The lonely alley is dark and the lights are deep
Try to analyze Huang Binhong, who is self-confident.
Jiang Yonglong. 3. Smoke and cloud offerings, the unity of knowledge and action
Yu Youren once inscribed a couplet: "Profit should be calculated for the benefit of the world, and the name should be sought for the name of the world." Huang Binhong has a broad pattern and a broad vision, often emphasizing that "virtue is up, art is down", and opposes calligraphy and painting for quick success. At the same time, he regarded calligraphy and painting as the carrier of lofty ideals, and practiced as a great achiever of calligraphy and painting with a long life and a vigorous enterprising spirit.
See what's out of the ordinary. Huang Binhong has a far-reaching understanding of calligraphy and painting, culture and transcendent insights. Mei Mosheng once said: "Huang Binhong is a profound and extensive scholar in the 20th century painting world, and his knowledge of Chinese culture can be called one of the best. Therefore, he can judge the famous deeds of the past dynasties with the eyes of a historian, and can examine the beauty and ugliness with the eyes of a commentator, so what he sees is different and mysterious. In a letter to Huang Jusu, he said: "Chinese painting becomes virtuous, Western painting is successful, virtue first aspires, and then Yiren amuses, and the essence is enough to help the world, and Buddhism is the same." He also said that the painting's "extremely desolate and cold realm can make the husband who fights for power and profit regard it as fierce and provincial, or retreat to the invisible." He pointed out in "Lectures on the Theory of Chinese Painting": "Life and career, out of spirit, precede determination, and strive for the upper ......."Concentrate on practice, don't go astray, have a great future, and everything is unavoidable. In a letter with Zhu Yanying, Huang Binhong said: "There are only a few writers of a generation who have become famous artists, and others who cannot reach them are not able to achieve great knowledge and perseverance. "Generally, calligraphers, painters and Yongshi only look at calligraphy and painting with technology, and regard calligraphy and painting as a vassal and elegant aftermath in life, as a means to sell fame and reputation, and as a knife coin in exchange for the interests of food and clothing. Huang Binhong is completely different, he regards calligraphy and painting as a ladder for cultivating the mind, as a carrier for learning from things, and as a method for educating the people. Huang Binhong said in the article "Landscape Painting and Tao Te Ching": "Lao Tzu is a book of governing the world, and painting is not a matter of seclusion. And then emphasized the ancient everyone: "All are born in danger, Tuo Zhi Danqing, can save the world with his art, and in the future generations in the rule of Zhilong, his intentions and "Lao Tzu" have the same purpose, how dare you accuse!" He said in "Painting Talk": "Morality depends on benevolence, and benevolence loves others." The subtlety of an art is extremely profound, and it can enter the Tao, and it is enough to help the world. Otherworldly arguments and opinions abound in Huang Binhong's writings.
Works by Huang Binhong
Evolve over time. Huang Binhong's pursuit of calligraphy and painting is obsessed with it, and he has never stopped throughout his life. For the supreme realm in the chest, it can be said that "insisting on the green mountains will not relax", and the sweat sprinkled is many times more than ordinary people. From his various books and writings, as well as the reminiscences of relatives and friends, it can be seen that Huang Binhong has shown a thirst for learning in calligraphy, painting and writing since he was a child. And the older I get, the more interested I become. In his early years in Jinhua, he followed Ni Yifu to learn painting and seal carving. When he was young, he asked Zheng Shan for brushwork, and obtained the trick of "easy in reality, difficult in fiction", and twice went to Yangzhou to learn landscapes, flowers and birds from the painter Chen Ruomu. After the age of 40, he studied traditional painting methods and copied a large number of famous works. He also practiced "reading thousands of books and traveling thousands of miles" to increase his learning, broaden his horizons, and nourish his calligraphy and painting. Huang Binhong has traveled most of China in his life, and has visited Anhui, Zhejiang, Guangdong, Guangxi, Jingchu, Qilu, Yanzhao and other places and scenic spots. At the age of 67, he entered Sichuan in his old age, and spent a year enjoying the beautiful scenery of Bazhong. For the first 20 years of his stay in Shanghai, he