Lingnan painting school is a painting school composed of Guangdong painters. It was founded in the late Qing Dynasty by Gao, Chen, also known as the "Three Masters of Lingnan" [1]. Lingnan School of Painting is a revolutionary school of traditional Chinese painting in China. With the aim of innovation, it advocates introducing western painting methods, integrating the strengths of Chinese and Western painting, "compromising Chinese and foreign painting and integrating ancient and modern painting", and creating innovative works in line with the spirit of the times. The second generation of Lingnan painters, represented by,, and, have made new breakthroughs in subject matter and techniques compared with "two highs and one Chen" and are regarded as the four great painters of contemporary Lingnan painting school [2]. Lingnan School of Painting, Cantonese Opera and Guangdong Music are also called "Lingnan Three Shows". In the 20th century, China painting circle, Lingnan painting school, Beijing-Tianjin painting school and Shanghai painting school were the representatives of China new painting school [3].

catalogue

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1 name

2 history

2. 1 the first generation of Lingnan painters

2.2 The Second Generation Lingnan Painters

Three technologies

See also.

5 reference sources

6 External links

Name [edit]

The word "Lingnan School of Painting" is not self-styled by Lingnan painters. At that time, Gao, Chen and his bold and innovative painting style were unique in the painting world, and they were called "Lingnan Three Masters" at that time, hence the name "Lingnan Painting School". At that time, Gao and Chen were not satisfied with the title of Lingnan School of Painting, because its regionality was too narrow, and it was easily misunderstood as a group of regional painters, which failed to reflect the innovative ideal of absorbing overseas painting styles and promoting Chinese painting. Gao never used the name "Lingnan School of Painting", but preferred to call himself "eclectic school", learning from others and combining them into one.

History [edit]

The first generation of Lingnan painters [editors]

The origin of Lingnan School of Painting can be traced back to the late Qing Dynasty. Grandfather Juchao and Ju Lian are both good at painting flowers, birds, fish and insects [4]. Gao, Chen and Gao studied under Ju Lian in their early years, while Gao, Chen and monks all studied in Japan and studied Japanese painting. They are all members of the League, and they advocate "eclecticism" in art. After returning to China, they think that Chinese painting should no longer stay in the stage of imitating the ancients, oppose the bad habit of "one teacher teaches his disciples to copy, and one father teaches his son to copy", and advocate learning from others, being compatible with both China and foreign countries, and integrating the techniques of Chinese painting, Japanese painting and western painting to create a fresh style with bright colors, full moisture and even smudges. In terms of techniques, we abandon the outline method and adopt the "boneless method" to achieve the light and shadow effect of western painting with ink rendering. The representative works of the three of them are Flames in the Eastern Battlefield, Romantic Moon in the Pine Wind (Gao), and Maple Eagle Map Axis (Gao Qifeng).

Gao He is devoted to teaching, and there are many students. 1924, Gao founded the Spring Sleeping Painting Academy in Guangzhou, and successively served as a professor at Sun Yat-sen University and Nanjing Central University. Moved to Macau during the Anti-Japanese War, 1946 returned to Guangzhou to establish the South China Academy of Fine Arts and served as the principal of Guangzhou Municipal Art School. Gao Qifeng established Tianfeng Building in Guangdong on 1929. Among the students, Huang Shaoqiang and other "seven sons of heavenly winds" are famous. Chen has an apprentice Liu.

The second generation Lingnan painter [editor]

The second generation of Lingnan painters have been active in painting circles since 1930s, with a large number of them, and they are called the four great contemporary Lingnan painters together with Zhao Shaoang, Li Xiongcai, Guan Shanyue and Yang Shanshen. Compared with the first generation of Lingnan painters, the second generation of Lingnan painters paid more attention to the development of major themes and the embodiment of the spirit of the times, and put forward "pen and ink should keep pace with the times", "make the past serve the present, and make foreign things serve China" [5], creating their own style. In terms of aesthetic consciousness and artistic achievements, the second generation of Lingnan painters surpassed the first generation of Lingnan painters.

Skill [editing]

According to Wang Lipu, the technical style of Lingnan School is [6]:

Pay attention to blank space: Lingnan painting school, like Chinese painting, pays attention to "combination of reality and reality" and "focusing on the place without pen and ink" in layout, which is the inheritance of Chinese painting techniques.

Pay attention to bone technique with pen: The brushwork of Lingnan Painting School is complicated and has an anti-traditional effect on the picture, so as to achieve a magnificent and vivid realm.

Color painting: Influenced by western impressionism, Lingnan painting school pays attention to the expression of light, and most of the pictures are brightly colored, which is just the opposite of traditional Chinese painting's emphasis on "depression leads to the interest of pen and ink, and indifference leads to the god of pen and ink" [7].

Background coloring and rendering: Since the Tang Dynasty put forward that "ink painting is the most important in painting" [8], Chinese painting has always emphasized ink painting over color. Lingnan school of painting sets off ink painting by setting colors, which is an innovation of Chinese painting techniques. (Source: Wikipedia)