Celebrity evaluation of Han paintings in Nanyang

As early as in Beijing, Lu Xun had paid attention to searching for rubbings of Han tablet patterns, and he also planned to print a copy of "A Study of Han Portrait". Nanyang Han Dynasty stone reliefs, vigorous and full of vitality, let Lu Xun see the strong national self-confidence of the Chinese nation in its heyday, and he praised "only Han Dynasty stone reliefs are profound and heroic". Lu Xun believes that from these seemingly ancient and incomplete things, there are still vivid artistic life information and light, which shows the high-spirited and full spirit of China traditional culture in the rising period. This spiritual temperament is especially valuable when the nation is poor and weak. Lu Xun believes that from the stone reliefs, we can get a glimpse of the cultural relics and living conditions in the Qin and Han Dynasties. Secondly, if we consider the stone carvings in the Han Dynasty and the book illustrations in the Ming and Qing Dynasties, and pay attention to the so-called "New Year pictures" appreciated by the people, we may be able to create better prints or open up a new realm. Lu Xun gave a scientific definition to Han painting, hoping that Han painting can provide reference for modern China art, and that the unrestrained and confident surging in Han painting can be injected into the soul of China people.

The famous painter Wu Guanzhong once said that he was excited three times in his life: the first time he saw the Impressionist Exhibition in France, the second time he saw the stone carving in front of Huo Qubing's tomb in An, and the third time he visited Nanyang Han Painting Museum. He said, "I almost knelt down in front of my ancestors in the Han Dynasty." "Its artistic spirit and charm are thrilling enough. That kind of rough technique, accurate and concise performance, sublimates the complicated life scenes and realistic forms into artistic images, and unifies the subtle details into bold geometric figures and strong sense of rhythm. Many key and basic artistic laws and rules are treasures that Western post-impressionism began to explore. "

Historian Jane Bozan attaches great importance to Han Dynasty stone reliefs. He pointed out that "... a large number of stone statues were found in Nanyang area, and some scholars began to study the stone statues artistically. I feel that apart from the relics of the ancients, there are no historical materials that can better reflect the specific image of society in history than paintings and sculptures. At the same time, in the history of China, there is no better time to carve the forms of real life and folk stories on stone tablets than the Han Dynasty. Stone carvings in the Han Dynasty all use sharp and low bas-reliefs, which truly depict the wrist, Yin Le or floating the subject matter it depicts. Scenery pavilions are lifelike, and people's clothes are thin and moving; The images expressed in some song and dance pictures can not only make people see the images of the ancients, but also almost make people hear the voices of the ancients. " If these stone statues are systematically searched, they can almost become a history of Han Dynasty in Xiu Xiang.

Lin Fengmian, the master of art, praised: "Han stone relief is a masterpiece of China's painting." He further pointed out: "Stone reliefs in the Han Dynasty should be the mainstream of China art."

Feng Qiyong, president of the Chinese Painting Society, wrote a poem praising Chinese painting: Cao Ze rose as a hero, and Gan Kun fought bloody battles with him. Han's achievement is pointing and painting.

Professor Zhang, the founder of contemporary art, pointed out when talking about the stone relief art in the Han Dynasty: "Its peculiar imagination, ingenious structure and rigorous modeling mark the maturity of China's painting art and become an important milestone in the development of China's art." "The charm and strength that China's painting has always emphasized have found its earliest source here."

Tian Bingkai, a famous expert in literature and history, said: Stone reliefs in the Han Dynasty are the most inexhaustible flavor for future generations. It is a silent painting, a tangible poem, a carved dream and a grinding elegy; It is a pictorial information base two thousand years ago, and it is the silent instruction left by the ancestors of the Han Dynasty to future generations. It is not enough for future generations to look up, but also to close their eyes and listen and think, perhaps to connect and sever thousands of years of racial and cultural ties.

Wang Wei, director of China Calligraphers Association and vice-chairman of Jiangsu Branch, wrote a poem on Nanyang Han painting: The painting style of Han Dynasty is ever-changing and wonderful. We are ashamed of the pen in our hands, and we are always ignorant when we paint it green and red.

When talking about the value of Han Dynasty stone reliefs in Nanyang, Mr. Lu Xun said: "I am also at a loss about the cultural relics of the Qin Dynasty, and I don't know the living conditions of literati with monographs ... so I think it's better to look at the stone carvings of the Han Dynasty ... The customs of the Han Dynasty are very different from those of Wu Qin. After watching them, I will still enter the scene, see them and hear their voices.