What schools of painting are there in the history of China landscape painting?

"Yellow River Painting School" is in the ascendant —— Taking the Northern Landscape Painting School in China as a clue

(2005-07- 12 03:28: 14)

The Yellow River is the cradle of the Chinese nation, and the Yellow River Basin is the birthplace of Chinese civilization. Shanxi is located in the middle reaches of the Yellow River, and the northern scenery such as the Yellow River, the Loess Plateau, Taihang Mountain and Luliang Mountain gave birth to northern landscape painters in past dynasties, which made their landscape paintings form a magnificent and masculine artistic style, which was the primary factor for the formation of the northern landscape painting school in ancient and modern China.

China Northern Landscape Painting School began in the late Tang Dynasty and the Five Dynasties. The history of China's painting said: Hao Jingju was named Hong Guzi in Honggu, Taihang Mountain. Hao Jing is an epoch-making painter in the history of landscape painting in China. He pushed the later landscape painting to the first place in China's painting, created the landscape painting style in northern China, and thus became the founder of the northern landscape painting school in China. The "three schools of landscape painting" in China's painting history are praised by historians as "three schools of landscape painting" and "three schools of landscape painting", just like the seriousness of various schools of thought. "Three schools" refer to Guan Tong, Li Cheng and Fan Kuan. Guan Tong is a disciple of Hao Jing, and both Fan Kuan and Li Cheng have studied Hao Jing. Hao Jing, with his outstanding painting practice and theory, created a new situation of China painting after five dynasties 1500 years.

After the Five Dynasties, the Northern Landscape Painting School in China continued to develop. The landscape painters in the Northern Song Dynasty, such as Guo and others, also accepted the "Three Scenery" painting school initiated by Fa, and created and developed it. In the Southern Song Dynasty, Li Tang created the Great Axe (later called "Li Tang Painting School"), and once again created a new look of the Northern China Landscape Painting School, which has influenced it to this day.

Shanxi is located in the center of the Yellow River Basin, and the Yellow River, Loess Plateau, Taihang Mountain and Luliang Mountain provide "natural powder" for landscape painters in Sanjin. In the northern landscape painting school of China in the new period, Shanxi painters have a unique geographical advantage and an important position. The above three characteristics of China Northern Landscape Painting School are most vividly reflected in the works of Shanxi landscape painters, especially the depiction of the Yellow River and its spirit in some painters' works. Therefore, I named the painter group in Shanxi as "Yellow River Painting School", which is worthy of the name and logical, fully conforms to the custom that "painting school" is mainly named after the region, and also embodies the spiritual connotation of the Chinese nation that "painting school" should have.

Over the past 50 years since the founding of the People's Republic of China, this group of landscape painters in Shanxi has gone through two stages: the talent cultivation period and the development period.

In 1950s, Mr. Huang came to work in Shanxi after graduating from the Department of Chinese Painting in sichuan fine arts institute, and successively served as a professor of landscape painting in the Fine Arts Department of Shanxi Art Institute, Shanxi People's Pictorial and Shanxi People's Publishing House. He inherited Li Tang's landscape painting style in northern China and created many landscape paintings representing the Yellow River, Taihang Mountain and Luliang Mountain. One of the most representative works is the landscape painting scroll "The Scene of Tongpu" based on him. This landscape painting was presented by seven painters (in the order of signature): Zhao, Gao Shou Tian, Huang, Deng Xiangtang, Duan Tili, Fan Huating and Zhang Xiaolan to the 0/0 anniversary of the founding of People's Republic of China (PRC). With great creative enthusiasm, the author eulogized the great achievements of Shanxi railway construction since the founding of New China, and described the beautiful rivers and mountains in Sanjin from Datong to Xupu (now yongji city, Shanxi). The Yellow River, Taihang Mountain, Luliang Mountain, Zhongtiao Mountain and Wutai Mountain in Sanjin are all in the picture. "Tongpu Scenery" was published in the art magazine at that time, which had a great influence in the whole country.

