What are the characteristics of Qinling School of Painting?

The majestic Qinling Mountains have been the hiding place of literati and the source of artistic creation since ancient times. Many excellent artistic categories in China were also born in Qinling Mountains. In 1960s, Chang 'an School of Painting, represented by Shi Lu and Zhao Wangyun, rose rapidly, which made the Qinling Mountains more humanistic. Now, for the traditional landscape painting in China, Qinling Mountain has achieved the peak of China painting art with its majestic momentum and magnificent scenery. China's landscape painting began in the Five Dynasties and rose in the Northern Song Dynasty. In the Tang Dynasty, China's paintings were mainly manifested in figures. As an independent landscape painting, it is still in the development stage. At the end of the Tang Dynasty, the appearance of the great poet Wang Wei made China's landscape painting really prosperous, thus creating a precedent for literati painting in China. "The empty mountain after the rain, standing in the autumn evening. Moonlight in the pine forest, crystal stone in the stream. "In Wang Wei's works, Mount Zhongnan, which is in the same strain as the Qinling Mountains, makes people realize leisure and ingenious analysis of nature. Looking closely at Wang Wei's landscape paintings, we can see that the beauty of Wangchuan makes the poet can't help splashing ink, and the most famous one, Wangchuan Villa, has established him as a symbol of the Qinling Mountains. In the history of China painting, the great poet Wang Wei is called the originator of ink and wash landscape painting. During the Northern Song Dynasty, landscape painting reached its peak and became a major branch of Chinese painting. At this time, landscape painters are like clouds, among which Fan Kuan is the most representative. His paintings, such as Journey to the Western Hills, Cold Forest Snow Scenery, Building View of Snow Mountain, Sitting Alone by the Stream, have won unanimous praise from painters of all ages, especially Journey to the Western Hills, a large-scale work with a height of 206.3 cm and a width of 103.3 cm, which is not only rich in layers, but also rich in layers. In fact, these classic masterpieces are masterpieces that he lived in the south and Taihua, and they are placed at the peak of Weinan in Qinling Mountains. It is no exaggeration to say that the clear, majestic and continuous Qinling Mountains have made Fan Kuan's landscape painting style and mature techniques. Later "Yuan Sijia", Tang Yin in Ming Dynasty, and even "Jinling School of Painting" in Qing Dynasty and modern Huang Hongbin were all influenced by Fan Kuan's painting style. Landscape painting in Yuan Dynasty tends to be freehand brushwork, taking the virtual as the truth and focusing on the charm of pen and ink. Zhao Ziang and Yuan Sijia are typical representatives of landscape painting achievements in Yuan Dynasty. During the Ming and Qing Dynasties, literati painting prevailed, landscape painting prevailed, and many schools appeared. For example, in the sixteenth year of the Ming Dynasty, landscape painters Lv Wang and Hongwu painstakingly painted forty paintings after visiting Huashan, and the princes swam on them, and each made a preface and postscript, which became the Huashan Atlas and later became an immortal work in the history of Chinese painting. " Huashan Atlas was created by the author who visited Huashan Road and saw the peak of Xiyue Mountain. The author tries his best to describe the rigor of Huashan Mountain and the hard and heavy texture of the strange peaks and rocks, which shows the spirit of Huashan Mountain well and has a strong sense of sketching. The objects of painting have real existence and real names, and they have a good sense of the scene. They seem to be immersed in Huashan Mountain. This group of works is made by China's landscape painting through on-site sketch. Looking at modern times, Lin Fengmian, Liu Haisu, Fu Baoshi, Li Keran, Shilu and other masters have made in-depth observations on nature and sketched directly. Mr. Huang has traveled all over the country, leaving thousands of landscape sketches in the form of travel notes. These works are vivid and vivid, and the scenes blend, leaving a deep impression on people. This shows that as long as artists are friends with mountains and rivers and worship them as teachers, they can cherish mountains and rivers and write freely, and their works can form images of mountains and rivers, which is worth savoring. Fu Baoshi, Li Keran, Shilu, etc. On the basis of sketching in Qinling Mountains, they have different understandings of landscapes and created different painting styles while exploring the same nature, thus making China's painting career full of vitality. Throughout the creation of landscape paintings in past dynasties, everyone can't do without Qinling Mountain, a treasure trove of geomantic omen. Qinling Mountain is like a habitat in everyone's mind. As long as you stop a little, you will get her nourishment and enlightenment. Spread out the rice paper, keep the landscape in mind, the artistic conception comes first, and the mountains and valleys follow, which means to follow the essay and create freely, and a full-fledged landscape map of China literati will come to the fore. The poet Goethe once said, "Once an artist has mastered a natural phenomenon, this object no longer belongs to nature." For this sentence, China contemporary landscape painters have personal experience. A large number of famous painters such as Liu Wenxi, Wang Xijing, Dai Xibin, Cui Zhenkuan, Miao Zhongan, etc. have taken their students and disciples to sketch in the deep mountains of Qinling for many times. All the natural weather and charm of the Qinling Mountains lead to the depths of their souls. After decades of painful pen and ink exploration, the reform failed. This is the asceticism of China's landscape painting, and it also proves that they can only be ascetics on the artistic road. Jiang Wenzhan, a famous painter who is good at painting flowers, birds and plum blossoms, moved his family to Qinling Mountains in order to devote his life to his favorite painting career. In Jiang Wenzhan's works, his paintings are unconventional, vivid, simple and exquisite, quiet and natural. Appreciating his paintings can convey this feeling to people. We have no reason not to believe that the author devoted his heart to the universe and made a passionate journey of a romantic poet in the ethereal realm of the unity of man and nature. Throughout the contemporary painting world, no matter the loess painting school, Chang 'an painting school, Qinling painting school and other art schools, they are deeply rooted in life and everything in the world. Qinling Mountain, like the soil, sunshine and moisture in painting circles, silently provides nourishment for painters and moistens the towering trees of China traditional art. It is located in Shangluo, the hinterland of the southern foot of Qinling Mountain. Since the reform and opening up, calligraphy and painting have flourished. In the process of art development, a group of artists tirelessly seek to describe Qinling and Qinling people with different brushstrokes. Nowadays, under the cultural brand of "Qinling Painting School" created by the collective leadership of Shangluo Artists Association, Ge Jianwei, the head of painting circles, has devoted his creative inspiration to Qinling Mountains. Because he is from Shangluo, he has a unique creative advantage. This Shangluo native, who is good at painting landscapes, vividly depicts every grass and tree in the Qinling Mountains. His pen and ink are like the weather in Qinling Mountains, with ups and downs, wet and dry depth, light and heavy. Ge Jianwei led Shangluo Chinese Painting Academy with the courage of Shangluo people. In recent years, he has won many awards in art exhibitions, which makes this most beautiful geomantic place in Qinling shine again. When talking about the development prospect of "Qinling School of Painting", Ge Jianwei reiterated that it is necessary to advocate going deep into life, facing the public, learning from tradition and times, fully absorbing nutrition, strengthening the expression of artistic works with the theme of Qinling regional customs, and pursuing local characteristics, distinctive personality and spirit of the times, so that the Qinling School of Painting rooted in Qinling can reflect a kind of vitality, a kind of strength and a grand national spirit, and create paintings like the towering Qinling Mountains.