He is the main representative figure of contemporary Chinese art and 20th century Chinese landscape painting, the leading figure of the New Jinling School, and his representative works are considered to be important symbols of Jiangnan culture, and he is a generation of masters who inherit the past and the future, and have made important contributions to the cause of Chinese painting art.
He is one of the leading figures of contemporary landscape painting in the mainland, Qian Songyao——
1965126× 188cm works by Qian Songyao
In 1899, Qian Songyao was born in the beautiful Jiangnan town of Yixing. The nickname Song Ling, which means that the pine tree is evergreen and immortal, has an auspicious meaning, because the word "伢" is harmonized with "rock", and was renamed "Pine Rock", and later changed to the more beautiful structure of the word "Song".
He studied poetry, literature, books and painting with his father at the age of 8 and began sketching at the age of 15. Qian Songyao attaches great importance to in-depth life, reflects the times, does not tire of being young and weak, and has gone out on more than 10 long-distance trips to sketch. In 1960, he traveled with Fu Baoshi to the 6 provinces of Henan, Shaanxi, Sichuan, Hubei, Hunan and Guangdong, and later went to Anhui, Lu, Guangdong, Gansu and other provinces. While admiring the beauty of nature, you can also observe the changes in the old and new societies. He paints realistically with enthusiasm and innovates boldly on the basis of tradition.
1960 77× 139cm Qian Songyao works
Qian Songyao, on the one hand, read the famous paintings of the past and made friends in calligraphy and painting; on the other hand, he deliberately copied the famous paintings. He once copied a true painting of Shixi for 3 years, and copied Tang Yin, Shi Tao and other brushwork, and also collected the strengths of the Song, Yuan, Ming and Qing families, laying the foundation for his traditional painting. After the integration, it has become a self-style, and the student era has become prestigious.
Qian Songyao was a painter who matured and matured late, and after the age of fifty, he really entered the peak of art. In the early years, although Mr. Qian had a beautiful atmosphere in the ancient sage model, his painting style had not yet got rid of the appearance of the ancients, and it was not until the founding of New China that his art really underwent qualitative changes and reached the peak.
1953 48.5×81cm Qian Songyao
The pen and ink of the mature style of the work are also very distinctive. Emphasize the bone method with a pen, with the "trembling pen" of the golden wrong knife to write a dull and majestic, vigorous and clumsy line, line but not slippery, stay without stagnation. In terms of ink method, we pay attention to the simultaneous use of ink breaking, scorched ink and accumulated ink, with deep layers, chaotic and clear, lush and beautiful, and ink color.
Qian Songkun talked about the revision and digging up of Chinese paintings: There is a joke: "If the beautiful woman is not good at painting, change Zhong Kui; Zhong Kui does not paint well, change the stone; if the stone painting is not good, change a piece of Ugin paper." "It's a joke, of course, but there's some truth to it. Painting on rice paper, can only be thickened, can not be lightened, Chinese painting pigments and oil paint are different, oil color is opaque, thick can cover up light, light can also cover up thick, very convenient.
Guoyang Height 1959 36.5×46cm Qian Songyao
From the 1950s to the 1970s, with his fiery patriotic feelings and smooth artistic language, he repeatedly depicted visual symbols such as Nanhu, YanyuLou, and "Red Boat" in the context of different eras and from different perspectives, focusing on the South Lake of Jiaxing, the holy land of revolution, and in the context of different eras, with different perspectives, and was the painter with the largest number, earliest time and most outstanding achievements in the field of fine arts at that time, which had an important leading role and exemplary significance in promoting the innovative development of red theme art creation.
"The fun of appreciation is better the older, so the painting world has become popular." No matter whose painting it is, the inscription on it almost has an imitation word... Chinese painting has reached the point where the mountains and rivers are exhausted. This is Qian Songkun's critical view of the current situation of Chinese painting that has been accustomed to for a long time in the new society. Judging from the current situation of Chinese painting after 1949, the literati painting style that pursues ancient meaning and wild elegance is indeed incompatible with the new era, and the new art, new style and new style brewing in Yan'an and the Liberated Areas have become the mainstream of the painting world.
Tao Du 1950s 72× 52cm Qian Songyao
In 1964, during a solo exhibition in Beijing, Hua Junwu, then vice chairman of the China Artists Association, praised his work as "a new model for landscape painting to bring out the old and the new."
With his high-grade art of landscape painting, Qian Songyao stood tall in the Chinese painting world in the 20th century. Qian Songlan mentioned in his "Yanbian Drip" that the ancients originally said that the intention was first, and the intention was to write first. Intentional is tasteful. Good painting always means a lot. There are paintings in poetry, there are poems in paintings, there must be poems outside the poems, there are paintings outside the paintings, and there is taste outside the taste. He said that being an artist cannot lack literary attainments. His ancient poems, simple, calm, affectionate and fluent, are integrated with the painting style. One is that poetry precedes painting, that is, touching the scenery in travel sketching, chanting poems lyrically, and then when painting, the verses are deliberated and inscribed on the painting; the other is that the painting precedes the poem, and after the painting is written, it is chanted into a sentence. Whatever the case, it's a perfect fit. His prose is also exquisite and clever, with a clear and lively tone.
Pine Money Song Yao works
It can be said that by the mid-1960s, Qian Songyao's brush and ink of the new landscape had reached the realm of proficiency, especially in the combination with new subjects, which showed ease, thus the peak of the Chinese painting world in this period.
Qian Songkun (1899-1985), a native of Yixing, Jiangsu Province, learned to paint under the influence of his father since childhood, and his calligraphy practiced a mixture of line kung fu, laying a foundation for his later paintings, studying the "Mustard Garden Painting Notation", learning the basic painting methods of painting trees and stones, and reading the ancient painting theory: Li Cheng's "Landscape Tips", Guo Xi's "Lin Quan Gao Zhi", Shi Tao's "Painting Quotations", etc., which improved his understanding in theory.
When he studied at Jiangsu Third Normal School, he studied under Hu Tinglu. Hu Tinglu once gave Qian Songlan several photographs of famous works, including Wang Jinqing, Tang Liuru, Shi Tao's landscapes, and Qian Songlu's anti-review for five or six years, which had a great influence on his technique.
After graduating from normal school for five years, he began to teach in Wuxi, Suzhou and other places for more than 30 years in 1923. In June 1957, he was hired as a painter of the Jiangsu Provincial Academy of Chinese Painting (Preparatory Department), and when the Academy was officially established in March 1960, Qian Songlun served as the vice president, and after the end of the Cultural Revolution, in 1977, the Jiangsu Provincial Academy of Chinese Painting was restored and served as the president.
Canal engineering drawing axis Qian Songxue
Qian Song Yao Love Evening Pavilion Chart Axis Qian Song Yao
Qiu Ming, 1934, 58.5x31cm Qian Songyao
Mountain residence silver painting 1940s 145.5×39.5cm Qian Songyao
Figure of the cure borer, 1950, 103.5×53cm Qian Songguo
Zhang Gongdong 1953 112× 60cm Qian Songyao
Finches 1956 69.5× 46cm Qian Songxue
Jiang Nanchun 1958 72× 52cm Qian Songyao
Deep mountain hydropower energy more 1961 56.2×41cm Qian Songyao
Yangtze River 1964 87× 61.4cm Qian Songyao
1972 123.5× 68.4cm Qian Songyao
Yuhuatai 1964 139× 96.3cm Qian Songyao
List of works of famous calligraphers and painters after 1949
In principle, works are not allowed to leave the country (25 people):
Chasing deer in the painting world, who can make the list
The list of "2021'Art Weekly" Painting World Awards: