Left: Gao Qifeng took a photo in front of the Pearl River south of the Tianfeng Building in 1929 (file photo) Right: Today's Tianfeng Building Yangcheng Evening News reporter Song Jinyu photographed
Gao Qifeng once taught the "Heavenly Wind" sons here, and the light of humanities and arts has now shone far and wide at home and abroad
Text/Yangcheng Evening News all-media reporter Zhu Shaojie Intern Chen Xiaonan Correspondent Ren Haihong
In the jurisdiction of today's Ersha Sports Training Center in Guangdong Province, there is an old two-story building in the shape of a pavilion. On one side of the outer wall of its north gate is embedded with a marble plaque, on which are the three characters of "Tianfeng Lou" inscribed by the Master of Chinese Painting Guan Shanyue.
This inconspicuous yellow-green old building on Ersha Island is the former residence of Gao Qifeng, the master of Chinese painting of the "Lingnan School", and was also an artistic attraction in the history of modern Lingnan painting. Gao Qifeng, the owner of the small building, and the doorman "Seven Sons of Tianfeng" spent a golden time here as a teacher and friend, only four years ago, but the word "Tianfeng" has since been deeply implanted in the history of modern Chinese art.
Since then, "Seven Sons of Tianfeng" has become synonymous with the "Lingnan School" Gao Qifeng.
Talk about art and change scenery step by step
In 1929, Ersha Island welcomed a painter.
At that time, Ersha Island was still a barren land on the outskirts of Guangzhou. The southern part of the island was a gathering place for the people who lived at the bottom of the society at that time, and the water was full of boats of the people.
However, with the development of Guangzhou's modern city, the western end of Ersha Island near the city was photographed by the "medicine king" Liang Peiji, and the first "hotel hospital" was built. Gao Qifeng, who was suffering from tuberculosis, also went here to meditate and recuperate. The following year, seeing that the place was quiet and pleasant, he made a long-term plan and funded the construction of a new house next to the Summer Palace, named "Tianfeng Lou".
At that time, Gao Qifeng, who was less than 40 years old, retired from politics and ended a brief lecture at Lingnan University. He is already a generation of famous artists in the painting world, and together with his brother Gao Jianfu, he created the "Lingnan School" with the concept of "compromise". Gao Qifeng's works are widely popular and attract the attention of the times.
The origin of the name "Tianfeng" is likely to come from the shape of its building: the air on the upper floor is smooth, and the river wind passes through the hall, just like the wind from the sky. At that time, the Tianfeng Tower was a shoreside building that changed scenery step by step, and it can be seen in the relevant old photos and researchers' literature that its north gate is connected to the earthen embankment by a small bridge four meters long. The literary historian Ye Shuming once wrote that because the Tianfeng Building is bordered by Liang Peiji's "Huayuan" in the east and Chen Keyu's "Kelu" in the west, these three buildings are called "Three Family Villages".
After living in the Tianfeng Building, Gao Qifeng closed the door most of the time to thank guests, and only the shimen talked about art and opened an elegant collection here. Today, we can see a "Very Spring Color Map", painted by Gao Qifeng and many disciples. The picture is inscribed by Gao Qifeng: "In the spring of the 22nd year, the disciples of Jimen painted in the Tianfeng Building. He Qiyuan Peony, Monday Feng Peony, Zhao Shaoang Camellia, Ye Shaobing Rose, Liu Dingshu Molan, Rong Shushi Hongmei, Huang Shaoqiang Baimei, Feng Suichuan Daffodil, Zhang Kunyi Qingju, Yu Supplement Lamei".
The doormen gather and remember for a long time
This period was the most prosperous period under QifengMen. He Guochang, the son of his disciple He Qiyuan, once told Zhu Wanzhang, a research librarian at the China Museum, about anecdotes in the building: When he was six or seven years old, he Guochang first ascended to the Tianfeng Building, only to see people in the shadows, the doors crowded together, and the bustle was extraordinary, "like in a big family, it seems to be doing something big." Although his memory has been blurred, Gao Qifeng's gentle and elegant, kind-hearted elderly demeanor makes him unforgettable.
