Traditional Painting in the Late Qing Dynasty and the Early Republic of China

In the painting circle of the Republic of China, Jincheng (1878— 1926), as a representative of the quintessence school, was highly respected at that time and was allowed to be the leader. This is mainly due to his artistic achievements and the organization of painting conferences, which played a vital role in the spread and development of art. Today, re-examining the dusty history of Beijing painting in the early years of the Republic of China, it is not difficult to find that Jincheng, a generation of art masters who respected tradition all his life, had a decisive position at that time. Jincheng's life was not high, and he died young before he was 50 years old. In his short life, he "intensively studied the tradition and learned new knowledge", taking promoting national art as his own responsibility and becoming a painting leader, which is indisputable. Jin Cheng, a painter with profound traditional skills, is good at landscapes, flowers and birds, studied under the Song and Yuan Dynasties, and has meticulous brushwork. He is the author of Poetry, Lotus Garden Grass, Painting Theory of North Building, Painting Lecture, etc. Collected more than 30 paintings handed down from ancient times in Jincheng 130, and wrote an overview of Jincheng's life, comments and research on the artistic characteristics of painting, and excerpts from Jincheng's own artistic articles and comments. There is also a compendium of chronology, with a list of commonly used seals and major works handed down from generation to generation. Jincheng is an artist with innovative ideas. His painting development can be roughly divided into three periods: before the age of 28, his works were based on the ancients, mainly copying, and he learned a lot of excellent works by Zong Yuan, Wu Yun and Wang Si, which laid a solid foundation for his later painting creation. From the age of 29 to 45, his works are still based on copying the ancients and creating. After the age of 46, Mr. Jincheng entered the peak of creative art, and the number of his works increased greatly. Jincheng is the early contact place between China painters and western painters. At the beginning of the century when he was studying abroad, it was the heyday of French Impressionism's influence on European art and Jincheng, which had a strong interest in western art. Zhao's "European-Chinese Products" volume 19 18 (in the seventh year of the Republic of China), and Zhou and others set up a Chinese painting research society in Beijing. Many young people who have the foundation of painting gather in the painting research society, and Jincheng teaches the achievements of ancient painting. He strongly advocated preserving the quintessence of the country, copying paintings and being meticulous. Most of Jincheng's works are ancient styles and imitations of the ancients, wandering in the artistic conception of the ancients. Some of my sketches in my later years are more vivid than those I copied in my earlier years. A quiet reading of ancient temples, Tuguan Mountain, snowy mountain, deep mountain learning, goshawk sitting alone smelling lotus fragrance, imitation mountain, Hongdong Mountain, Zhongjiang Township, early summer map, Wanma map of Linjin Agricultural University, Xiao Qing green shade, Qiushan, Tingquan map, Qiushan map, deep mountain independence, pine window interpretation map, Songting, waterfall view, mountain riding in the evening, etc. He also edited and published the semi-monthly "Lake Society", which was later changed to a monthly magazine to publish the works of members and celebrities, introduce ancient famous paintings, and publicize and maintain traditional painting methods. Households have a great influence, and their members are almost all over the country, so they are very popular.