The Outline of Guangxi Cultural Development Plan during the Eleventh Five-Year Plan also clearly stated that it is necessary to "further cultivate and support excellent cultural brands such as Bagui national music, Lijiang painting school and landscape real-life performing arts". In recent years, under the leadership of the Propaganda Department of the Party Committee of the Autonomous Region, a series of exhibitions, creations, seminars and other activities have been carried out, and a large number of picture books have been published. Among them, the "New Era, New Guangxi and New Painting School-Lijiang Painting School Exhibition" held in China Art Museum in February, 2007 had a great response in China painting circles, and was highly praised by the art circles, theorists, journalists and people in the capital. Liu Yunshan, member of the Political Bureau of the Communist Party of China (CPC) Central Committee and Minister of Publicity Department of the Communist Party of China, visited the creation base and exhibition of Lijiang Painting School twice, gave important instructions and took photos with the main painters of Lijiang Painting School as a souvenir, which is unprecedented in the contemporary painting circles in China. Major mainstream media in China have reported a lot on the Lijiang School of Painting, which has exerted a wide influence at home and abroad and became an important painting school in China in the 2nd/Kloc-0th century.
Among the pre-Lijiang School, the earliest painter who became attached to Guilin landscape was Mi Fei in the Northern Song Dynasty. About 1070- 1075, Mi Fei, who was in his twenties, served as Lingui county magistrate in Guilin. Legend has it that he painted many paintings of Guilin's landscapes, including a painting of Yangshuo Mountain. The title of the painting is: "People who worship stones, live in rock valleys, are beautiful and good officials." In the history of the pre-Lijiang painting school, Mi Fei's significance lies not only in his earliest description of Guilin's landscape, but also in the fact that "Mi Jiashan" (also known as Mi's Yunshan and Midian Landscape), which has great influence in the history of China's landscape painting, is related to Mi Fei's perception of Guilin's landscape. Zhang Xiaoxiang, who is several decades behind Mi Fei, wrote in a poem praising Guilin's landscape: "Yunshan Mijia painting, Shuizhu Wangchuan Zhuang."
It is generally believed that Shi Tao, a Guilin painter who left a great name in the painting history of China, 1642 was born in Wang Fu, Jingjiang, Guilin, and is the son of Zhu Hengjia, the king of Jingjiang. Shi Tao likes to use a seal engraved with the word "Yueshan" to imply that he is from western Guangdong. Some scholars believe that "the close relationship between the cone peak and Shi Tao is bound to be related to the famous limestone terrain in Guilin. Jingjiang Wang Fu is located under the most famous Duxiu Peak in Guilin limestone terrain, and this fact also strengthens the significance of this mountain shape to him ... If we further speculate, many of his paintings about caves and caves evoke religious asceticism and detachment, and also remind people of caves as famous as the peaks in Guilin where he was born. " (Jonathan Hay's Shi Tao: Painting and Modernity in China in the Early Qing Dynasty) As one of the most influential painters in ancient China, Shi Tao never painted a painting with Guilin landscape as the theme, but his memory and impression of Guilin landscape became the cultural gene of his landscape painting creation, and influenced many later Guilin painters.
Mi Fei and Shi Tao are both famous figures in the history of China painting. One lives in Guilin, and the other is from Guilin. Both of them are deeply influenced by Guilin's landscape. In the pedigree of painters involved in Guangxi, they are both pioneers and peak figures. For Guangxi painting circles, they are like the unique peaks of Guilin: they stand out from the crowd; Independent of the world, without attachments. The pre-history of Lijiang painting school is of extraordinary significance because of the existence of these two characters. /kloc-After the 0/8th century, a group of veritable local painters appeared in Guangxi, and gradually formed an ink and wash tradition with Guilin landscape as the object of expression. According to historical records, there are three influential painting circles in Guangxi, and their painting achievements are far less outstanding than those of Mi Fei and Shi Tao. However, their existence provides a backing and a cultural context for Guangxi painting circles.
