Those neglected Shanghai-style calligraphy and painting masters
Recently, "Jinshili·Grass and Wood Heart-Wu Changshuo and Shanghai" and "Exquisite Art Serves the Country-Art Exhibition Commemorating the 100th Anniversary of Cheng Shifa's Birth" have been hotly exhibited in Shanghai, which has attracted the attention of Shanghai art artists.
In fact, looking back at the Shanghai style paintings and calligraphy that have gone through a century and a half, in addition to Ren Bonian, Wu Changshuo, Liu Haisu, Zhang Daqian, Wu Hufan, Xie Zhiliu and other well-known names, there are still many famous people who have gradually disappeared from the public view. For example, Qian Huian, known as the "Master of the Shanghai School", Qian Shoutie, who is known as the "Wizard of East Asia", and Pu Hua, who is said to be "omnipotent".
Each of them has artistic personality and vigor, and jointly interprets the Shanghai School's "Inclusive of all rivers, tolerance is great".
Today, let us follow the long river of history and find them who have been neglected for a long time.
Qian Hui'an, the head of Shanghai style calligraphy and painting, who is more senior than Ren Bonian:
Really establish the Shanghai style urban painting style with the vivid folk character in the creation
The characters in Qian Hui'an's writings have plump faces, small in the top and bottom, and large in the middle. They look like green fruits. They are very blessed. The line drawing is made of a thin line with a dry pen with a rat tail. There are many folds in the clothes and they are convergent in the vertical. These characteristics are very good. Suitable for fashionable citizens
In the pedigree of Shanghai style art, Qian Hui'an has the honor of being the head of the class.
He is the leader of Qianhai School of calligraphy and painting. His painting style is exquisite and exquisite, rich and graceful, blending Chinese and Western styles, and has a strong life atmosphere. He is unique with his vivid folk character, and truly established the Shanghai School style of urban painting, with an influence as far as Japan and Southeast Asia. .
But for a long time, Qian Hui'an has been alienated from the study of Shanghai style painting and calligraphy, which violates historical facts and artistic inheritance.
Qian Hui'an (1833-1911), was famous in his early years and his name was Jisheng, and his name was Qingxi Qiaozi.
He was born in Huzhou, Shanghai, and was born in Gaoqiao, Pudong, Shanghai. He studied painting at a young age, taking traditional methods and working hard, and later lived in Taoshachang Street near Chenghuang Temple.
He once went to Tianjin to paint dozens of manuscripts for Yangliuqing New Year, which became classics.
His wife can also paint. She is also the original poster of Shuangguan and author of "Qingxi Painting Book".
This is a painter who is proficient in tradition, well-informed and adaptable, and integrates the past and the present. He has the temperament of Shanghai-style artists that is not reconciled to mediocrity, pursues excellence, and adopts Chinese and Western styles.
Qian Hui'an learned from Chou Ying, Tang Yin, and Chen Laolian in his early years, and gained solid pen and ink skills and character modeling skills. Later, he took Fei Danxu, Gaiqi, and Shangguan Zhou, and repeatedly studied "Wan Xiaotang Painting Collection", thus greatly enhancing his expressive ability. And creative composition, so that he can go into the past and transform the present, through the old and bring forth the new.
His figure paintings have smooth and changeable lines, vivid and vivid, with vigorous brushwork, elegant attitude, and their meanings are more festive and auspicious, such as gods, ladies, birthday stars, etc.
The intercropping landscape and flowers are also good.
The characters in his paintings are mostly plump faces, the shape is small up and down, and the middle is big, which looks like green fruit, which looks very blessed. The line drawing is made of a thin line of squirrel-tailed dry pen, with many folds and vertical convergence. These characteristics are very suitable for fashion. The public interest.
Qian Hui'an has an open mind and an international vision.
He neither fully accepts Western painting nor rejects it at all. Instead, he chooses the technique and uses it for me.
In the performance of the five senses of the characters, he uses lines to outline and then slightly renders them in light ink. The three-dimensional and texture of his face is superb. When drawing the profile of the side or half-side figure, he also applies clever perspective processing to make the character's posture more natural. Full and overflowing with unique character traits, it has a very strong folklore and appeal.
Qian Hui'an also tried to use the frustrating and decorative "iron line drawing" in Yangliuqing's paintings to express the characters' clothing patterns and scenery and flowers.