Gao Qifeng's disciples are known as the "Seven Sons of Heavenly Wind", and can be described as the key figures of the second generation of the Lingnan School. In terms of specific characters, there are differences in different literature records and different research views, which are roughly the same as Zhou Feng, Zhang Kunyi, Ye Shaobing, He Qiyuan, Huang Shaoqiang, Rong Shushi, Zhao Shaoang, Feng Suichuan and others. Since 1919, they have successively entered the "Aesthetics Hall" founded by Gao Qifeng to learn painting and become disciples.
In 1933, Gao Qifeng left the Tianfeng Building. He accepted the appointment of envoy to the Chinese Art Exhibition in Berlin, Germany, but died of illness on the way to Nanjing. For some time after Gao's death, the Sons of Tianfeng thanked their ancestors from time to time, stopped and lingered in the Tianfeng Building, and regularly held art collections and painting activities.
The most classic painting is "Portrait of Gao Qifeng". It was on the Qingming Festival after Gao's death, and the sons of Tianfeng gathered in the Tianfeng Building to pay homage to the ancestors: Huang Shaoqiang wrote a posthumous portrait, and He Qiyuan completed it; Monday Feng wrote stone, Zhao Shaoang wrote pine branches, Ye Shaobing wrote chrysanthemums, Rong Shushi wrote reed moss; and finally He Qiyuan wrote an inscription. Until the end of the 1940s, when the Tianfeng Zhuzi held a joint exhibition of calligraphy and paintings, this painting always became the central focus of the exhibition.
Portrait of Gao Qifeng by disciples in 1941 (in the Heritage Museum of Chinese University, Hong Kong)
Continuing the spirit of care for the bottom
After the founding of New China in 1949, the government took over the Ersha Summer Palace, which was changed into a bank training class and later a bank sanatorium. In 1956, it was expanded into a Guangdong sports training base, where Chen Jingkai, Qi Lieyun, Rong Guotuan, Chen Xiaoxia and other national players who had come out of the famous earthquake sports arena. In 2002, it was listed as "Guangzhou Cultural Relics Protection Unit".
In the past, the second floor of the Tianfeng Building was three studios with a width of six meters and a depth of six meters. Today, it is the dormitory of the guangdong women's water polo team. The gate that once went south had long been sealed, the bridge leading to the river no longer existed, and an eight-story dormitory building had risen from the ground, making it impossible for the old residence to face the Pearl River directly.
But the spirit of the Lingnan School still blows from the depths of history. In 1937, the "July 7 Incident" suddenly broke out, and the seven sons of Tianfeng hurriedly avoided Hong Kong, Macao and other places, and people went to the building. Because of the small number of gatherings, it is divided into smaller groups of painters, such as Guangzhou Art College, Hong Kong Art College, Hong Kong Art Society, and The Year Cold Society. Occasionally, when they reunite, they also hold joint exhibitions.
In 1932, the sons of tianfeng collaborated on the "Flower and Bird Diagram" at the National Disaster Freemasonry Calligraphy and Painting Conference to wish the mountains and rivers the same heart. In the same year, at the "National Difficulty Painting Exhibition" in Guangzhou, Huang Shaoqiang's "Flood Displaced People's Map" depicted the hatred of the country and the family, and was rated as the crown of the whole field, and the two thousand silver dollars from the sale were donated by the Huang family to the disaster relief.
Among the Sons of Heavenly Wind, Huang Shaoqiang's paintings often look at the bottom of society- the homeless and hungry people who suffer from war, the widows and widows who have no home, and the singers and coachmen who struggle to make a living, all of which are the protagonists of his paintings. He has always flaunted the concept of "going to the people and never returning" in his creations. Liu Haisu once inscribed a collection of paintings for him, praising: "The art that was once made for the gods and princes is now in the era of making for the commoners." There is one writer who represents this new era, and that is The Doorman Huang Shaoqiang. ”
In 1935, Huang Shaoqiang established a folk painting museum in Guangzhou, and in January of the following year, he founded the "Folk Painting Society" to "write about the sorrows of the family and the country and the sufferings of the people". In order to raise winter clothes, he held a large-scale painting exhibition with the art community and donated all the proceeds to the anti-Japanese front.
