving and embellishments not only show the author's concern for man and nature, but also increase the flavor of life, without causing air congestion because of too many rocks and vegetation. The trees in close shot and middle shot are slightly dyed with light blue, cinnabar or eosin. Although the jungles in other places have no color, there are layers of forests that are fully dyed and crisp in autumn. In order to match the picture and highlight the autumn, the woman at the door and the guardrail on the roadside are also painted red, which echoes the vermilion tone of the corner print at the signature. The colors of the whole painting are in harmony. From far view, middle view to close view, azurite and ochre naturally mix, and the color gradually becomes thicker. If it's only light crimson and ink, the picture will be dull. The colors of cinnabar and stone green used near trees are heavy, but they highlight autumn because of their purity and proper location, which not only produces contrast, but also transitions naturally, which can be described as gorgeous and good. At the same time, due to the colorful close-ups, it also dispels the dullness brought by thick ink and Jiao Mo on the peaks with outstanding prospects. Rock and roll mainly adopts the method of horse edge and raindrop edge. It can be seen that the author draws lessons from Dong Yuanhe's painting method, but it is more solid and firm than Dong Heju's prose.
The inscription of this painting reads: "I have the deepest meaning in my life and finally feel that the yellow mud is flat." It's not vulgar eyes, but my pen is natural. At the end of the year, Bingzi drank ten buckets to make this fairyland, and it was completed in ten days. Jiang Zuo and Tian Jian and their titles. "The composition part of the painting draws lessons from the Song painting" Snowy Morning Walk ". As a large-scale painting, mountains, water, waterfalls, people, animals, trees, bridges, houses and pavilions are all complicated. However, because the composition structure is not relaxed, the "S"-shaped mountain road runs through the whole painting like a jade belt floating in the mountains, making the realm deeper and ethereal. Control complexity. Complexity without chaos seems to win. Since Dong Qichang advocated Nanzong painting, strange danger has become a heresy, and simplicity and innocence have become the highest realm of landscape painting. Huang He can be said to be a model of this kind of literati in Yuan Dynasty. In Dong Qichang's eyes, Huang still has some "vertical and horizontal habits".
Northern scenery
Look at what the northern countries have shown: a hundred miles of frozen Go; Thousands of miles of snow. Looking inside and outside the Great Wall, I only feel embarrassed; When the river rises and falls, it loses momentum. The mountains are like dancing silver snakes, and the highlands are like advancing wax elephants, all trying to match the sky in height. When the weather is fine, look at the sunny market. What a charming sight!
Chairman Mao 1936 February's poem "Spring and Snow in Qinyuan" is vigorous, poetic and free to curl. Fu Baoshi, Li Keran, Lu, etc. They all used Chairman Mao's poems to create magnificent landscape masterpieces with different styles. Shanghai painter He created "Scenery of the North" according to this idea, which is He's masterpiece.
He is good at landscapes, figures, flowers and birds, and calligraphy, especially landscapes. His Landscape advocates the statutes and spirit of landscape painting in the Five Dynasties and the Song Dynasty, and advocates the ancient study of landscape painting. He is good at using all kinds of brushwork, ink method, painting method and color techniques such as gold, jade, blue and green. , or work or write, or ink light color, or blue-green heavy color, rich in changes. He attached great importance to learning from nature and traveled to famous mountains and rivers. Fu Baoshi once said: "He Lao's pen and ink are vigorous and elegant, and his landscape paintings, no matter how big they are, whether they are proportional sketches, green and heavy colors, or ink paintings, give people a strong sense of life, magnificent momentum, open realm and strong appeal to the times and art."
He is an original bald pen, and his landscape paintings are famous for their grandeur. This "Northern Scenery" by two horses is full of dazzling methods of the Tang Dynasty, and the picture is magnificent.
There are not many works handed down from generation to generation, and it is estimated that there are thousands. After his death, more than 300 pieces of his legacy were donated to Shanghai China Painting Academy. In the early 1980s, his works began to enter the overseas auction market. In recent years, the masterpiece "Dongpo Playing on the Moon" was sold at 1997 Duoyunxuan auction for 107800 yuan; Shanshui was sold at Guardian Auction 1998 for 79,200 yuan; In 200 1 year, his masterpiece Yongnian in Song He was valued at 30,000-40,000 yuan, and was finally sold at 220,000 yuan. In 2002, his "Mountain Range Rover" was sold at Shanghai Jinghua Auction for 462,000 yuan, nearly four times higher than the estimated price. This "Northland Scenery" was once the cover of Guardian's Spring Photography Album in 1999, and it was sold at an auction for 572,000 yuan, setting the highest market price for any work.