Zhou Li family. Zhou Lingui, 1763 Jinshi, magistrate of Guanzezhou. He studied under Shi Tao, and at the same time integrated the brushwork of the "Four Kings" and the Ju Ran School of Painting, paying attention to innovation. In his later years, he used ochre ink axe to draw Guilin landscape, which created a new way of landscape painting. Zhou's son-in-law is from Luojinchong Village, Yongfu County. He inherited Zhou's painting techniques and devoted his life to the creation of landscape paintings. 1837, he traced the Lijiang River from Guilin to Changsha, and then along the Yangtze River through Yueyang and Chibi to Wuchang. He created 35 paintings, each with a poem, which became a landscape painting of "a map of a river". Li Jishou, the son of Li Xiyuan, began to learn painting at the age of 8. His Mo Mei is very famous. Li's paintings and calligraphy have been handed down from generation to generation and have the reputation of "Li Bi Ru Lin". Li Xiyuan, Li Mian, Li Jishou, Li Yishou, Li Jinian, Li Qihua, Li Hanhua, Li Yunyuan, Li Yiyuan and other masters of calligraphy and painting, both men and women, have been handed down from generation to generation. It has been handed down for eight generations.
Roche family. Luo is a native of Guilin and a tourist from Wuyue Mountain. I like to write about the mountains and rivers in western Guangdong. His son, Luo Chen, is good at drawing exquisite books, which is called "Three Wonders of Lijiang River". Guilin's painted landscapes are good at layout and dense. There is an album entitled "Guilin Landscape". Each painting is accompanied by explanatory text and a poem. For example, the poem "Painting Mountain in Yangshuo" is: "Mountains are famous for their paintings, and the sky paints them; The old painters in the world are heartbreaking here; There is no Jing in the world. Who is it? " The relationship between Guilin landscape and China landscape painting has been deeply explained. Luo Chen's daughter Luo Xingchu is also good at painting, so she has the reputation of "three generations of Yarrow".
Li family. The wealthy merchants in Guilin in Qing Dynasty had four sons: the eldest son Li, who was good at poetry; The second son, Li Bingyue, is better than the official script of seal script, and the landscape painting is also very elegant; The third son, Li Bingquan, is famous for painting cymbidium; Li Bingshou, a child, is good at calligraphy and painting, especially Zhu Lan Shi Mei.
Li Bingshou is good at drawing Shi Mei in Zhu Lan, ranking among the "Sixteen Gans". At that time, people used Xiang embroidery to describe the feeling of watching Li Bingshou Zhu Lan's paintings by hearing Yang Shan's flute and missing Ji Kang, and described the artistic conception of his paintings as noble and pure. His two Zhu Lan paintings were carved on the stone walls of Diecai Mountain Wind Tunnel in Guilin, Zhu Huan Cave in Fu Bo, Seven-Star Rock Mouth in Putuo Mountain and Shaoyin Cave in Yushan. Li Bingshou built a studio under Baihe Cave in Diecai Mountain, named Huanbi Garden, and hired Jiangsu painters Meng Jinyi and Song Baoguang as his disciples. At that time, in addition to the younger generation of Li, there were Juchao and Julian brothers from Guangdong. It is generally believed that "Ju Chao's most influential experience in his life was to go to Guangxi with Chen Liangyu and Ju Lian ... During his life in Guangxi, he not only enjoyed the landscape of Guilin, but also got to know Jiangsu painters Song Baoguang and Meng Jinji who lived in Huanbiyuan, Guilin-it may be very important to know Song and Meng". (Li's A Brief History of Guangdong Fine Arts) Learning from teachers, making friends by watching paintings, living in a nest in Guilin for exercise, the chrysanthemum lotus has gained a lot and the painting art has made great progress. It is precisely because of this karma that some people think that Huanbi Garden in Li Bingshou is the source of Lingnan School of Painting, and Li Bingshou himself is the pioneer of Lingnan School of Painting.