Qian Hui'an successfully extended the charm of literati painting and the essence of courtyard style painting to Yangliu Qingnian painting without violating the basic laws of Yangliu Qingnian's painting and without breaking its artistic characteristics.
Under his influence, Yangliu Qingnian's painting broke the long-term symmetrical composition method, and the main color style has also changed from rich and colorful to light and elegant, highlighting many factors of literati painting, which is refreshing.
It is worth mentioning that Ren Bonian, who was later than Qian Hui’an, also learned Western sketching and model sketching, which enabled him to further scientifically master the structure of the human body, thereby making his figure paintings vivid and changeable and accurate and precise.
Therefore, Qian Hui'an and Ren Bonian have jointly pushed Chinese figure painting to a new stage. It is in this sense that they are the Shanghai-style masters who truly integrate the East and the West and use the West in the history of modern Chinese painting. With an advanced artistic consciousness, Shanghai style calligraphy and painting reached the height of that era.
Qian Hui'an and Ren Bonian were once respected as double wall paintings of Shanghai style figures.
As an early Shanghai-style painter, Qian Hui'an has a very clear sense of citizenship, which makes his creation embody the clear spirit of the times and unique urban ideas.
He has made historical contributions to the establishment of modern urban painting style and the formation of citizens' aesthetic consciousness.
He has also actively promoted the commercialization and marketization of paintings, and has made great efforts to adapt Shanghai-style calligraphy and calligraphy to the emerging urban cultural environment and the aesthetic needs of citizens.
He is a representative painter of the "Old City Chamber Painting School" (also known as the "City God Temple Painting School"). He has a rigorous and meticulous brushwork, a harmonious and full composition, a blessing, noble and quiet, elegant colors, gentle and smooth brush strokes. Adapting to the appreciation of citizens, it has truly formed the urban painting style and expression vocabulary.
At that time, as a social group, Shanghai-style calligraphers and painters, their concern for reality, care for people’s livelihood, and concern for disasters have risen from group consciousness to a group behavior, and they have gone from being involved in a matter of time to investing in daily norms. As a result, the association was organized and established, incorporated into a social group operation mechanism, contracted in planning and implementation, and institutionalized in operation and implementation. This is a kind of social progress and history with modern concepts. Sexual improvement.
In 1909, the first real calligraphy and painting charity relief organization of the Shanghai School of Calligraphy and Painting-Yuyuan Calligraphy and Painting Association was established. The association was initiated by the famous Shanghai School calligraphy and painting artists Qian Hui'an, Wang Yiting, Gao Yong, Pu Hua, Wu Changshuo, Cheng Yaosheng, Zhang Shanma and others. Hui An was promoted as the first president for his "famous paintings for a long time" and "honest and loyalty".
Qian Hui'an has made great efforts in organizing creative exhibitions and charitable disaster relief, and has made pioneering efforts for the organization and promotion of the Shanghai-style calligraphy and painter group. He deserves to be both virtue and art.
Qian Hui'an's paintings were extremely influential at the time. There were many scholars, including Shen Xinhai, Cao Hua, Xu Xiaocang, Cao Zhongxiu, Shi Zhongyu, Xie Xianou, etc., forming the "Qian's School of Painting".
Qian Shoutie, who was born and died on the hidden front of the waves:
Presents the unknown "iron bones" side of Shanghai style art
The passion and wisdom, freshness and tension, boldness and open-mindedness, style and elegance in Qian Shoutie's calligraphy, calligraphy, and seal cutting transcend the technical level and the expression of humanistic painting. It is the burning and profound passion of his life. The highlight of life perception
Among the disciples of the Shanghai-style painting and calligraphy giant Wu Changshuo (Fou Weng), Chen Shizeng, Pan Tianshou, and Sha Menghai are known as the "Three Masters of Fou Men".
However, there is a disciple who has not only won the true biography of Fou Weng in Jinshi spirit, pen and ink genealogy, and artistic form, but also has the unique ability to expand and achieve, but he has not gained a big name.
For this reason, in his poem titled "Plum Blossom", he laughed at himself, or wrote in a detached manner: "People want to know where the king comes from, and the spirit of ice and snow is good for the lungs and liver." He is Qian Shoutie, the Jinshi family of Shanghai style painting and calligraphy.
