Huangye Village(1911-1987), a native of Wuhu, Anhui Province, formerly known as Huang Houfu, scientific name Cheng Kun, also known as Huang Yecun, alias stepfather, bamboo idiot, bamboo idiot, bamboo idiot old man, old gardener, old man listening to the rain, occasionally used the seal "grass planting man", room name Jinghu Thatched Cottage, Listening to the Rain Building, Cultivating Stone Zhai. Its calligraphy and painting are fine, calligraphy is true, grass, seal, subordinate are all good, landscape, flowers and birds, feathers are good, freehand, fine brush and can, won the traditional landscape of the Xin'an painting school, in his later years was known as "a bamboo in the south of the Yangtze River".
Re-acquaint yourself with "a bamboo in the south of the Yangtze River".
A little about the art of calligraphy and painting in Huangye Village.
Wang Miao. 1. Research status and recent research results in Huangye Village
Huang Yecun passed away for more than 30 years, but many historical materials are not very clear, and even the records in some periods are almost blank, which has several reasons: First, Mr. was in a difficult and bumpy life, displaced, poor, and lived in a corner of southern Anhui, except for his later years to enter the system (Calligraphy Association, Artists Association and other organizations, in 1980 was hired as a professor of the Art Department of Anhui Normal University), most of his life was not known to outsiders, so there are only a handful of written materials left. Second, when he was alive, he was drunk with danqing, and he was not full of food (yōng), and he never thought of or had the conditions to write about his own art system for future generations, and most of the texts about his poems, calligraphy, paintings, and seals that the world can see now are based on his calligraphy and painting inscriptions, as well as the fragmentary memories of his students, old friends, and family members. Third, the group of people who study the calligraphy and painting of Huangye Village is small, with obvious regional characteristics, mainly in Anhui, especially Wuhu, Hefei, Xuancheng and other places, and the academic level of research is not high, and there is a lack of comprehensive and systematic research. Nowadays, the art world will Anhui Huangye Village and Jiangxi Huangqiuyuan, Sichuan Chen Zizhuang and known as "the death of the people, the body of Daolong" three modern and modern traditional calligraphy and painting masters, for Huang Qiuyuan, Chen Zizhuang research is relatively more, the results are quite fruitful, the two of their calligraphy and painting works frequently appear in large-scale auctions at home and abroad, the recognition is rising;In contrast, there is still a lot of work to be done in the research of Huangye Village, and the auction of calligraphy and painting works related to Huangye Village should also move to a high-end platform as soon as possible.
Families have genealogies and families have genealogies, and chronology or chronology for artists is also an indispensable first-hand source for studying their lives and artistic changes. Recently, Wang Yonglin, a well-known art critic in Anhui Province, has sorted out a large number of "sleeping" materials from Huangye Village's family members, old friends, students, etc., and spent more than a year to write the "Brief Chronology of Huangye Village's Life and Calligraphy and Painting Department", which makes up for the shortcomings of the previous "Huangye Village Art Chronology" that is too simple and undetailed, especially to supplement the relevant information of Huangye Village's early years and 1971-1976, which is invaluable for further improving the life data of Huangye Village. Fourth, some of the letters, manuscripts, and ** of Huangye Village were seriously lost during his lifetime, and some of the materials were still in the dust, so rescue collation and comprehensive research were imminent. In 2015, Mr. Cheng Zhi'an, who was over seventy years old, compiled the book "I and Mr. Huangye Village" was published, Cheng Zhi'an had a relationship with Huangye Village for 26 years when he was young, and was well versed in the art of calligraphy and painting, and took care of Huang Lao's life, and his feelings were deep.
Fig.1 Huangye Village, Xingshu Xueli Frost Couplet, Specifications: 138cm, 34cm2, 1982
2. The origin, concept and practice of bamboo in Huangye Village
The enlightenment of calligraphy and painting in Huangye Village benefited from the "Mustard Seed Garden Painting", and the old man Baishi also learned from this book in his early years. Huang Yecun met and was taught by the famous calligrapher Wang Fuxi in the early 40s of the 20th century, Wang Fuxi and Huang Binhong were classmates, his father was the Jiangnan Confucian Wang Zongyi, and his son was Wang Caibai, the palace army of the Xin'an School of Painting. After several years of hearing and seeing, Huangye Village not only observed a large number of works of the Xin'an School, but also watched the paintings of famous artists collected by the Wang family. According to Mr. Cheng Zhi'an's recollection, in the winter of about 1970, in order to avoid the investigation of the Revolutionary Committee, Huangye Village handed over four framed calligraphy and painting works, three calligraphy books, and a copy of "Gao Song Bamboo Book" to him for safekeeping. It can be seen from this that Huangye Village also used the bamboo score as an important reference or even a model for copying bamboo. "Gao Song Bamboo Spectrum" was written by the Ming Dynasty painter Gao Song, who enjoyed a high reputation in the Ming Dynasty, and Wen Zhengming, Zhu Zhishan is equally famous, good at calligraphy, bamboo and stone, landscape. The bamboo spectrum in a highly refined way, **lush, concise and clear introduction of all kinds of ink bamboo painting skills, including the wind, sunshine, rain, dew, snow in different states of bamboo expression method summary, is an easy-to-understand, elegant and vulgar appreciation, can be the law of the bamboo spectrum masterpiece. Looking at the bamboo spectrum today, and then looking at the ink bamboo of Huangye Village, you can still smell its milk.