Li Ruiqing, a descendant of the Li family, is known as "an important symbol of China's painting entering modernity" and "the founder, pioneer and first hero of modern formal art education". "Pan Tianshou, Lv Fengzi, chang, Wang Caibai, Jiang Dan, etc. They were all influenced by Li Ruiqing. " (Chen Chuanxi's Notes on Painting-Comment on Modern Masters and Everyone) Li Ruiqing likes Shi Tao's paintings very much, and Lin Shitao painted the most in his life. Chen Chuanxi commented on Li Ruiqing's "Gu Mei Map" collected by the Academy of Fine Arts of Nanjing Normal University, and thought that "its plums are all written slowly with Zhong Ding brushwork, which is steady and deep, quiet and tranquil, with simple style, outstanding and unique. It is unprecedented to examine the history of painting. With this painting, Li Ruiqing can be regarded as a first-class painter in the 20th century. 1905 In July, Guangxi Ambassador Wang Songnian invited Qi Baishi to visit Guilin. Qi Baishi lived in Guilin for nearly half a year and created Du Xiufeng and boating on the Lijiang River. Many years later, Qi Baishi once said nonsense to Beijing painters: "I visited many places of interest when I was young. The landscape around Guilin is very steep, which I like best. The landscape in other places is not novel. I like painting the scenery around Guilin all my life. Towering peaks, flat beach fishing, or painting some Shan Jutu are all seen by the Lijiang River. " (Lu Lixin and Qi Baishi: From Carpenter to Master)
Guilin landscape has a great influence on Qi Baishi's landscape painting style. "The composition of flat land, lonely peak, one mountain and one water, or one mountain and one gully has almost become a typical symbol of Qi Baishi's landscape painting." (Lv Lixin) He himself said: "When I entered Guangxi, it was really amazing. Painting landscapes will open your eyes when you arrive in Guangxi! " However, Qi Baishi's innovation was not recognized by the painting circles at that time, and some painters called his landscape painting "Wild Fox Zen". To this end, Qi Baishi wrote a very famous poem, entitled "My paintings are not detained by sects. I have no intention of selling my name. I just entertain myself. People want to swear, I don't listen. " The content of the poem is: "Everyone is ashamed of hearing the official of Beijing, and sects are ashamed of boasting. I have my own heart and I am used to Guilin's landscape. " It can be seen that Guilin landscape is not only the theme of Qi Baishi's landscape painting, but also an important medium for the transformation of Qi Baishi's landscape painting concept.
1936, Xu Beihong, whose marriage was frustrated, arrived in Guilin. At that time, Guangxi authorities specially built a new building in the southwest of Duxiufeng to prepare for Xu Beihong's construction of Guilin Academy of Fine Arts, and also set up a dormitory and studio for Xu Beihong on the west side of the building. From 65438 to 0938, Guangxi Education Department held a summer seminar for art teachers in Guangxi middle schools in this new building. Xu Beihong personally taught art theory to more than 80 art teachers from all over Guangxi, and took everyone to draw the human body and practice sketching. Guilin landscape not only comforted Xu Beihong's frustrated heart, but also inspired his creative inspiration. In Guilin, Xu Beihong created famous landscape paintings such as Spring Rain on the Lijiang River, Crossing the River in Qinge and Across the Lijiang River. Some critics believe that Xu Beihong's landscape painting has three major innovations: first, he really gave up the method of line drawing and switched to the method of wide pen splashing ink, which can be called real splashing ink painting; Secondly, the use of clear reflection enhances the texture of water, instead of using the ancient technique of drawing water with lines, which has influenced contemporary ink painters, and painting methods using reflection have been everywhere; Thirdly, the cultural landscape in the foreground of landscape painting is transformed into animal landscape such as osprey, which enhances the distance between water and mountains and is full of wild interest, making the painting unique in artistic conception. (Wang Xuezhong)
1940 5438+00 In June, Guan Shanyue arrived in Guilin, and Guilin became his first stop on Wan Li Road. In Guilin, he created many Guilin landscape paintings, such as Panorama of Crescent Mountain, Sunset over Yunzhou and taohuajiang. He also spent more than two months creating a long scroll "Hundred Miles Lijiang River" with a width of 32.8 cm and a length of 2,850 cm. The picture starts from Guilin Lijiang River Bridge, goes down the river, and reaches Yangshuo. After the exhibition in Guilin, there was a great response. This is the first "Hundred Miles of Lijiang River" I have learned so far. Many years later, in 1976, Huang finished his long scroll "Hundred Miles Lijiang River". Nine years later, from 65438 to 0985, Huang's students finished the 200-meter long scroll "Hundred Miles Lijiang River".
During the period of War of Resistance against Japanese Aggression, Guilin became a world-famous cultural city in the Anti-Japanese War. Besides Xu Beihong and Zhang Daqian, there are a number of outstanding China painters gathered in Guilin, including Huang, Fu Baoshi, Li Keran and Zhang Daqian. It is found that the theme focus of China landscape painting gradually shifted from Jiangnan to Lingnan.