The "Miscellaneous Reminiscences of Anzhi Characters" written by Chen Julai discusses the section "Wu Daiqiu", and there is a saying that "Wu's Shanshui Pure Sect is King Lutai of the Qing Dynasty", which is also a reference to the past (nǎng, past) times and later generations. The general view of Wu's landscape. Although this kind of generalization is concise and concise, it cannot help but be crude and biased.
The reason why Wu Daiqiu did not break away from the "Four Kings" was because he learned from Naiweng Wu Botao since he was a child. After he was middle-aged, he benefited from his father-in-law Li Jiafu. After going to Beijing, he sought advice from Jin Gongbei again, and he came into contact with nothing more than Followers of the "Four Kings" all the way. Although the "Four Kings" line declined by the end of the Qing Dynasty and was repeatedly disparaged in the Republic of China, it still has a large number of followers in the painting world and is called the "Four Kings Traditional School". As far as the sea is concerned, in addition to Wu Daiqiu, there are Zhang Shiyuan, Wu Qinmu, Guo Lanzhi, Guo Lanxiang, Wang Zhongshan, Zong Lugu, Qin Qingzeng, Gu Moqi, Wang Ershui, Hua Rizeng, Pan Jingzhai, etc., all of whom are combined with the Four Kings. One pulse, and the Qi and bones are quite upright. During his lifetime, Wu Daiqiu was selected as one of the "Four Great Masters of the Sea", "Three Wus and One Feng", and he always gained high popularity in later generations. Naturally, it was related to his origins in family, education, and connections. However, the author believes that looking at the pen and ink, composition, charm, etc. of his works, it is increasingly clear that there is beauty in the blue, and softness in the hardness. It is not difficult to see that Wu Shigai is good at pen and ink skills on the outside, and especially has spiritual understanding on the inside. If you study it deeply, it will be quite interesting to play with the mustache. Looking for its characteristics and understanding them will also help to identify the authenticity of his paintings.
▌Qi situation: regulate the foothills, and the strange rising end condenses over it
Wu Daiqiu's ink landscape into a fan (painted in 1940)?
Remarks: 1. Small Penglai pavilion by the water. In the sixth month of summer in Gengchen, there was a lay scholar named Wu Yu. 2. The fourth brother Zhuquanren obtained this in Jin City and signed it for his signature. Please correct it immediately. Wu Yu remembered again. Seal: Waiting for Autumn, Wu Xi. Collection seal: Weak Yu? Fan bone inscription: The sand remains green. According to the content of Wu Wei's second inscription on the bamboo carving by Zhang Zhiyu, a famous Buddhist artist, and the mark of "Zhuquanzang" on the fan bone, it is believed that the inscribed fan "Zhuquan" purchased this fan in Tianjin and asked Wu Wei to add the inscription first. , Zhang Zhiyu was asked to carve the bones again, and the present appearance was achieved.
As for the composition and layout of Wu Daiqiu's landscapes, Wu Hufan once said: "Building mountains with small stones", which was not without derogatory meaning. There is also a saying that in Waiting for Autumn, "his hands kept waving and he had no time to formulate ideas, so his writing became sluggish and lacked interest" and so on. In fact, if you look closely at Wu Daiqiu's landscape, you can see that the brush and ink are the center, the physical components are the symbols, and the "qi vein" is the dominant one, which shows that he has captured the essence of the Lutai landscape. Although it does not focus on the description of the physical environment, the creation of the mountain is not a simple accumulation of small stones, but a combination of small stones that appear to rise one above the other. It pays great attention to the overall context. Especially in calligraphy and painting, within a square inch, the mountain and stone structure corresponds to the plainness, and trees, springs, and clouds are interspersed among them, so that the overall object environment has turning, gathering and dispersion, and density, and completes an overall formal beauty. The beauty of the composition coincides with the aesthetic concept of Western Constructivism. Therefore, the author believes that the "stylization" of Wu Daiqiu's landscapes can be regarded as a unique style, and it seems unnecessary to be too brief. For example, Huang Binhong's brushwork can be said to be "original" (similar to the "wild style" in the West), and the compositions are mostly similar and close to the "stylized" traditional style. In fact, it coincides with the so-called "small rocks and big mountains" layout.
