Characteristics of Lingnan School of Painting

First, advocate innovation and enrich the theme with the unique scenery of Lingnan;

Second, advocating realism and introducing western painting schools;

Third, learn from each other's strengths;

Fourthly, it has carried forward the fine tradition of Chinese painting. In painting technology, the "boneless method" and "water-washed powder collision method" are used instead of the sketch method, which is true. (1) revolutionary spirit;

(2) the spirit of the times;

(3) the spirit of compatibility;

(4) Innovative spirit.

Revolutionary spirit is the ideological basis of Lingnan School of Painting. This revolutionary spirit is inseparable from the special experience and ideological tendency of the founders of Lingnan Painting School. In the spirit of the times, "Lingnan School of Painting" made bold innovations in subject matter and content, which is also the reason why this school can remain young forever. The spirit of inclusiveness, that is, "eclecticism, linking the past with the present", is the most important proposition of Lingnan School of Painting, and it is also the most important artistic principle and innovative road of Lingnan School of Painting. The spirit of innovation is the motive force of Lingnan School of Painting and the enduring mystery of Lingnan School of Painting. Only innovation has vitality, and innovation itself is not only the development goal of this painting school, but also the driving force for its development. The reason why "Lingnan School of Painting" can continue to grow and develop is because of its innovative spirit. Gao, Chen and the three "Lingnan Three Masters" have the same ancestry, the same artistic concept, but their own innovations and different styles. The second generation of outstanding painters, such as Guan Shanyue, Li Xiongcai and Zhao Shaoang, also have different styles. Their successors, such as Yang Zhiguang, Chen Jinzhang, Wu Jialing, Liang Shixiong, Lin Yong and Wang Yujue, also have their own characteristics. Gao doesn't want his students to study like him. He claims it is a sign of futility. He asked students to "shine on you is better than blue". The name "Lingnan School" did not exist at first. When Gao and Chen came back from Japan and appeared in the painting world with a brand-new look, they called themselves "sage". This name has a history. "Ode to Confucius' Family in Historical Records" said: "Since the emperor was a prince, China's Six Arts compromised with Confucius, which can be described as the most holy!" Compromise means compromise, which means taking the right path. Gao and Chen Dou express their artistic views by learning from others. For example, in the 19 12 issue of Truth Pictorial, a "sparrow map" edited by Gao Qifeng was marked as "eclectic". Later, it was called "New School" or "New Chinese Painting School". For example, 19 15 published a collection of "Two Highs and One Chen", named "Selected New Paintings"; 1929 published the 38th issue of Liangyou Pictorial, and Gao Qifeng's works were called "New Chinese Painting"; Gao called himself a "new Chinese painting" in My Views on Modern Painting, and Fu Baoshi also used the same name in the article Observation on the History of Chinese Painting since the Republic of China. And those called "revolutionary painting school".

Yu Jianhua wrote in 1934: "Guangdong No.2 Senior High School (High School) took part in Japanese painting, washed away the principle of heavy brushwork, splashed colors, was bizarre and colorful, so it pretended to be a new school and tried to engage in revolutionary work, so it had the purpose of revolutionary painting school." In addition, there are various names such as "New Song School" and "New literati paintings School". The most general and vague title is to classify all Guangdong painters from ancient times to the present (including Grade Two) as "Guangdong Painting School", which is what Li did in his book "Distinguishing Paintings".

As for the "Lingnan School of Painting" popular today, it was 1948 (according to Huang Zhijian) that appeared. There are several different opinions about the origin of this name: one is "established by convention", the other is "self-discussion" and the other is "Beiyuan".

The first one said, "About the name Lingnan School of Painting. No Lingnan painter claimed to be self-styled, but was created by the masses in the process of historical development. When studying in Japan, Mr. Gao was inspired by Japanese painters' participation in western painting to innovate Japanese painting, and at the same time was baptized by Dr. Sun Yat-sen's democratic revolutionary thought and the fiery struggle of the Revolution of 1911, so he decided to innovate the inherent old Chinese painting. With their sudden emergence, Mr. He, Mr. Chen and Mr. Wang raised the banner of new Chinese painting, gave a refreshing impression to the painting world at that time with their genius and brand-new painting style, and were admired by people at that time, and were called the Three Masters of Lingnan. Later, the name "Lingnan School of Painting" was preserved by convention. "At that time," two high schools and one Chen "was honored as" three outstanding figures in Lingnan ",hence the title of" Lingnan School of Painting ". In fact, people follow the habitual thinking, just like calling the "Eight Eccentrics of Yangzhou" Yangzhou Sinology. "

The other two theories can be found in Zhao Shiguang's article The Definition and Development Orientation of Lingnan Painting School. Among them, the theory of "self-discussion" has been quoted before; Another way of saying it is that two masters, Guan Shanyue and Li Xiongcai, went to Beijing to attend an art exhibition after liberation. Because they are from Lingnan, the local newspapers and periodicals unanimously promoted them as Lingnan School of Painting, calling their teacher the founder of Lingnan School of Painting. There is also a saying that belongs to "Beiyuan": "Lingnan School of Painting", a title with local color, which was dubbed by Zheng Zhenduo when he painted in China's overseas art exhibitions for nearly a hundred years in the early days of the People's Republic of China, and was later used. "Judging right from wrong, if it is really" before 1948, there was no Lingnan School ",then Gao Qifeng died as early as 1933, and there was no Lingnan School at that time, so how could the three of them discuss it? It can be seen that that statement is not credible. In addition, the theory of "Beiyuan" is not reliable, because their time is after liberation, which is several years later than 1948. It can be seen that only the "convention" theory is more credible.

