<h1 class="pgc-h-arrow-right" > one of the recording materials of the large-scale short video program "100 Years and 100 Cities" of CCTV Financial Channel. </h1>
The video shows Huang Ye talking to CCTV reporter about Li Geng's creation of the State Guest Hall of the Great Hall of the People to draw a huge screen "Song QingHe White Oriental Red"
An artistic treasure, an ode to the times
------ commented on Li Geng's "Song qinghe white oriental red" and "song crane age" pictures
Yellow leaves
The name in the painting in the State Guest Hall, the forty Spring and Autumn began to recognize Jing.
Since then, the screen has been relatively long, and Song Qinghe bai is the most concerned.
This is one of the four poems of "Grandmaster Yong Yannong" written by himself at the end of October 2001 when he went to Beijing Xiangli as a member of the exhibition team of "Li Geng Painting School and Putian City Calligraphy and Painting Exhibition". In the poem, in the CCTV news broadcast at 7:00 p.m. every night, we often see two huge painted screens as the background when party and state leaders hold important foreign affairs activities----- "SongHe Tu". If you pay a little attention, you will also see in the close-up that the upper left side of the frame placed in the front direction is "Song QingHe White Oriental Red Gu Min Li Geng Painting"; the opposite direction of the other bottom right is "Song Crane Ling Ling Min Zhong Li Cultivation" money.
As "the first Chinese classical figure painting in the twentieth century (the famous art critic Hong Huizhen), Li Geng can be regarded as one of the symbols of the excellent culture of the Chinese nation with the theme of flower and bird painting, and it is displayed in the most important foreign affairs activity place in China, which is indeed of unusual significance for a local painting school far away from Beijing and its author himself. Unfortunately, for decades, we have rarely paid attention to and publicized it, so that I, who is under the wall of the door, will exclaim that "forty years have begun to know Jing"!
In 1959, the Great Hall of the People, one of the ten major buildings in Beijing in the early days of the founding of the People's Republic of China, was completed, and each province had to decorate its own "hall", so it showed its local characteristics and "unique skills", and launched local art leaders in order to try out the heights and show its style on this rare stage. Fujian is located on the southeast coast, facing Taiwan, and was called the "front line" at that time, and the status of the Fujian Department was particularly important. Obviously, the provincial party committee and the provincial government have carefully considered and carefully selected the content, form and author of the screen of the department. The content selects Li Geng, who means that the motherland is thriving and the country is evergreen; the author of the painting introduces Li Geng, who can best represent the local painting tradition of Fujian and whose artistic standards are comparable to those of famous artists in various provinces, especially In Beijing; the production uses one of Fujian's "unique skills" ---- traditional lacquer stacking technology, and zhang Ying, who is also a famous painter who worked at the Fuzhou Institute of Arts and Crafts at the time, was also Li Geng's high foot to copy and start the painting process according to Li Geng's painting draft. According to Zhang Qiuhong, a daughter of Zhang Ying'ai who is still alive and working as an assistant at the time, the production was carried out in the Fuzhou Municipal Institute of Arts and Crafts on Industrial Road, and the main body was shipped to Beijing after completion. For some reason, Zhang Ying himself did not go to Beijing with the work, and the installation and follow-up work were sent to Li Geng's other high-footed Zhou Xiuting to complete.
At that time, considering his life and creative habits, Li Geng created a painting at the newly established Xianyou Li Geng Chinese Painting Research Studio (later changed to a research institute, the original site was in the Cai Ancestral Hall of Dajing Lane, Chengguan, Xianyou). According to the recollections of his students, the rice paper used at that time was also supplied directly by the province. At the same time, there are also four screens of "Plum, Orchid, Bamboo and Chrysanthemum", which will not be repeated here.