The concept of writing bamboo in Huangye Village is mainly manifested in the following aspects: First, the meaning of "writing bamboo". Yuan Zhao Mengfu said: "Stone is like flying, white wood is like a tree, and writing bamboo should also be eight laws." If there are people who can understand this, you must know that calligraphy and painting are the same. This is Zhao Mengfu's poetic expression to convey that only by painting bamboo with calligraphy can it be described as "writing bamboo". Zhao Mengfu was not only a master of calligraphy but also a scholar of painting, and was the first person to integrate poetry, calligraphy and painting in the past 500 years. Later, Ke Jiusi specifically said: "Write bamboo poles with seal method, branches with cursive calligraphy, write leaves with eight-point method or use Lu Gong brushwork, wood and stone with folded hairpin strands, house leakage marks." "The concept of writing bamboo in Huangye Village traces back to Wen and Ke and Su Dongpo, connects Zhao Mengfu and Ke Jiusi in the middle, and inherits Zheng Banqiao below, and on this basis, it is supplemented and enriched, and the ancient becomes new. Huang Yecun's "Ye Village's Self-Statement" clearly stated: "If I now specialize in ink bamboo, painting bamboo is writing, the rod is with the Zhongfeng Yuan (round) pen, it is with seal calligraphy, the section is the official script, the twig is cursive, and the leaf is the true Kai." "Huangye Village Kaifa Yan Zhenqing, Seal Li Xi Deng Shiru, Wei Beizong Zhao Zhiqian, lifelong study of books, calligraphy and painting through. In the mid-60s of the 20th century, traditional painting was violently attacked by ideology and the influence of the westerly wind, and Huangye Village wrote poetry as a pastime, only from 1968 to 1972, he wrote more than 20 volumes for Mr. Cheng Zhi'an. In 1988, when the exhibition of Huangye Village's posthumous works was held at the National Art Museum of China, it was a pity that these calligraphy works were too heavy and inconvenient to carry. It can be seen from this that Huang Lao's bamboo writing skills come from calligraphy. Books are elegant, and paintings are small skills. Huang Yecun's expression of the requirements for calligraphy is intriguing: "Words should be written to smile at you." And further explained: "Writing bamboo must have yin and yang sides, but also use a brush to draw a rod, do not use a row of pens." Therefore, painting bamboo is to write bamboo. From the account of Huangye Village, we can clearly understand the concept of calligraphy and ink in writing bamboo, as well as the natural creative techniques that are familiar with it. As Li Kuchan once pointed out: "Writing calligraphy well is the foundation of Chinese freehand painting." In the afterword of "Selected Paintings of Huangye Village" edited by Wang Younong, Huang Yecun once said: "The line of Chinese painting and Chinese calligraphy are also inseparable, as long as there are descendants of the dragon on the earth, you can hear the 'dragon chant' and see the dragon's heart - Chinese calligraphy and painting art." ”
Fig.2 Huangye Village, Lishu Warm Wine Inscription Couplet, Specifications: 136cm 31cm 2
Second, Huang Yecun summed up the concept of Huang's bamboo writing in his decades of writing bamboo: "There is a bamboo in the chest before writing bamboo, and there is no bamboo in the chest when writing. He further pointed out: "I have no definite way to draw small bamboos and twigs, which is called 'do what I want from the heart'." In the final analysis, it is to perfectly connect the objective vision with the subjective mind, so as to "write God in form". Huang Yecun has the seal of "Writing God in Form" in many of his works, which shows the importance he attaches to this concept. As for how to achieve this state, Huang Binhong seems to be able to answer: "All diseases can be treated, but only vulgar are difficult to treat." There is a way to heal, read thousands of books, and travel thousands of miles. In the words of Huangye Village, it is said: "For decades, I have painted bamboo branches, and I have written thoughts during the day and at night." Thousands of horizontal and vertical paintings, painting has become an obsession now. "It's really a veritable "bamboo idiot old man".