Qian Shoutie (1897-1967), the name Ya, the word thin iron, and the word Shuya, the other name is the master of Qingfeng Pavilion, the master of Tianchi Longhongzhai, and a native of Wuxi.
In 1910, he went to work as an apprentice at the "Hanzhen Pavilion" inscription shop in Suzhou. Later, he met Zheng Wenzhuo and Yu Yushuang of the Jinshi family and became disciples. He became acquainted with Wu Changshuo through his teacher, and then studied under Wu Changshuo.
When he arrived in Shanghai in 1916, Qian Shoutie made his debut in the Shanghai School of Calligraphy and Painting. He actively participated in the activities of the Jinshi Calligraphy and Calligraphy Association of the Haitai Museum and the founding of the Chinese Painting Association, and served as a young professor at the Shanghai Academy of Fine Arts.
His style of calligraphy and painting by the Japanese painter Hashimoto Sekiyuki was praised by the Japanese painter Yasheng Jinshi Yasheng, who marveled at him as the "Wizard of East Asia".
Later, he was invited to hold an exhibition in Japan and his reputation rose.
In July 1937, Qian Shoutie was arrested by the Japanese Metropolitan Police for helping Guo Moruo, who was in exile in Japan, return home secretly. This proved Qian Shoutie's identity besides the painter—a heroic anti-Japanese spy, indomitable. Anti-fascist fighters.
During his career behind bars in Japan, Qian Shoutie not only continued to paint and engrave in the pond, but he also studied and studied various classics and completed his own "university."
After Qian Shoutie returned to China, he has become the backbone of Shanghai-style calligraphers and painters.
If it is said that "character determines destiny", then this "old iron", the most legendary among Shanghai-style calligraphers and painters, has interpreted this in his life and is a true character of character.
Qian Shoutie once said: "Calligraphy first, printing second, painting third." For Qian Shoutie, the spirit of Jinshi always runs through calligraphy and calligraphy, which makes him a true disciple among the disciples. The old fou has found his way.
An old friend Tang Yun once commented on him comprehensively: "You get the elegance with Zheng Dahe, you get the best from Wu Changshuo, and you get the best from Yu Yushuang, and the talent is so high that the world can't match it." Sha Menghai, his junior, is from the overall temperament. Think of it: "The true power is full, and the natural is wonderful."
Back then, Qian Shoutie came to the bank of the Huangpu River from Gusu alone. His Runge teacher Zheng Wenzhuo wrote in his small quote: "The Golden Chamber Qian Jun is thin and iron, holding a square inch of iron, and trying to chase after the god of imprints in the Han Dynasty. , With ease, Qianqian has been unremitting in ancient times. It is handed down with bitter iron and ice iron every day, and the three dings stand together. This is also the Jiahua of Yijiang Gaoyi Woodland." This is the "three irons in the south of the Yangtze River" that was later spread on the sea.
This is actually just an advertisement or recommendation by his teacher. Kutie Wu Changshuo was already seventy and two at the time, and he was a leader of Shanghai school painting and calligraphy. Bingtie Wang Daxin was also forty and five at the time. He was already a sea master, and Qian was thin. Tie is only a fledgling 19-year-old young man, and just arrived in Shanghai, how can he talk with Kutie and Bingtie on the same day.
So how did money rise in Shanghai Yiyuan?
Historically, when Qian Shoutie came to Shanghai, he was encountering the heyday of Shanghai style painting and calligraphy.
Shanghai style painting and calligraphy emerged in 1843 when Shanghai was opened as a port, and it rose in the late Qing Dynasty and the beginning of the Republic of China. In 1912, with Wu Changshuo's settlement in Shanghai, Chen Baochen, Chen Sanli, Shen Zengzhi, Li Ruiqing, Zeng Xi, Kang Youwei, Zhu Zumou, and Chen Baochen, Chen Sanli, Shen Zengzhi, Li Ruiqing, Zeng Xi, Kang Youwei, Zhu Zumou, and Wu Changshuo settled in Shanghai. Zhao Shuru and other such "masters among the masters, celebrities among the celebrities", they not only create inheritance, excavate reforms, merge the things with the brush and ink, but also achieve excellence in style establishment, but also begin to pay attention to, cultivate and foster such as Yu Qian Shoutie is also among a group of young elites such as You Ren, Zhang Daqian, Liu Haisu, Xu Beihong, Pan Tianshou, Sha Menghai, etc. He not only learned from Wu Changshuo in Jinshi painting and calligraphy, but is also a disciple of Fengmen, and has a good artistic heritage. Interpersonal foreshadowing.