Wu Daiqiu's landscapes, inherited from Bo Tao in his early years, are full of vivid ink and lush greenery, without the old habits of being flattering and sweet. However, it is the father's general formula. Although it has the ancient meaning, it does not show its own characteristics. Since the 1920s, more and more of his paintings have been inspired by Wang Yuanqi. His compositions are organized and dignified. In his later years, Yunlu Terrace was thick and vast, and he finally gained a strange and profound, clumsy and condensed charm. In March 1931, "Friends of Lianyi" magazine carried Zhu Huitang's "Modern Painting and Calligraphy", which said, "Wu Daiqiu and Feng Chaoran are both famous contemporary landscape painters who are also good at flowers... However, it is said that Wu's paintings are like Yan characters, Stately and old.” Zhu described Wu's painting style as "face", "solemn and old", etc., which can be said to be appropriate and very appropriate.
▌Brushwork: Obtained Lutai’s “Vajra Pestle” Samadhi, and made better use of dry brush and burnt ink
Wu Daiqiu’s Light Crimson Snow Scenery and Landscape Forming a Fan (Crafted in 1949) in Wu’s later years Compared with the early mature brushwork, the painting has more of a crude and clumsy feel.
In addition, although the shà (fan) is full of dark brown, the Qi is always clear and there is no sense of turbidity or blackness, which shows the incomparable profoundness of the skill.
Western painting relies on light and shade, surface, and color to shape shapes, while Chinese painting relies on brush and ink, and brush and ink are the most abundant in landscape paintings. The emphasis on image and brushwork in Chinese painting has gone through a long history. In the Song Dynasty, pen and ink served the image; in the Yuan Dynasty, the beauty of pen and ink itself was emphasized. Although Dong Qichang was the pioneer of the "pen-and-ink-centered theory" of the Ming and Qing Dynasties, it was most prominently expressed in the paintings of Lutai Wang Yuanqi. Characteristically, the objects are formulaic and almost uniform. They do not focus on images but deliberately pursue the interest of the pen and ink of "Vajra at the bottom of the pen".
When observing the landscapes of Wu Daiqiu, the later you get, the deeper you get the "Vajra Pestle" samadhi and pursue the landscapes of Lutai - the ink traces such as starting, moving, and closing the brush will be blurred, and the pen and ink will not be very clear. , like the scratches of a "vajra", without any edge or edge, but the thickness and strength are all powerful enough to penetrate the back of the paper, giving the painting a "pure and elegant" feeling.
Because he waited for the autumn and was good at sealing, he used the energy of metal and stone into his paintings. Therefore, his later brushwork became thicker and firmer, helping the overall ancient and strong spirit to condense, forming his own unique style. In his later years, he used bold and simple brushwork. He often used dry brush strokes to scratch the moss and wrinkles, and used burnt ink to dye nearby mountains and distant trees. The thick and bold brushwork and ink conveyed the calligraphy and expressive nature of Chinese painting. Dry pen and burnt ink are used to express the snowy scene, but still produce a rich and colorful rhyme. It has achieved the state of "ripe but not sweet, raw but not astringent, light but thick, solid and clear". Compared with Lutai, it can be said that it is greener than blue and better than blue.
▌Coloring: good at rendering with ink and using light crimson, which is full of scholarly interest
The picture of Wu Daiqiu's seclusion in the mountains is made into a fan (1910), which was inherited from his father and uncle in his early years. The flowing mantle and bowl are rendered with a wet brush, which is quite wonderful with dripping ink and lush greenery. However, it is the father's general formula and has not yet shown its own characteristics, which is very different from the dry brush and burnt ink used in the later period.