Let's pull the topic back to the work itself, first of all, to interpret "Song QingHe White Oriental Red":
Li Geng's work "Song Qing Crane White Oriental Red"
The two pine trunks of the picture are thick and strong, and they rush upwards obliquely to the upper right corner, with the spirit of preemptiveness. A round of red sun sprays out, which is both eye-catching in the dark green of the pine and the golden yellow of the sky, but also not abrupt and isolated because of the adhesion with the pine. The golden yellow sky is faintly covered with a few shades of red light, so that the large area of the background color will not appear monotonous, while increasing the natural color of the picture----- the rising sun corresponds to the sunrise. The other pine stretching to the left uses its horizontal posture to set off the great shore of the companion, and through the loops of the branches, the lush overlap of the pine needles is connected with it, as if it is from the same root, just like the same qi, stirring each other, full of vitality. The two white cranes standing proudly in the green of the bushes, one in the direction of the momentum, one neck to look back, together in the morning sun, the same song of the rising sun. In order to balance and enrich the picture, increase the sense of heaviness and depth, the author specially piled a huge stone in the lower left of the frame (why is there no painting here, but because the stone is made by the painter with a very realistic sense of piling), which not only makes the pine tree on the left side have a support, but also sets off the white crane in it. A pair of red Ganoderma lucidum on the stone surface not only conveys the meaning of life and longevity like the pine crane, but also plays an effect that echoes the red sun in the upper right.
Next, we turn our perspective to "The Age of the Pine Crane":
Li Geng's work "Song Crane Age"
The work is the same as the content, specifications and production process of "Songqing Crane White Oriental Red", but the two paintings present different visual effects due to differences in composition and brushwork: that is, the former is solid in composition, and the loose stem shape is rough with a pen, which is calm and thick and imposing (the reason why the painting is placed directly in front, in addition to the title of "Songqing Crane White Oriental Red" itself is in line with the times, the picture effect is also an important reason). The latter is real and virtual, and the picture appears flexible and relaxed: the two green pines rising from the ground, regardless of the primary and secondary, high and low, meander and stretch up in the interdependence and interweaving, and suddenly switch the outward rigid strength of the green pine into the introverted flexibility and tenacity. The upper branches extend downwards, the canopy is shady, and the pine needles are thick, but they are very casual. A pillar of strange stones in the shape of a fork, under the cluster of bamboo cultivation, leans slightly to the right and plunges straight into the clouds, and the bamboo leaves and ends and the brushwork of the strange stones are folded back along the overall momentum of the picture, and the music of the east wind is combined with the left out of the pine needles and the left breeze of the vines. The two white cranes integrated into the picture are not so eye-catching, and the rising red sun between the strange stones, green pines and white clouds constitutes a leisurely, harmonious and clear scene. Here, what is even more admirable is the white cloud that runs through the pine, which is the author's bold creation of applying his unique landscape painting "broken cloud" technique to the picture of flowers and birds.
I always feel that the most important thing about why Li Geng's two flower and bird screens are so magnificent is to be good at integrating the momentum and techniques of landscape painting into flower and bird paintings. Of course, the second-degree creator's understanding of the spirit of the original manuscript and his familiarity with the drawing method are also an important factor.
Yu Weiguo, governor of Fujian Province at that time, issued a letter of appointment to Huang Ye for the "Librarian of the Fujian Provincial Research Museum of Culture and History"
About the author: Huang Ye, the lord of the nobility, born in 1954, is a Fujian Xianyouren. Librarian of Fujian Provincial Research Museum of Literature and History, inheritor of Li Geng's art, works at the Xianyou Li Geng Chinese Painting Research Institute, specializing in the creation and research of classical figure painting, and is currently the deputy director. His works have participated in the "New Century National Exhibition of Chinese Painting and Calligraphy", "2001 National Exhibition of Chinese Paintings", "2003 National Chinese Painting Nomination Exhibition", etc.; published nearly 20 academic papers; poems and essays have also appeared in newspapers and periodicals. He has published "Yellow Leaf Poems, Books, paintings of the Story of Nine Carp Lake", "Chinese Medical Saints" (group paintings), "Manuscripts of The Unsatisfactory Zhai" (poetry collection), "Yellow Leaf Painting Collection" (Maitreya scroll, GaoShi volume), "Nine Carp Lake Dream Ink", "Li Geng Research" and so on.
Huang Ye's work "Dongpo Playing Yan"