Let's go back to the controversial naming problem. So many hats are eclectic, new, revolutionary, Lingnan ... which is the most suitable? Is it necessary to restore the name of "eclecticism" so that it cannot "reflect its ideological essence" and "have a clear purpose"? Today, it is hard to call it a "new school" or a "revolutionary school". As for the "eclecticism", although it can show its technical characteristics of "absorbing foreign nutrition", it is still difficult to reflect all the purposes of its "artistic revolution", especially the important content of "art and life". Judging from the actual situation of this painting school, it originated in Lingnan area, and its founder and other main members are Lingnan people. Today, the "base camp" of this painting school is still in Lingnan area, so the first general rule named after Chinese and foreign painting schools is called "Lingnan Painting School".

However, why are some foreign schools of modern art, such as Fauvism, Cubism and expressionism? Named after its artistic expression characteristics? It should be noted that those are formal painting schools, so it is natural to name them like that. However, Lingnan School of Painting is different. It is a school that pays equal attention to form and content. If we reluctantly imitate the modern schools of foreign expressionism and insist on "eclectic" naming, wouldn't it be against the original intention of our own painting school? From the perspective of logic and lexicology, there is no necessary connection between "name" and "reality", but their relationship is diversified and changeable, which is originally "established". As long as the name "Lingnan School of Painting" is generally accepted by people, it will naturally have the connotation mentioned above. Just as "Yangzhou Eight Eccentrics" and "Shanghai School" also have their specific meanings, including various artistic pursuits such as content, style and technical form. Therefore, we are worried that once this painting school is named Lingnan, it will not be able to show its "ideological essence" and "distinct purpose", or it will be easily mistaken for a narrow group of regional painters. Actually, it's all too much. Lingnan School of Painting is one of the outstanding cultures of the motherland represented by Lingnan culture, and it is a revolutionary school of traditional Chinese painting in China. It has the following characteristics:

First, advocate innovation and enrich the theme with the unique scenery of Lingnan;

Second, advocating realism and introducing western painting schools;

Third, learn from each other's strengths;

Fourthly, it has carried forward the fine tradition of Chinese painting. In painting technology, the "boneless method" and "water-washed powder collision method" are used instead of the sketch method, which is true. Lingnan painting school began in the late Qing Dynasty, with two high schools and one Chen as its early famous founders, and Gao, Zhou, Chen as Chen Ergao. Most of his disciples are famous artists, forming a famous painting school loved by Chinese at home and abroad.

In Zhao Shaoang and Yang Shanshen, in Li Xiongcai and Guan Shanyue, these four masters are the main representatives of Lingnan School of Painting. Zhao Shaoang is regarded as the best successor after Gao Qifeng, and overseas friends pay more attention to collecting young flowers and birds. Li Xiongcai and Guan Shanyue both teach in the Academy of Fine Arts and have many disciples. Yang Shanshen hosted his Spring Breeze Painting Club in Hongkong and taught painting skills. In the early 1980s, they jointly completed more than 100 works, each of which embodies the collective wisdom and the profound friendship of the four masters, which can be described as "the gathering of four great families in Lingnan is amazing". The emergence and development of Lingnan School of Painting embodies a new cultural spirit. This new cultural spirit includes four aspects:

(1) revolutionary spirit, which is the ideological basis for the emergence and development of Lingnan School of Painting;

(2) The spirit of the times, which is the main feature of Lingnan School of Painting that distinguishes it from the old school of Chinese painting;

(3) the spirit of all-embracing, which is an important way for Lingnan painting school to advocate and innovate;

(4) Innovative spirit, which is the driving force for the continuous development of Lingnan School of Painting.

These four spirits are interrelated, which constitutes a fairly complete system of Lingnan School of Painting, and is also an important reason for its enduring. Revolutionary spirit is the ideological basis of Lingnan School of Painting. This revolutionary spirit is inseparable from the special experience and ideological tendency of the founders of Lingnan Painting School. In the spirit of the times, "Lingnan School of Painting" made bold innovations in subject matter and content, which is also the reason why this school can remain young forever. The spirit of inclusiveness, that is, "eclecticism, linking the past with the present", is the most important proposition of Lingnan School of Painting, and it is also the most important artistic principle and innovative road of Lingnan School of Painting. The spirit of innovation is the motive force of Lingnan School of Painting and the enduring mystery of Lingnan School of Painting. Only innovation has vitality, and innovation itself is not only the development goal of this painting school, but also the driving force for development. The reason why "Lingnan School of Painting" can continue to grow and develop is because of its innovative spirit. Gao, Chen and the three "Lingnan Three Masters" have the same ancestry, the same artistic concept, but their own innovations and different styles. The second generation of outstanding painters, such as Guan Shanyue, Li Xiongcai and Zhao Shaoang, also have different styles. Their successors, such as Yang Zhiguang, Chen Jinzhang, Wu Jialing, Liang Shixiong, Lin Yong and Wang Yujue, also have their own characteristics. Gao doesn't want his students to study like him. He claims it is a sign of futility. He asked students to "shine on you is better than blue".