Paintings before the Tang Dynasty had multiple colors. Later Wang Mojie (Wang Wei) "used light rendering and changed the method of hooking" to create a literati painting style. The use of ink and wash was often valued and gradually became popular. For example, Liu Daochun has one of the "six virtues" of "seeking color without ink", Huang Gongwang has "the free and easy use of ink, and has the family style of a scholar", Ni Yunlin has "the use of ink casually, conveying innocence", etc., all of which are intended to Simple ink without any additional colors makes it more elegant. The shift from "emphasis on color" to "emphasis on ink" in literati painting does not mean that color is not sought, but rather the hue changes of ink itself, that is, the ink color is divided into "dry, wet, thick, light, and clear" until "white is calculated" "Ink", trying to reflect the essence of objects through changes in plain colors, and taking it as the highest state.
Wu Daiqiu's landscapes are often presented purely in ink and wash, which is very different from the mottled and colorful flowers. He uses no or less color and focuses on pursuing the interesting dry and wet shades between ink and wash. Wu's landscapes abandon the external color of objects and pursue artistic conception beyond objective objects, expressing more of the conceptualization of the works, thereby fully demonstrating their own spirituality. The method of using ink to replace color and ink to apply color in his landscape paintings is in line with the aesthetic characteristics of literati paintings of "no ink for dye, emphasis on ink and light color".
Even though he paints landscapes, compared with other landscape painters in the Republic of China, it can be clearly seen that his colors are relatively plain. Wu mostly uses light crimson or light green for rendering. The color and ink have different levels and do not invade each other. This is the so-called "color does not block the ink and the ink does not block the color"; but they blend together, which is the so-called "there is ink in the color". , there is color in the ink." The work not only captures the vastness of the vastness, but also displays the pure and agile nature. Although the paper is full of ink and brown, it is full of freshness and has no sense of turbidity or blackness. The profoundness of his skills is unparalleled.
In the landscape paintings of Wu Botao in his middle and later years, the ink painting of Wu Daiqiu is vigorous and vigorous, and the charm is gloomy and vast
The author believes that, in terms of the above-mentioned atmosphere, brush and ink, and color, Wu Daiqiu Mountain The value of water art should be close to that of Wu Qinmu and Zhang Shiyuan, both of the "Four Kings Traditional School". The piano wood is well-known for its elegance and beauty, and the stone garden is eye-catching for its ancient and mysterious colors. In autumn, the luck will grow and become old and win by itself. This feature is unparalleled during the Republic of China and can be said to be unique. It also borrows from the family. The benefits of learning and friendship can lead to a great reputation beyond Qinmu and Shiyuan.
The rest, such as Guo Lanzhi and Guo Lanxiang, are almost unrealistic in their "Four Kings" paintings, but they are short-lived and fail to produce outstanding innovations; Wang Zhongshan and Pan Jingzhai are more than proficient in imitating the past, but their elegance and elegance are not enough to show their craftsmanship; Qin Qingzeng, Hua Rizeng, who studied Loudong, was well-behaved, but could not help but fall into rigidity; Wang Ershui, who was too refined, felt complicated and trivial; Zonglugu and Gu Moqi, who inherited the mantle of Lu Lianfu, all followed Loudong's footsteps and refused to stick to the old rules. Not out of the ordinary. Some clues can also be seen from the current market. The names and prices of Lanzhi, Lanxiang, Zhongshan, Jingzhai, Qingzeng, Rizeng, Ershui, Lugu, and Moqi paintings are far inferior to those of Waitiqiu. This is no accident. .
In the maritime painting circle of the Republic of China, Wu Hufan was the leader in landscape painting. Wu Hufan's landscape paintings are all over the collection of authentic works in Fu's room. They are not limited by the style of the "Four Kings". They integrate the northern and southern sects into one, and they borrow from the past to create the present. They belong to the "reformed traditional school". Compared with Wu Hufan, Wu Daiqiu's landscape painting did not follow the ancients as extensively as the latter's, and the carvings of hills and valleys were not as vivid as the latter's. However, by virtue of his careful study and understanding of other masters, his works have the inner spiritual style and outer brushwork skills. But he is in the same league as Hu Fan. Although the variety of colors is less than that of Wu Hufan, his colors are deliberately simple and light, or he only uses ink and wash in the painting. He has the interest of "using light rendering" and "seeking color without ink", and his literati atmosphere is not inferior to that of Hufan.