worked mainly in newspapers and bookstores. For the next 10 years, he mainly taught at various art schools in Shanghai. In the 11 years since moving to Beiping, the art industry has also been improving. His student Gu Fei recalled: "I still remember when I lived in Huang Shi's house, I saw that the teacher really couldn't put down the papers, kept waving the pen, couldn't untie his clothes, and didn't know the taste of food. Usually when eating, a book must be spread by the bowl, and while eating, while reading, only close to one vegetable ......Once, my wife put the bath water and asked the teacher to take a bath. My wife waited for a long time, but I didn't see the teacher come out. When I went in, the teacher was sitting on the edge of the basin reading a book, and the water was already cold. As Huang Binhong himself said: "The ancients must work hard to achieve an art, such as becoming an immortal Buddha after cultivation." ”
Stick to the discipline. Huang Binhong has a noble character, does not rise and fall with the world, and has a manly spirit in his chest. He once pointed out: "To pass on the name of painting, the emphasis is on the ...... character."And if the loyal ministers and righteous people, the people who are noble and bright are especially precious. There are several things that highlight Huang Binhong's integrity and demeanor before the great national righteousness: First, when Huang Binhong was the editor of the "Collection of Chinese Famous Paintings" of Shanghai Youzheng Book Company and the director of the art department of the Commercial Press, a Japanese scholar once asked someone to bring two forged Ming Dynasty landscape paintings, claiming that if they could be published, they would be rewarded with a lot of money, but Huang Binhong immediately refused. He believes that this is degrading and insulting to the national dignity, and he resolutely refuses to do it. Second, in the winter of 1939, Huang Binhong received an invitation from the Japanese painter Araki Shimu inviting him to a banquet at the Xisi Tonghe Restaurant. Huang Binhong and Araki Shimu met twenty years ago and exchanged letters. However, Huang Binhong thought that when Japan invaded China, it was not suitable to meet him at the invitation of Araki Shimu (and at that time, there were Hui Xiaotong, Shou Shigong, Chen Yuandu, Zhou Dianhou and others who were invited to the appointment), so he asked Shi Gufeng to go and politely declined. Araki ten acres called Shigu Feng to tell Huang Binhong, and went to the house to visit Huang Binhong in the afternoon of the next day. Huang Binhong immediately wrote on a piece of letterhead, "Huang Binhong needs to recuperate due to headache**, according to the doctor's instructions, and will not be a guest, please forgive me", posted it on the door of the hospital, and asked Shi Gufeng to wait for ten acres of Araki at that time. In the afternoon of the next day, Araki Ten Acres arrived. But when he saw the note on the door, Araki Shimu gasped, bowed to the door, and walked away. Third, in 1941, the Beiping Cultural Relics Research Association supported by the Japanese wanted to recommend him as the director of the art museum, but he resolutely ignored it. Fourth, in 1943, the Japanese "assistant officers" of the Beiping Art School, Ikyo and Kuroda, commissioned two gentlemen from the school to come forward, intending to hold an exhibition and birthday ceremony for Huang Binhong on his 80th birthday in the name of the school, but he flatly refused. These things show Huang Binhong's "ambition for eternity, friends do not make friends in vain", and it can be seen that he is the unity of knowledge and action, and his sobriety, rationality and loyalty at the critical moment of right and wrong.
During Huang Binhong's stay in Shanghai, his outlook on personality, culture, and art gradually took shape. Coupled with the 11 years of training and thinking in Beiping, all aspects of it have been further developed and improved, so as to achieve the almost consistent and self-consistent ethics, feelings, character and artistic accomplishment and calligraphy and painting language.
Works by Huang Binhong
Fourth, unswerving, self-confidence and fulfillment
In the long years of Huang Binhong's immersion in calligraphy and painting, whether people ridiculed him or individual people affirmed him, he was unmoved, and he diligently marched towards the transcendent realm in his heart like a pilgrimage over the years. He once said: "At the beginning of his aspirations, he sat at the desk all day long, did not let go of the rest, hid and cultivated, and traveled well, and no one was complacent, so that he succeeded." This sentence can be said to be the best portrayal of himself.