Mr. Zhao, Mr. Huang and Mr. Wang were professors of landscape painting in the Fine Arts Department of Shanxi Painting Academy at that time, and made great contributions to training a new generation of landscape painters. Wang Chaorui, Wang Maobin, Wang, Liang Haifu, Ren Xiaojun and their authors, who were active in the landscape painting field in Sanjin from 1970s to 1990s, all graduated from the Fine Arts Department of Shanxi Art Institute and later merged into the Fine Arts Department of Shanxi University. It can be said that the 1950s-1960s was the talent training period of Sanjin landscape painting circle. From 1970s to 1990s, it was the growing period of landscape painting creation in Sanjin. In these 30 years, the former Fine Arts Department of Shanxi Art Institute, students who are interested in landscape painting, graduates from the Fine Arts Department of Shanxi University and other fine arts colleges, and landscape painting talents who are self-taught and transferred from other provinces and cities have formed the basic backbone of Shanxi landscape painting creation. In the long artistic practice, these landscape painters have gradually grown and matured. They have won awards in various national Chinese painting exhibitions frequently, and become a new force that can't be ignored in China painting circle. Among them, Zhao Yichao and Zhang Mingtang of Shanxi Painting Academy are the most influential and representative figures in China. Their collaboration "The First Dawn of Color" won the gold medal in the 7th National Art Exhibition 1989, which is the highest prize for painting in China issued by the Ministry of Culture and the Chinese Artists Association, and also the highest prize won by Shanxi art circles since the founding of the People's Republic of China. The artistic value orientation of Dawn of the First Movement is mainly reflected in their exploration and innovation of the pen and ink language and expression form of China landscape painting. Zhang Mingtang is my classmate in Shaanxi Art College. As far as I know, Zhang and Zhao have worked together for many years. In their creation, they often get red in the face because of their inconsistent creative ideas. This debate has sublimated their creative ideas and accumulated valuable creative experience. Zhang and Zhao's original paintings are not landscape paintings, and their traditional landscape painting techniques are not profound. Because of this, they are not bound by the traditional model in their creation. When they entered the field of landscape painting creation, they quickly made gratifying achievements in landscape painting creation under the control of correct creative concepts and innovative consciousness. In the process of creating Dawn, Zhang and Zhao first grasped their real feelings about life, and at the same time absorbed the thoughts of Fan Kuan and The Journey to the West, removed the expression of lines in traditional landscape paintings, and organically combined thoughts with sketching methods to create a refreshing painting effect. The author describes the scenery of primary school students on their way to school before dawn on the Loess Plateau. In terms of subject matter, they closely followed the pulse of the times when the whole party attached importance to education, and won the gold medal in the seventh national art exhibition, which had a great influence throughout the country. Whether this artistic principle of "deconstructing tradition" and "blending Chinese and Western" can become the mainstream consciousness of contemporary China landscape painting creation is a new artistic creation, which reflects the fact that Shanxi landscape painting creation was in the leading position in the country at that time.

But unfortunately, the landscape painters in Shanxi have been behind closed doors for many years, and they lack "group consciousness" and "group behavior"; In other words, there is a lack of artistic pursuit of the same sex in the creative direction (which is not contradictory to the pursuit of individuality in painting art); Without group theoretical research and discussion, artistic creation and innovation will not achieve much. Shortly after being transferred to Shaanxi Painting Academy, Zhang and Zhao Yingnian died young, and Shanxi's "leading position" soon became a "flash in the pan"!