At the same time, because Qian Shoutie has been in the art very early, he can be said to be a bitter background who has really eaten "dried radish rice". With his own diligence and wisdom, and the guidance of famous masters, he makes his Jinshi calligraphy and calligraphy extraordinary, so he can quickly rise to the Shanghai style calligraphy and calligraphy. Family groups.
Seal carving can be described as Qian Shoutie's standing art. From inscriptions to seal carvings, he uses knives to cut, and he uses blunt knives to enter, and Gu Mao is the main attack.
Following the extensive collection, the ancient seals of the Zhou and Qin dynasties, the bronze wares of the Zhong Ding, the brick and tile mirror and the official seals of the Tang and Song dynasties were used as references.
His method of seal cutting is the huacai movement in his seal cutting, and he is also a master of modern seal cutting family. He punches and cuts, and blunt knives are hard to penetrate. It is as hearty and handy as the sculpting of oxen.
Qian Shoutie's calligraphy is comprehensive, profound, and capable of all four bodies.
In particular, his career in art began in the early years of the inscription workshop, so he entered the inscription from the inscription on the inscription, referenced the inscription on the inscription on the inscription, and paid equal attention to the inscription on the inscription.
Qian Shoutie approached painting with solid seal cutting and calligraphy skills.
This makes him unique and unique in his painting's pen and ink charm, line texture, composition and spatial awareness.
Looking at Qian Shoutie’s calligraphy, calligraphy and seal cutting from the perspective of artistic aesthetics, the passion and wisdom, freshness and tension, boldness and open-mindedness, style and elegance, are beyond the technical level and the need for display. The expressive effect of pure literati painting, but the burning of life passion and the prominence of profound life perception.
Pu Hua, "rich in pen and ink but poor in life":
The eclectic style of the pen and ink is a new style of Shanghai style
Pu Huaxi's large-scale paintings are giant, with vigorous and vigorous pen and ink, novel composition and radiant spirit. He is especially famous for painting bamboo, freely vertical and horizontal, with unobstructed momentum, rich in calligraphy brushstrokes and charm of gold and stone. It was called "Puzhu" at the time, Wu Changshuo's ink bamboo The system is coming from here
Among the Shanghai-style calligraphers and painters, Pu Hua is a representative figure with great artistic personality and creative ability. He is naturally arrogant, free and unrestrained, out of fashion, indifferent to fame and fortune, and concentrates on pen and ink.
Back then, he, Xu Gu, Wu Changshuo, and Ren Bonian were collectively known as the "Four Masters of Shanghai Style".
Pu Hua (1832-1911), the original name of the city, the word is Ying.
The name is Qingshan Wild History, a bamboo planter, and the house is named Buranlu. He was born in Xiushui (Jiaxing), Zhejiang.
Born in the family of "fallen people" compiled by the ancestors (called "beggars" in Ming Dynasty), he was a temple blessing when he was young. Later, he lived and studied at his maternal grandfather Yao Panshi. Dedicated to official career, dedicated to calligraphy, painting and poetry.
He wandered everywhere throughout his life, often traveling to and from Ningbo, Wenzhou, Taizhou, Hangzhou, Shanghai and other places.
He has a short robe and long gown all year round, with oily ink stains on his body, and he sometimes calls "pu sloppy".
Selling calligraphy and painting, the income is very small, often in the predicament of no rice to cook.
In the autumn of 1863, after the death of his wife, whom he had been with for ten years, he remained alone and wandered in the rivers and lakes.
In 1881, Pu Hua traveled east from Shanghai to Japan. His calligraphy and painting were well-received in Japan. He was well-known for hibiscus and became famous overseas. For this reason, he made the "Sea and Sky Long Roar" and kept it, and returned to China in the summer.
He was an early practitioner of Shanghai-style calligraphy and painting who went abroad for inspection. He broadened his horizons, expanded the art world, and also expanded the artistic influence of Shanghai-style calligraphy and calligraphy. Japanese art circles began to collect his works.
In the winter of 1893, Pu Hua officially settled in a small attic in Beidengyingli, the old city of Shanghai, and finally had a simple place to settle down and sway his life.
