Zhu Yingren once described Pan Tianshou, Wu Fuzhi, and Zhu Le in "Art Chronicle".
3. The "tips" of calligraphy and painting by Lu Weizhao and other teachers tell about their guidance and influence on themselves in painting and life. In the process of learning Xi from these famous teachers, the author is also faced with the confusion of how to break away from tradition and form his own painting style.
Pan Tianshou: Practice and thinking rooted in the history of painting.
Mr. Pan Tianshou's influence mainly lies in the formation of his worldview and his understanding of tradition from the perspective of painting history. Pan Tianshou's practice and thinking are also deeply rooted in the history of painting. The confusion faced by Xi painters is often how to make their paintings evolve on the traditional axis and form a unique painting style under the pressure of the practitioner.
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Mr. Pan Tianshou's transformation of traditional flower and bird paintings is unique, such as using strong brushwork to outline abrupt mountains and rocks, and then using various flowers and plants to construct linear and strong structures, and retaining some abruptness to form a strange aesthetic effect.
Pan Tianshou, Daily Manuscript, 25cm, 44cm, Calligraphy, 60s of the 20th century.
Pan Tianshou's apprentice sketches vary in size in the early 60s of the 20th century.
Pan Tianshou Xiong View 3473cm, 143cm, Chinese painting (finger ink), 60s of the 20th century.
Wu Fuzhi: Chinese painting is about being a person and doing learning.
Mr. Wu Fuzhi emphasized that Chinese painting is not only a painting technique, but also a person and a scholar. Mr. Wu Fuzhi has deep attainments in poetry, calligraphy and painting, and has in-depth research on the history of painting.
Mr. Wu Fuzhi believes that the teaching and learning of Chinese painting should be independent, and that brush and ink techniques and line modeling are the basis of Chinese painting modeling, and that innovation needs to be carried out on the basis of inheriting tradition.
Wu Fuzhi, Manuscript of the Day, 25cm, 45cm, Calligraphy, 60s of the 20th century.
Wu Fuzhi's sketches vary in size.
Wu Fuzhi, Rose Chick, 136cm, 68cm, Chinese painting, 1948, Collection of Wu Fuzhi Memorial Museum.
Zhu Le 3: Emphasize the integrity of the picture.
Mr. Zhu Lesan emphasizes the purity and integrity of the picture with "brush, ink and water". His calligraphy, paintings, seal carving techniques and themes all originated from Wu Changshuo, and his foundation is very solid. He has profound attainments in seal calligraphy and stone drum calligraphy, and is humble and simpleWhen painting, the ink is dripping, the colors are quaint, and the water technique is so fine that you can hardly see any missing brushwork.
Zhule 3 Collection of Ancient Texts 28cm 337cm calligraphy, 1981.
Zhu Le San, Bee Butterfly Cluster Flower, 98cm, 41cm, Chinese Painting, 1959, Zhu Le San Art Collection.
Lu Weizhao: You must first be proficient in a discipline.
At the age of 27, he served as a teaching assistant to Mr. Wang Guowei and compiled the Anthology of the Three Kingdoms, Jin, Southern and Northern Dynasties. In addition, he also studied calligraphy intensively, especially in his later years, the "flat seal" writing method is not very different from that of ancient and modern calligraphers.
Mr. Lu Weizhao attaches great importance to learning, and he often reminds young people to do more knowledge such as Chinese culture and history, and to be proficient in one subject. Zhu Yingren once consulted Wu Zhen in the Yuan Dynasty for a treatise on painting bamboo, and Lu Lao used a brush to write down the commentary carefully, but unfortunately this commentary was damaged by rats due to improper storage.
Lu Weizhao, Wu Zhen's Bamboo Treatise on Painting, 24cm, 74cm, calligraphy, early 70s of the 20th century.
Huang Binhong: The Enlightenment of Teachings and Variants.
Huang Binhong's ink accumulation method had a substantial impact on Zhu Yingren. Huang Binhong fused the ancient method with the teacher's creation into a furnace, the vertical and horizontal scattered picture weather, the chaotic firewood, the messy pen and ink chapter method, advocating "ink is colorful", one stroke after another, layer upon layer, with the pen to take off the sweet and vulgar, focusing on the backbone, this kind of traditional teaching methods and variants give people a lot of inspiration.
Huang Binhong, Huangshan Songgu Wulongtan 1685cm 120cm Chinese painting, 1953.
Lu Yanshao: Innovations in traditional painting methods.
Lu Yanshao's plum blossoms have been innovated in traditional painting methods, which are embodied in the trunk modeling techniques, petal painting methods and color application. He borrowed from Chen Laolian's trunk modeling techniques, but the brushes were different, using both the center and the side, and the lines were rich in variation, which was thicker than Chen Laolian's painting method. The petals are based on Shi Tao's double outline method, but Lu Yan rarely uses a single stroke to outline a circle.
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In terms of painting calyxes, he is different from the way of his predecessors with a few points of a flower, only one or two points, which is more concise and concise. In terms of color application, the petals are rendered in pale cyan, the eosin dot is in the middle of the stamens outlined with thick ink, and the trunk and stones are painted flat with light ochre with a little ink. These innovations make Lu Yanshao's plum blossom works have a unique artistic style and characteristics.
Lu Yanshao, Mei Zhushi 955cmx44cm Chinese painting, 1981.
Lu Yifei: The flexible use of traditional brush and ink.
Lu Yifei's flower and bird paintings show the typical traditional characteristics of Shanghai School calligraphy and painting. Since Zhao Zhiqian, Shanghai School of calligraphy and painting has attached great importance to the mastery of the foundation of traditional brush and ink, as well as the skillful use of traditional painting techniques.
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In his creation, Lu Yifei absorbed the painting techniques of Lin Liang, Lu Ji, Yun Nantian, Hua Xinluo and other predecessors, and integrated a variety of techniques such as gongbi, boneless, and workman-writing, showing a delicate and delicate picture style, and also using traditional brush and ink very flexibly, making his works not only have a profound traditional heritage, but also lose new and unique artistic expression.
Lu Yifei, Pseudo-Silla Mountain People's Brushwork, 43cm, 324cm Chinese painting in the early 70s of the 20th century.
Lu Yifei, Peony Sketch, 59cm, 33cm, Chinese painting, 1962.