The Innovation of Pan Tianshou's Works

Pan Tianshou: From "Deep Conservation" to "Deep Innovation"

2011March 30th 16:27 source: China art newspaper participates in the interaction (0) font: ↑ large ↓ small.

An important feature of the development of Chinese painting in the 20th century is that it is constantly impacted and challenged by western painting. Faced with this kind of impact and challenge, most painters think that Chinese painting must absorb and integrate the expressive techniques of western painting in order to achieve new development; Only a few painters emphasize that Chinese painting and western painting are two different painting systems, and fully maintaining their own characteristics is the bright road to development. Pan Tianshou is one of the few painters. In his painting theory and practice, he never learned from western painting, but got inspiration for change from the long-standing traditional painting, which opened up a new realm of Chinese painting with his unique artistic creation and promoted the development of traditional painting in China. Pan Tianshou's creative experience is of special significance for us to review the hundred-year history of Chinese painting and explore the development path of contemporary Chinese painting.

Pan Tianshou always thought that "Chinese and Western painting should be separated". He pointed out: "Chinese and western paintings have their own highest achievements, just like two peaks, facing Eurasia and making the world' high'." However, the paintings of these two systems "must not be absorbed casually, regardless of whether the absorbed components are suitable for each other's needs and whether they are in harmony with the national styles formed by their respective national history." When absorbing, we must study and test. Otherwise, instead of increasing the height and width of the two peaks, we may subtract our own height and width, leveling the two peaks and losing their unique style. This kind of absorption should naturally be rejected. Rejecting ingredients that are not suitable for your own needs is by no means unreasonable conservatism; Arbitrary absorption without principles is by no means rational and enterprising. China's paintings should have the unique national style of China. If China's paintings are similar to western paintings, it is tantamount to China's self-cancellation. "After in-depth comparative study of Chinese and Western paintings, Pan Tianshou believes that the expression method based on ink lines is the most basic feature of China traditional painting; Using light and shade to express the image of objects is the main technique of western painting. " If the light and shade techniques of western painting are copied and applied to China's paintings, it will inevitably cover up the unique line beauty of China's paintings, and make China's paintings lose their traditional flexible, clear and general style and become a western style. If we use both lines and light and shade, it will become a compromise between China and the West, weakening the uniqueness and distinctiveness of the national style. "In the history of contemporary painting in China, Pan Tianshou was so clear-cut in opposing the absorption of western painting factors, and tried his best to maintain the characteristics of Chinese painting itself, and made a detailed exposition in theory.

However, this series of views put forward by him is not the whimsy of short theorists, but the result of repeated thinking and the summary of long-term artistic practice. Pan Tianshou was introduced to mustard garden as a child, and studied under Wu Changshuo and Li Shutong as a young man. He followed Li Shutong's poem "Learning is endless, learning is endless, just like the ancients. Where can I be? " He not only dived into the deep layer of traditional painting, but also digested and transformed the tradition with his natural temperament and unique artistic pursuit. He studied hard, was bold and broad, Shen was vigorous and vigorous, Dai was robust and vigorous, the Eighth National Congress rose abnormally, and Shi Tao was boundless, simple and hairy. , and thus developed a unique, unique and magnificent road, "to become the master of modern painting in China to push traditional painting to a dangerous peak".

The uniqueness and creativity of Pan Tianshou's paintings can be summarized by his own seal script language, that is "blind obedience". The so-called "overbearing" refers to the dominant and powerful painting style. In modeling and composition, he broke through the routine of traditional painting that pays attention to balance and harmony, and pursued a steep and strange effect. He seldom painted mountains with peaks and valleys, but took more close shots and painted more parts of a rock and a wall, which made the picture show a magnificent grandeur with amazing perspective and composition. Wu Guanzhong once analyzed the composition characteristics of Pan Tianshou's paintings, saying that he applied the abstract method of seal cutting to the commercial standpoint of painting, and was good at widening the gap in plane division, enhancing contrast, and achieving the most tense effect with the simplest composition, thus giving people a "strong, nervous, serious and thrilling feeling" in composition. This view is quite enlightening.