He likes the guqin all his life, does not hesitate to borrow money to collect it, and advocates the life of "sitting alone in a secluded river, playing the piano and regaining its roars". The title room is called "Jiuqin and Ten Research Buildings".
In the summer of 1911, Pu Hua died of drunken dentures falling into his throat. Wu Changshuo took care of his funeral and wrote an epitaph: "Rich in pen and ink, but poor in life."
Because of Pu Hua’s arrogant and independent character, talented superb elegance, and eclectic pen and ink, this makes him appear outstanding in the Shanghai style painting and calligraphy group, and he has a new style. This also shows that the Shanghai style "has a lot of rivers and is full of tolerance." "Big" characteristics.
Pu Hua's flower beginner learns Zhou Xian, and later adopts Chen Chun, Xu Wei and Wu Zhen. The ink and wash is hearty and smooth, with both Xu Wei's arrogance and Nantian's gracefulness, as well as its own beauty and color. Smooth, elegant and popular.
He likes to make large-scale paintings, with vigorous vigor and smooth pen and ink, novel composition and radiant spirit.
Pu Hua is especially good at painting bamboo, and he is known as "Pu Bamboo" at the time.
Wu Changshuo once remembered his painting of bamboo clouds: "The bamboo is written by the pipe, and the ink is dripping. The bamboo leaves are like palms, and the trees are rustling. "For this reason, Fou Weng wrote in a poem: "Pulao bamboo leaves are bigger than palms, painting the ancient temple Cangyalian on the wall. The ink on the clothes is still chanting, and the end of the world is pitiful as a guest." Xie Zhiliu also said: "Pu Hua's painting bamboo and Li Futang and Li Fangying corresponded in the same voice. Wu Changshuo's ink bamboo, its system came from Puhua. "Pu Hua's landscape is also pure and natural, his pen and ink are lush and well-arranged, and the atmosphere is majestic and clear. The context is abundant and full of form and spirit, and full of spatial awareness. It can be said that "the thread is in the middle but the outside is out, and it is in the heart but in the hand."
Pu Hua's calligraphy is very strong and unique in the book world at the end of the 19th century and the beginning of the 20th century. His brush strokes are ups and downs and vigorous and unrestrained. The rhythm is unobstructed in the ups and downs. Vigorous and strong and strong, the ink color is condensed and simple and dry, highlighting the skill of "ruling the rules in a square circle, and avoiding the curve and straightness of the hook rope", presenting the momentum of "the sound of the rainstorm and the whirlwind", and there is also a "thousands of thousands of rocks running away." The image of the bottom of the wrist.
Pu Hua's calligraphy in his later years is a return to simplicity and trueness, a realm of super-stepping that is full of old books and full of beauty. It is full of vigor and interest. It has the charm of Zhang Xu and Huai Su, Xu Wei and Wen Zhengming. The brushwork, but unfortunately it is concealed by the name of the painting.
Pu Hua people are friendly, chivalrous and daring, and are very helpful to Wu Changshuo, Gao Yongzhi, Xu Xinzhou and others.
Especially since he and Wu Changshuo have been together for more than 50 years, they have a deep friendship, love with teachers and friends, and become confidantes in adversity.
Pu Hua's poems are also ethereal and elegant, and the writing styles are often matched and complemented by each other. His orchid poem says: "Jiuwan Xianggao was in old neighbourhood, and the spiritual roots appeared in this flower body. Since Chu Rongren Qiupei, It's a kind of despair and annoyance."
Pu Hua was given a stage name due to his poor and humble background, and after his personal hard work, he was very caring for civilians. He was one of the founders of the Yuyuan Painting and Calligraphy Association, and often used calligraphy and calligraphy to help the poor.
His residence is close to a prostitute, but he never set foot in it. For this reason, he called his painting studio "untained house".
However, he sympathizes with those prostitutes who have been ravaged and insulted. Sometimes they use their meager pens to redeem the prostitutes who want to be good, and stage a drama of heroic salvation.
My friend Shen Shiyou wrote in Pu Hua’s epitaph: “Sexuality is simple, omnipotent.” “Nian is a child with a heart and a heart.” His poetry friend wrote in his poem "Furongan Poyu Cao": A pen in the world."
(The author Wang Qisen is an art critic)