During the same period, Zhang Kunyi, one of the "seven sons" who traveled overseas, held the "Kunyi Painting Exhibition" at the Kinmen World Exposition in the United States, and traveled all over the Americas. During this time, she created impromptu creations and remitted the proceeds back to the mainland for the relief of refugees. Later, Zhang Kunyi joined forces with Gao Jianfu and others to establish the China Art Association, which consistently adhered to the purpose of "art serving society".
Art historian Huang Dade is writing The Biography of Gao Qifeng. He believes that the life experience of Gao's lineage has deeply influenced the formation of the Lingnan School of painting, and the internal connection between the experiences of Gao Jianfu and Gao Qifeng's brothers, aesthetic orientation and "popular" art ideas should be re-examined.
Broadcast overseas to carry forward and expand
The one who carried forward the Heavenly Wind was Zhao Shaoang, the youngest of the Seven Sons of heavenly wind.
At the age of 16, Zhao Shaoang entered Gao Qifeng's door and taught at the Foshan Municipal Art School at the age of 22. For a long time afterwards, its exhibitions blossomed in major cities at home and abroad, pushing the Lingnan School to a new stage and spreading overseas.
"I am for me, I am in myself", this is Zhao Shaoang's most commonly used idle chapter. The Seven Sons of Tianfeng inherit Gao Qifeng and integrate the East and the West; they have also been extended, and the division has been created by the ancients, each showing its own characteristics. Especially in the painting of grass insects, Xu Beihong once praised him as "a person in ancient times".
Zhao Shaoang's students are spread throughout Hong Kong, Macao, Taiwan and Southeast Asia. In 1929, he founded the "Lingnan Art Garden" in Guangzhou, which had a profound influence on modern Lingnan art education. Among his many protégés, Ou Haonian, who was born in southwest Guangdong, is in the same vein and has a unique style. In 1952, Ou Haonian entered the shimen and later settled in Taipei, sowing the spiritual roots of the Lingnan school of painting on the other side of the strait.
From the Gao clan to the Zhao clan Ou shi, it outlines the century-old inheritance path of the heavenly wind and vein, and also witnesses the vicissitudes of the Lingnan painting world in the 20th century. At the other end of the world, Zhang Kunyi, who went abroad, has also devoted her life to promoting Lingnan paintings, spreading the artistic concept of Tianfeng yimei in North America and Europe. In addition, through speeches and other actions, she also encouraged overseas Chinese youth and women to join the ranks of serving the motherland.
In the "Collection of Paintings of the Modern Chinese School: Lingnan School" compiled by the Guangdong Provincial Museum, it is commented that the "Lingnan Art Garden" opened by Zhao Shaoang and the "Zhilu Painting School" opened by Huang Shaoqiang are the two institutions with the nature of art schools and private schools that are the most important places to cultivate the third generation of lingnan painting schools.
When Gao Jian's father continued to cultivate the art practice and research of Lingnan, his influence in the mainland increased greatly, and the descendants of Tianfeng who flowed overseas grew another root system. Li Jinkun, president of the Guangzhou Academy of Fine Arts and director of the Lingnan School Of Painting Memorial Hall, believes that the descendants of Gao Qifeng's "Tianfeng", represented by Zhao Shaoang and others, have lived in Hong Kong, Macao, Taiwan and overseas for a long time, and their practice and exploration have spread the art and concept of the Lingnan School of Painting, enriched the world's understanding of Chinese painting, and continuously improved the international dissemination of Lingnan art and even Chinese culture.