Deeply rooted and self-confident. Huang Binhong has always maintained a strong intellectual curiosity, and has dabbled in a wide range of Chinese culture, which is rare among calligraphers and painters in the 20th century. Wang Bomin said: "Huang Binhong is an outstanding painter in modern times, with profound knowledge and writings, in addition to calligraphy and painting, archaeology, poetry, gold and stone, seal carving, etc., all specialised. Mei Mosheng said: "Huang Binhong is erudite and talented, in addition to poetry, literature, calligraphy, painting, and also the arts, such as the piano, sword, chess, medicine, gold and stone, and writing, he is a generalist Chinese scholar. Let's not talk about his well-known strengths of calligraphy, painting, and seal carving, as far as his poetry is concerned, it has also entered the ranks of famous artists in modern times. Liu Mengfu said in "A Review of Anhui Poetry in the Past 100 Years" that there are only 7 people in Anhui's modern poetry, including Huang Binhong. Liu Mengfu said: "Huang is well-known as a painter at home and abroad, and his poems are also wonderful, including "Binhong Poetry Grass", "Binhong Youcao", "Huang Binhong Poetry" and so on. Chen Shengcong called his poem 'fine police dense chestnut, elegant near the stone' (Qing Dynasty poet Qian Zai's name Zhu Shi), and there are not many people in the painting. Because of his high achievements in poetry, Huang Binhong was included in the "Dictionary of Chinese Writers: Modern Volume" published by Zhonghua Book Company in 1997. It is not easy for people to have the essence of art, but Huang Binhong can understand all arts, which is really amazing. Huang Binhong's knowledge, cultivation, talent and life experience are the soil of his exquisite calligraphy and painting art. And his learning, cultivation, talent and life experience are rooted in his Lao Zhuang and Confucianism. This can be reflected in many of his writings, such as his paintings, letters, and painting inscriptions. For example, he said in the article "The Folk Studies of Chinese Painting": "Lao Tzu said that 'the Tao is natural', and Zhuang Sheng said that 'technology is the Tao'. Those who study painting must read the book of Lao and Zhuang ......Art must return to the Tao. Those who are the best in art are more in line with nature, this is the so-called Tao. The Tao is up, and the art is down. In 1948, there was a book with Wang Bomin: "The ancients have a six-character secret biography of 'easy in reality, difficult in fiction', and Lao Tzu said 'know white and keep black'." In his later years, he inscribed on the color landscape atlas: "Clarity and contemplation, you must seek it in a quiet place, not to discuss it with complexity and simplicity." Even from the fact that he named his second wife "Song Ruoying", it can be seen that Lao Zhuang has a unique position in his heart.
Huang Binhong's emphasis and understanding of Lao Zhuang are in line with Xu Fuguan's views: "The work they (Lao Zhuang) use is the cultivation of a great artist; The state of life that they have achieved through their hard work has no intention of art, but it will unexpectedly return to the spirit of art today. Huang Binhong also had a lot of remarks influenced by Confucius, such as he said many times: "The matter of amusement must be Zhidao, according to virtue, and benevolence." Liu Chengji said: "In Confucius's concept of art, art and morality or beauty and goodness are never separated, but one. In the first half of the 20th century, Huang Binhong was able to look to the artistic discourses of Confucianism and Taoism, reflecting his wisdom. Huang Binhong's profound Confucianism and Taoism, extensive knowledge, coupled with his rich experience and experience, through his thinking and perception, condensed into his firm cultural self-confidence, so that he can always maintain his independent life aspirations and calligraphy and painting character.
Works by Huang Binhong
Insist on cultivating "inner beauty". Huang Binhong has a very solid rational pursuit of his own artistic direction. He pursues true interest and advocates "inner beauty". "Inner beauty" is true fun, and true fun is "inner beauty". "Inner beauty" is the inner beauty, do not engage in sensationalism, do not engage in swaggering, do not engage in squeezing eyebrows, do not engage in heavy makeup, pay attention to the great ingenuity, the simplicity is not carving, and the beauty is not spoken. This kind of beauty contains but does not reveal, natural, peaceful, elegant, pure, contained, simple, "clear water out of hibiscus, natural to carve", although the bone is noble, but not showy, not arrogant. If you want to "let him compete for joy and reward, not for prosperity and easy to be plain", and cultivate the supreme realm of "inner beauty", you will inevitably experience loneliness, loneliness, and even hardship and other difficult dilemmas for ordinary people. Huang Binhong is a person who is willing to be ignored, for the sake of "inner beauty", it can be said that he "holds prejudice and insists on going his own way", and never violates his own heart. During his sojourn in Beiping, his vigorous and gorgeous "Black Binhong" painting style has gradually emerged, and his Chong and ancient gold calligraphy have also become a realm. Although from the perspective of the history of Chinese painting and calligraphy, Huang Binhong's calligraphy and painting art has jumped into the ranks of first-rate masters at this time, but there are few people who know it. As Fu Lei said in a letter to him in 1943: "The hatred is outraging all over the world, and no one pays attention to it." And it was ridiculed as "a poor landscape with black ink". At that time, his family of five lived in Beiping, and only his meager income from teaching at the Beiping Art School and the money from occasionally selling a few paintings supported the family's life, and they lived relatively poorly. Huang Binhong said in "Essays on Painting: Reputation": "The ancients were able to write, not to ask for recommendations, and to be good at painting without seeking knowledge and appreciation. Grass clothes and weeds, refusing to give to others. Cover the princes and nobles, and they are incapable of recruiting. Some people persuaded him to follow the trend of commodity painting, paint more green landscapes, easy to sell and famous. But he refused to follow the trend and rejected them one by one.