Huang Yecun proposed many techniques in writing bamboo: (1) Draw the bamboo first draw the rod, first dip the tip of the pen in light ink, and then dip the tip of the pen in some thick ink, draw a thick rod with a side front, and achieve the effect of light and shade yin and yang. (2) Draw the thick leaves first, the light leaves are interspersed among them, the size, number, and position of the light leaves, and the stress avoidance is equal to the thick leaves or is distributed in an axisymmetric manner. Painting leaves under the pen to be sharp, real press the virtual up, a wipe will pass, like to use the word "people" method, "people" words can be stacked into "one" words and "Jie" words. There are five taboos in painting leaves, one taboo is solitary, two taboos stand side by side, three taboos are like forks, four taboos are like wells, and five taboos are like fingers. The bamboo leaves of Huangye Village, which are obviously different from others, are good at expressing the agility of bamboo leaves, especially the beating state of the peripheral bamboo leaves, the author will call this bamboo leaf painting method "tadpole leaves", this kind of bamboo leaf painting method must be reversed to start the brush, slightly pressed, forming a "tadpole head", and then twist the pen slightly tilted, quickly draw out, form a "tadpole body and tail", this scattered, random distribution of "tadpole leaves" like the finishing touch, immediately will be the bamboo lifelike performance to the fullest, and this original, The exquisite bamboo leaf expression technique, which has never been seen before or since, is the great innovation of Huang's writing bamboo. (3) The painting rod should leave a gap to make up for the bamboo joints, and the ink color of the bamboo joints should be slightly thicker than the bamboo poles. (4) The ancients painted bamboo clouds: "Sparse can run horses, dense and impermeable." However, Huangye Village thinks that "it is impermeable to the wind, and it is dense enough to run horses." In a "Thin Bamboo Drawing", he inscribed: "Painting bamboo and writing sparse must be simple, writing dense should be complicated, and it must be disorderly and not chaotic." The pen must be used to achieve appropriate shades to make the viewer intriguing. And further proposed that "the ink should be alive, thick but not dead, light but not thin". Use water boldly to achieve the natural effect of blending ink and water. This coincides with Lin Sanzhi's emphasis on water in cursive writing in his later years, achieving the wonderful realm of "painting into the book". Huangye Village's "Ink Bamboo Drawing", where there are more than three bamboos in one painting, the ink color of each pole has changed, following the principles of nature. Huangye Village often makes moss points under its ink and bamboo drawings, and it is done at will, there is no definite method, these moss points are just right, more is to add snakes, less is empty and nothing, its moss points are large or small, or front or back, or thick or light, or gathering or scattering, or yang or yin, all in the lack of whitening, expanding the existence of hazy things. (5) Painting should not be restrained, and it should be free, natural and smooth, so that the picture is vivid, artistically appealing, fascinating, and vivid. Painting bamboo poles should be done in one go, without pausing or dipping in ink, pausing to lose the charm, and dipping ink to lose nature.
Third, the bamboo writing style of Huangye Village in different periods is the embodiment of "people are old". Huang Lao's early ink and bamboo works pay attention to the shape and agility and elegant, strong and strong, the layout is relatively dense, the long rod is like a sword and the leaf is like a knife, especially the bamboo leaf is more slender, the heavy pen is pressed, the light pen is dragged out, and the tail end of the leaf often has a sharp tip of the flying white, less water. In the later period (about the mid-70s of the 20th century later), the ink bamboo is more prominent and looks like the ancient clumsy and reckless, the ink is heavy, the accumulation and dyeing are stacked, the overall picture is more white, the long rod is like a pestle leaf such as gall, especially the bamboo leaves are thick and dignified, the pen is pressed again, and the trend gradually comes out, to the end of the leaf is still with strength, the ink is as thick as ever, the tail is blunt but not sharp, such as the smoothing of the edges and corners, the edge is introverted, and there is more water, the change is natural, the edge of the ink is vaguely visible, such as the "golden wire" of the kiln, and the "green leaves inlaid with red" of Tieguanyin The magic lies in the controllable and uncontrollable shape of the leaf.
In the above context, it is not difficult to understand the six methods of ink and bamboo summarized by Huangye Village: one is said to have bamboo in the chest;Second, it is said that the bone force is the pen;Three, it is said that the medical customs of Lipin;Fourth, it is said that the rhyme is round and smooth;Five, the heart is stabbed;Sixth, it is sparse and refreshing.