The sound of the wild geese the confluence of two veins
In 1945, Zhao Shaoang, Together with Gao Jianfu, Chen Shuren, Li Gemin, Guan Shanyue and Yang Shanshen, founded the "Jinshe Painting Society" in Guangzhou, with the mission of studying Chinese painting and expanding Guangdong's innovative painting, which was the earliest art group established in Guangzhou after the War of Resistance Against Japanese Aggression. Three years later, the painting company linked up with Guangzhou and Hong Kong to hold the "Lingnan Chinese Painting Famous Artists Calligraphy and Painting Exhibition".
In January 2021, the Guangdong Museum of Art exhibited several collaborative works by Gao Jianfu and Gao Qifeng's successors, from four Chinese painters, Zhao Shaoang, Li Xiongcai, Guan Shanyue and Yang Shanshen, showing the artistic style of the Lingnan School and the pure and informal friendship between the masters.
At the end of the 1940s, the two lines of the Lingnan School of Painting separated from Guangdong and Hong Kong. Zhao Shaoang and Yang Shanshen successively settled in Hong Kong, while Li Xiongcai and Guan Shanyue were stationed in Guangzhou. Thanks to the reform and opening up, exchanges between Guangzhou and Hong Kong have become more frequent. In 1980, Li Xiongcai and Guan Shanyue visited Hong Kong and reunited with Zhao Shaoang and Yang Shanshen, and the four masters of Chinese painting in the ancient years were still enthusiastically discussing the preparation of a joint exhibition.
At the suggestion of Mr. Yang Qi, then secretary general of the Hong Kong branch of Xinhua News Agency, the four old plans to cooperate with a number of new works. Yang Qi proposed himself as a "Hongyan" and exchanged them among the four masters with a series of semi-finished products. The four Masters of Chinese Painting are each good at expressing different subjects, so in the process of cooperation, in addition to expressing the subject matter they are familiar with, they also need to make appropriate additions according to the content created by the former. What is more challenging is that because the four elders cannot discuss painting in the same place for a long time, the composition of the chapter is all based on tacit understanding, which has become a good story.
With the joint efforts of many parties, in March 1983, the "Lingnan Painting Art - Zhao Shaoang, Li Xiongcai, Guan Shanyue and Yang Shanshen Four-person Collaborative Painting Exhibition" was exhibited at the Feng Pingshan Museum of the University of Hong Kong, which was praised by cultural circles from all over the world. Wu Zuoren, then chairman of the China Artists Association, once praised: "The four families in Lingnan are gathered together and breathtaking. ”
In 1991, the Lingnan School Memorial Hall in the Guangzhou Academy of Fine Arts was officially opened. These collaborative classics from the two veins of the Lingnan School of Painting became the first important collection of the museum, confirming the grand event of the convergence of the two veins of the Lingnan School of Painting and passing on its spirit to generations of Lingnan painters.
"Ten Spring Colors" (in the Heritage Museum of Chinese University, Hong Kong)
Interview
Liang Zhaotang (famous painter)
The influence of the Heavenly Wind pulse is very large overseas
Yangcheng Evening News: How to evaluate the characteristics of Gao Qifeng and his disciples in the Lingnan School?
Liang Zhaotang: The Lingnan School of Painting is represented by the "Two Highs and One Chen" (Gao Jianfu, Gao Qifeng, Chen Shuren) and advocates innovative painting schools. The styles of these three people are different, and unlike the vigorous and bold style of their brother Gao Jianfu, Gao Qifeng reflects Yajian, which is an important feature. Among them, the most influential was Gao Jianfu, and Gao Qifeng's influence was second only to his brother.
Many people only see gao Qifeng's paintings that blend The elegance and customs of the West and the beauty of beauty, in fact, Gao Qifeng once said when lecturing at Lingnan University: "I used to simply paint ancient Chinese paintings, intently imitating the works of famous Tang and Song masters. Gao Qifeng later went to Japan to study, and only after returning to China did he slowly embark on the road of "innovation", integrating Chinese and Western ancient and modern.
In the torrent of history, Gao Qifeng has actively participated in the revolution. In the Lingnan School, his paintings have a very strong personality: first, the aforementioned appreciation of elegance and customs has a sense of common people; the other is to strengthen the writing of part-time work and pay equal attention to color and ink, which is also the characteristic of the Lingnan School.