Break the cocoon into a butterfly realm. Huang Binhong has been learning from the present, the ancients, the creation, and the heart of the world. He has a lofty realm, advocating the study of "for himself", pursuing scholar painting and master painting, expecting technology to enter the art, art to enter the Tao, to achieve the harmony of Taoism and art, and through his own decades of practice, in the last few years of his life, he finally achieved the great beauty of rich and gorgeous landscape painting, and achieved the simplicity, lightness, clumsiness, and health of the great simplicity in flower and bird painting, and realized the brush and ink realm of "meeting with God without seeing at sight". Tong Zhongtao said: "Huang Binhong takes the 'painting of scholars' or 'painting of scholars' as his own responsibility, and surpasses it because of his sense of character and learning, workmanship, sense of historical responsibility and responsibility, the feelings of scholars and literati, and the kung fu of painters; It is a typical example of the way of Chinese painting that integrates 'non-stop art', 'technology into the Tao', and 'truth, goodness and beauty'. Pan Tianshou once sighed: "Meng Keyun 'five hundred years, during which there will be famous people', I have learned from Mr. Yu's painting." In his later years, Huang Binhong was not only a master of Chinese painting, but also a master of calligraphy, calligraphy and Chinese painting both won the charm of nature, and reached the wonderful realm of inner beauty. Huang Binhong's calligraphy pays attention to nature and attaches great importance to natural taste, which is the manifestation of his personality and cultural accomplishment, and the artistic externalization of the natural consciousness and life consciousness of Taoist philosophical thought. His calligraphy is best known for his large seal. He has a special fondness for the ancient characters of the three dynasties, taking the oracle bone inscriptions and gold inscriptions of the Shang and Zhou dynasties as the body, integrating the penmanship and knots of the seal script and the pottery script, advocating the beauty of unevenness, great ingenuity and natural changes. Its seal book is loose and comfortable, weight-lifting, lush, simple, and quaint, which is a vivid manifestation of its "flat, round, stay, heavy, and change" rationale pursuit. In particular, in his later years, the golden text was sluggish, sloppy, and clumsy, such as the leakage marks of the house, and the cone painting sand, which reached the realm of forgetting the gains and losses, being free and dripping, and not carving the great beauty. Mr. Mo Yi said: "Among them, the most outbound can be described as a realm, which is comparable to Tiangong, and it is indeed the swan song of the ages." ”
Works by Huang Binhong
Huang Binhong's calligraphy and painting matured early and late, which is a typical late bloomer. Throughout his life, Confucianism and Taoism were the roots of his "inner sage" of "self-righteousness", and Confucianism and Taoism, together with extensive knowledge, long-term tempering and manly spirit, were the cultural support of his self-confidence. Internally, borrowing art to fasten the heart, taking calligraphy and painting as the way to enlightenment, self-examination, self-purification, self-illumination, self-improvement, self-achievement, self-perfection; Externally, there is a strong sense of cultural responsibility, with the perception of "the Tao through the instrument" to write and write and paint, through the general pupa into a butterfly, to create a history of no one to reach the great beauty, the inner beauty of the realm, through the help of the world and the people and "foreign king" of the world.
Although Huang Binhong is famous for his paintings, he really "can't just use the history of painting". When Huang Binhong was in Beiping, his old friend Xu Chengyao once sent him a poem in She County: "The wind and snow are buried in the search, and the lonely alleys are deep in the light." Get rid of everything and become lonely and happy, how can you know more about the past and the present? The poem can sum up his life of self-confidence. Studying Huang Binhong is very inspiring. Huang Binhong is enough to reflect the narrow-mindedness, short-sightedness and shallowness of many calligraphers and painters in ancient and modern times, and is enough for everyone who learns the excellent Chinese culture and art to appreciate, imitate and worship. Now, Huang Binhong has become "lively", but the "lively" seems to be superficial. Huang Binhong is a bonanza that deserves to be discovered, excavated, collected, and refined in greater depth.
Works by Huang Binhong