Fig.3 Bamboo and Stone Diagram of Huangye Village
3. The influence and significance of bamboo painting in Huangye Village
As early as 1978, the famous red scholar Feng Qiyong went to Xuancheng to give a lecture, and praised after seeing the "Ink Bamboo Map" in Huangye Village: "Mr. Huang can be a bamboo in the south of the Yangtze River!."Later, he asked Huangye Village to paint ink bamboo for him, and the two became friends of Hanmo. For such praise, Huangye Village has said many times: "I dare to be a bamboo in the south of the Yangtze River!."If you compare the people of Jiangnan who gave birth to me and raised me to a bamboo forest, I am just a leaf in the bamboo forest!"The feelings of humility are overflowing, and the feelings of the people are always in the heart. Art critic Sun Ke pointed out in the article "Where to Return to the Flat Boat and the Home in Huangye Village, Jiangnan - A Brief Discussion on Huangye Village in Jiangnan": The key to Chinese literati like to paint bamboo is to use bamboo as a metaphor for people, to cultivate virtue with bamboo, bamboo is thin and hard, not afraid of wind and frost, does not wither in winter, clean and dirty, and is the character admired by Chinese literati. Wang Guowei's "Words in the World" cloud: "The temperament of words, the rhythm of words, and the charm of words are not as good as the realm of words." Emphasizing 'allegorical feelings with scenery' and 'muddy mood and mood', there is a realm of its own high quality. The brilliance of "Huangye Village's "Writing Bamboo Realm" lies in the organic unification of the relationship between "Writing Landscape" and "Creating Landscape", and "Writing Landscape" is to write scenes and depict reality;"Creating the environment" is to convey feelings and express ideals, and only by unifying reality and ideals can we form a "free from reason" realm with both form and spirit. This is similar to the old man Baishi's "the magic lies between the similar and the unlike", that is, Huangye Village's repeated expression of "emphasizing nature, repeating nature is unnatural". View Huangye Village to write bamboo, the color, shape, state, shape, taste of bamboo jumped on the paper, but more for the "image outside the image, the scene outside the scene", such as "dignified and upright and straight, sassy and heroic posture to the wind exhibition", can be described as "to write God, like the wind god outside".
Huang Yecun once said in his later years: "I am a thirty-year-old point, a fifty-year-old line, and seventy years to see the realm." As described in the 1988 "People's **" report on the exhibition of Huang Yecun's posthumous works: "He created a kind of line with a pen in the center, this kind of bamboo-like line is not painting, almost calligraphy, it is the painter with feelings, thoughts, emotions, life in the knots, catharsis, in singing." ”
Fig.4 Huangye Village, Bamboo and Stone, Specifications: 102cm, 33cm, 1987
Fourth, remembrance
Mr. Wu Xiaoru, a famous historian and calligrapher (from Jing County, Anhui Province) was shocked by the painting style and character of Huangye Village, and his work "Title Fan Luosen Tibetan Wuwan Painter Huangye Village's Posthumous Works" is the best annotation of Huangye Village's high evaluation, which is recorded as follows:
Bian and slashed his legs, crying bitterly for a soulmate. The painter is lazy with pen and ink, and he is not flattering to death. Nowadays, people are more profit-seeking, and buying paintings is still saving. It's a pity that Huangye Village, although the death is the same heart?People seek truth and appreciate difficulties, and the Expo is easy to fame. I admire Huangye Village, and I am willing to die in poverty. It is better to starve for the road than to fall into the ambition of life. The painting remains in the world, and there is righteousness.
In 1987, when Huangye Village was seriously ill, the 500-word "Humble House Family Words" written by Huangye Village and written by student Feng Huaiyuan can be used as an important document to understand the artistic inheritance, philosophy, thought and character of Huangye Village. The full text is as follows:
In order to make a living, I began to learn painting at the age of 10, and then I got the guidance of Mr. Wang Fuxi, and I achieved a little success in my studies. Life is like a dream, and now at the age of 78, although it has the reputation of "a bamboo in the south of the Yangtze River", it is a shame that the world has won awards. I have three wishes: one wish, that the country will be prosperous and strong;Second, may the people be happy;3. Willing to serve the country. To serve the country, you need to have real talent and learning. Learning is valued by diligence, especially thinking and ingenuity. I studied painting in my early years, and all the works of famous artists I saw would absorb their essence and use them for my own use, so I could learn from others' strengths. I have traveled thousands of miles, everywhere I go, I will search for the spirit of the mountains and rivers, study the principle of heaven and earth, and hide it in the chest, so I splash ink, quite natural wonderful, this is all pay attention to the words!The country is rich and the people are safe, and it needs to be politically connected and harmonious to be effective, one person is good, not my wish, I wish everyone is good. Courtesy, righteousness and shame, the four dimensions of the country, the four dimensions are not open, the country is bound to perish. The ancients said: "Using history as a mirror, you can know the rise and fall, and the way to govern the country must not be ignored." "Houfu loves to paint bamboo, and likes the nature of bamboo, so he calls himself "bamboo idiot". Young bamboos can overturn boulders and break through the ground, because they have their own knots when they are not unearthed. Those who look at the wind and grow upright, stand tall and self-reliant, cover because of their humble heart. When I have something to ask for someone, I think about people's difficulties before I speak, and when people ask me for something, they will try their best to help, which is also nature. Over the ages, the painters are endless, good friends get together, there is a sense of a thousand golden moments, only the old and frail, no one around, big and small things, are not smooth, no plan to save themselves, only shake their heads!