In the process of studying the painting history of China, the author gradually saw the clue of the development of the northern landscape painting school in China, and boldly put forward the viewpoint and proposal of establishing and establishing the "Yellow River Painting School" under the new historical conditions. In March 2004, after the death of Comrade Zhang Mingtang, the author wrote the article "Founder of Yellow River Painting School", which gave due affirmation and praise to their achievements in China's landscape painting creation. The article was sent to Mr. Han Linde, a researcher in Aesthetics Department of China Academy of Social Sciences and a famous aesthetic historian in China. After reading it, Mr. Han said by telephone: "The concept of the Yellow River Painting School and the idea of establishing this painting school have high academic value, both practical and theoretical." It is the development and continuation of the Northern China Landscape Painting School initiated by Hao Jing in the Five Dynasties in the new era. "

At present, there are about 65,438+00 successful landscape painters in Sanjin landscape painting field, among whom the older generation is about 70 years old, the middle-aged generation is about 60 years old, and the younger generation is about 50 years old. Most of them are in their prime and full of energy. After entering the 20th century, this group of painters in Sanjin landscape painting entered a mature stage of creating works and talents. As long as we can seize the opportunity, it is entirely possible to establish the "Yellow River Painting School" in Sanjin. Mr. Chen Chuanxi, a famous art historian in China, said: "Anyone who calls painting school in the history of painting must have two basic factors: first, there is a leader or backbone painter of painting school; The second is that the basic characteristics of painting school have some common factors. Otherwise, it is difficult to call it a' pie'. " Mr Chen Chuanxi's views frightened many painters. As we all know, the traditional "painting school" and the "leader" of the "painting school" are the recognized results of society and history, not self-styled. As the "leader" of the "painting school", you must be a master of painting. It is not easy!

However, it should be noted that the standard of "painting school" advocated by Mr. Chen Chuanxi has certain flexibility. In the first factor, the words "the head of the painting school or the backbone painter" and "or" indicate a "group of painters". As long as there are backbone painters with a certain style, they can be called "painting school". For example, the painting styles of the Eight Eccentrics of Yangzhou Painting School in Qing Dynasty were not consistent, and there was no recognized leader of Yangzhou Painting School. Strictly speaking, there is no painting school in Yangzhou, but on the whole, there is still a mainstream painting style and a general mental state in Yangzhou painting circle (Chen Chuanxi's On the Western Hills, as a group of painters in Yangzhou, has had a great influence in the history of painting in China, and China art historians have acknowledged the existence of the "Yangzhou painting school".

Through in-depth observation and research on the history of landscape painting in China, the "painting school" of landscape painting in China and the present situation and future of landscape painting in Sanjin, the author draws the conclusion that these landscape painters in Shanxi basically have the two most basic factors necessary to form the "painting school", and the "Yellow River Painting School" can be fully recognized, and the time is ripe to establish the "Yellow River Painting School" in Sanjin. The purpose of establishing "Yellow River Painting School" in Sanjin clearly reflects the advanced cultural direction of literary and artistic creation in the new period, which conforms to the strategic goal of Shanxi Provincial Committee of the Communist Party of China to build a cultural province in Sanjin, and also conforms to the fundamental interests of all painters in the landscape painting industry in Sanjin. In my humble opinion, I hope to promote the understanding of all my colleagues in Sanjin landscape painting circle. As long as we follow the principle of "engaging in schools, not sects", regardless of fame and fortune, with the same goal, make concerted efforts and persist in seeking, and create a batch of China landscape paintings that can reflect the spirit of the times and have a high artistic level, then we can assert that Sanjin is the "Yellow River Painting School"

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Interviewee: Anonymous 7- 1 1 09:28

You Chuntu by Zhan Ziqian in Sui Dynasty is a pioneering work of landscape painting.

In the Tang Dynasty, the mountains and rivers of General Li were magnificent. Wang Wei's ink style is pure and natural;

The five code names are "Jing, Guan, Dong and Ju"; (Hao Jing, Guan Tong, Dong Yuan, Ju Ran)

The Song Dynasty was a prosperous era of landscape painting, with Fan Kuan and Li as temporary masters.

The Yuan Dynasty was the heyday of landscape painting, and "Yuan Sijia" was famous in the north and south.

The "Four Heavenly Kings" of the Ming Dynasty can be regarded as a model of adhering to tradition and high style;

The "four monks" in Qing dynasty were also masters of ink painting;

In modern times, Huang's "vigorous and gorgeous" was the first of his generation.