Yangcheng Evening News: "Seven Sons of Tianfeng" and other Tianfeng Loumen people have an impact overseas?
Liang Zhaotang: There are many students in Gao Qifeng's lineage, and many people overseas have studied with his disciples. Because of its elegant and customary appreciation and beautiful colors, the paintings of Tianfeng Yimei are easy to enter thousands of households, so they form a greater influence among the ordinary people of overseas Chinese.
Among the "Tianfeng" Loumen people, the most accomplished and influential is Zhao Shaoang, followed by Huang Shaoqiang. Zhao Shaoang is the most core figure of the Seven Sons of Tianfeng, with a considerable amount of works and students all over the world, whether in the mainland or overseas, and has a certain influence. Overseas, many people simply regard Zhao Shaoang's painting style as a representative of the Lingnan School.
Huang Shaoqiang's sense of the lower class of civilians is the strongest, and he emphasizes the expression of the bottom of social hardship. However, because of his early death, there are not many people who can inherit his painting style, and his influence is not as good as that of the Zhao family. Ye Shaobing later returned to Guangzhou from Hong Kong, and some painters in the mainland recognized him as a result. The other doormen of Tianfeng Building have great influence in North America and Australia such as Hong Kong, Macao, Taiwan and California.
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Summer Palace: It was a secret red stronghold when Guangzhou fell
There is the Summer Palace in the north and the Summer Palace in the south.
The Summer Palace, located in the western corner of today's Ersha Island, was built in the 1920s and is known as Guangdong's first "hotel hospital". The Summer Palace was founded by the famous "Medicine King" Liang Peiji, the hospital design imitates the Beijing Summer Palace, taking the meaning of the Elderly Garden, named "Pearl River Summer Palace Hospital", covering an area of about 20,000 square meters. The Summer Palace is composed of a garden, a villa and a hospital, and the garden is surrounded by various flowers and trees, and the environment is elegant. It is a place where "looking at the Cloud Mountain in the distance and watching the pearl water fish swim up close".
In July 2002, it was announced by the Guangzhou Municipal People's Government as the sixth batch of Guangzhou Cultural Relics Protection Units. Today, the former site of the Summer Palace is part of the Ersha Sports Training Center in Guangdong Province, and more than 10 remaining villas and bungalows have been converted into office buildings, guest houses and dormitories.
Among them, the private villa "Yulu" in the westernmost building of the first building is the first building in the whole Of Ersha Island, the history is even earlier than the Summer Palace, and there is still a stone plaque inscribed "Jing Yishou" by Kang Youwei's female disciple and famous calligrapher Xiao Xian on the west side of the building.
Surrounded by water and trees on three sides, the Summer Palace is surrounded by water and trees, and due to the excellent medical equipment, the Kuomintang magnates, wealthy businessmen and celebrities from all walks of life are recuperating here, and Ersha Island has become a meeting place for military and political dignitaries.
In the Summer Palace, Liang Peiji also received Mei Lanfang, Xie Bingxin and others. In 1946, When Mao Dun and Chen Renyun came to the Summer Palace, Liang Peiji's eldest daughter, Liang Yiyi, personally cooked and entertained with Western food, and they sat on the wide balcony on the second floor of the residence to eat, and Liang Peiji said to his children: "The world in the future is the Communist Party." ”
During the War of Resistance Against Japanese Aggression, more than a dozen of Liang Peiji's children successively joined the Anti-Japanese Salvation Movement, 8 of whom also joined the Communist Party of China, and the Summer Palace became a secret stronghold for the struggle behind enemy lines in the occupied areas during this period.
The Culture and Literature and History Materials Committee of the Guangdong Provincial Committee of the Chinese People's Political Consultative Conference jointly sponsored by Yangcheng Evening News
(Thanks to Guangdong Ersha Sports Training Center and Lingnan Painting School Memorial Hall for their strong support)