The image processing of traditional flower-and-bird painting is generally based on beauty, beauty, liveliness and cuteness. The painters of the Eighth National Congress and Yangzhou School injected their lofty sentiments, humor and cold attitude towards life into flower-and-bird paintings, and revised and broadened this tradition by means of deformation and exaggeration. Pan Tianshou has obvious origins with Badashan people and Yangzhou painters, but he never stays in the situation of simple imitation or following others' footsteps, but further changes the image of flowers and birds from beauty to strangeness, making him one of the most individual painters among modern flower and bird painters. The domestic cats, starlings, toads and sleeping birds in his works are quite different from ordinary flower-and-bird paintings in exquisite charm and agility, which always gives people a feeling of being inaccessible and relaxed. In particular, his finger painting vultures are aloof and independent, magnificent, but not mysterious and arrogant, but inspiring and inspiring. Compared with the flowers and birds of the Eighth National Congress, his flowers and birds undoubtedly climbed along a steep and peculiar mountain road, but in the spiritual pursuit, if the Eighth National Congress mainly has the feeling of being born, then Pan Tianshou mainly has the spirit of joining the WTO; If the Eight Wonders contain more cynicism, bitterness and ruthlessness, then the wonders of Pan Tianshou contain more salvation, enthusiasm and reason.

Pen and ink are the main forms of Chinese painting. Since the Ming and Qing Dynasties, literati painters have emphasized painting with books, pursuing roundness, beauty and elegance or richness of pen and ink lines; Pan Tianshou jumped out of this pattern and tried to be square, spicy and energetic with his pen. He emphasizes lines in pen and ink, and Fang Bi's artistic conception in lines. Almost all of them use square lines to construct their own images, which is unprecedented in the history of China painting. It is also at this point that he distanced himself from the Eighth National Congress: he loved the whimsy and grotesque wonderland of the Eighth National Congress, but abandoned the elegance and agility of the Eighth National Congress in pen and ink. If Wu Changshuo is characterized by simplicity and roundness, Qi Baishi is unique in being tall and vigorous, Huang creates a new world with rich colors, and Fu Baoshi is unique in being blurred and boundless, then Pan Tianshou takes simplicity, rigidity, strangeness and openness as a mirror, learns from the past and strides forward proudly in painting. In his later years, he studied finger painting seriously and became the most outstanding master of finger painting after high school. His finger painting inherits his own characteristics of paying attention to management in conception and composition, and uses dots, splashes, hooks and daubs, but pursues the realm of "no carving" and "nature", which complements his brushwork and shines brilliantly.

Although Pan Tianshou's works contain his personality, they are not the natural expression of nature, but mostly the result of bleak management under the control of reason. He once said with deep experience: "To win a painting with strangeness, you must first have strange talents, strange hugs, strange education and strange environment, and then you can inspire strangeness to become strangeness ... And if you can see its strangeness in strangeness and its injustice in mediocrity, then everyone will be gone." Although strange, but steady, is Pan Tianshou's most proud skill. This is due to his frankness and integrity.

His deep and independent personality temperament benefits from his great ambition and persistent pursuit of the development of the national culture of the motherland, from his profound understanding and outstanding understanding of the artistic spirit and laws of Chinese painting, and from his knowledge literacy and creative habit of paying attention to getting inspiration from life. According to his understanding of innovative Chinese painting, it is an extremely important step to emphasize the feelings of life and find new themes and expressions in life. He made a lot of realistic observations and detailed studies on the objects he described, and even drew a lot of sketches. Many of his works, such as flowers and birds and landscapes, are inspired by his real feelings about life. Many people think that it is a great creation for him to integrate landscape into flowers and birds and give them a broad space, and this creation stems from his inner temperament of being unwilling to stick to the rules and his ability to discover new artistic factors from life.

Pan Tianshou's landscapes, flowers and birds suddenly came to an abrupt end. His strange and majestic painting style, as Lang said, "Wandering on the boundary between classical and modern aesthetic boundaries, makes the appreciators in modern art feel close at hand, and even think they have stepped into their own territory." On the one hand, his paintings pushed traditional painting to a dangerous peak, on the other hand, they amazed modern artists with avant-garde significance. However, no matter in theory or in creative practice, he insisted on seeking innovation from tradition itself all his life and never borrowed from external factors. Pan Tianshou's artistic path is of special significance for us to think about the development of Chinese painting.

"Deep conservatism" is often not a defect, it can breed "deep innovation".

Author: Qian Niansun

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