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After the Cultural Revolution, people probably remember the criticism of "black painting", among which was the famous Chinese painter Huang Yongyu. The Gang of Four said that the owl he painted turned a blind eye, which meant dissatisfaction with the Cultural Revolution and the dictatorship of the proletariat. Whether the owl painted by Huang Yongyu has such a meaning, of course, is clear only to Huang Yongyu, and it is hard for others to comment.
However, judging from the painting history of China, there are "black paintings" and "black poems". China's poetry tradition stresses sustenance and beauty, while China's historiography tradition stresses "expressing the righteousness in a subtle way" and "writing in the Spring and Autumn Period", which can be regarded as the source of "black painting" and "black poetry". A Book of Songs has many explanations. Guan Sui, located at the beginning of the Book of Songs, is literally a love song, but Chinese Confucianism says it is a metaphor for "the virtue of empresses" and has become a political poem. This interpretation of Guan Sui is so absurd that no one in modern scholars believes it. But at least before the Qing dynasty (the Qing dynasty has been questioned, such as Yan Yu? ) It is an authoritative explanation. The interpretation of Guan Sui by Han Confucianism may indeed be far-fetched, but you have to admit that there are some poems in the Book of Songs, and their true meanings are outside the literal meaning. We won't talk about him.
"Black" mainly refers to concealment, and the use of "black" is of course derogatory. The Gang of Four is hostile to the people, and it is understandable to call those poems and paintings that may implicitly oppose their meaning "black poems" and "black paintings". From the standpoint of the people, this poem and this painting can't be called black. Accurately speaking, it should be called "metaphorical poem" and "metaphorical painting".
Metaphorical poems have been written by people since the Book of Songs, and there are many excellent works, such as Untitled by Li Shangyin and A Visit to Zhang Jishui by Zhu Qingyu. Metaphorical paintings are rare. By the early Qing Dynasty, metaphorical paintings suddenly increased. The greatest metaphorical painter is Badashanren.
The Eighth National Congress, formerly known as Zhu Da, was a Ming imperial clan. Later, it entered Beijing by itself, and the Qing soldiers entered the customs. The Ming Dynasty "suddenly fell like a building". Zhu Da, rich in luxuries and luxuries, suddenly became a lost dog. He first entered the temple as a monk, and then turned Buddha into Tao, but none of them worked. "If you want to be clean, how can you be clean? Clouds may not be empty.". The hatred of the country's enemies is always burning in the heart, so a cassock or a cassock can be extinguished! Helpless, I had to return to secularism, pretend to be crazy, and lost my life.
The hearts of the Eighth National Congress are extremely painful and contradictory. The inner lava wanted to melt it, but he couldn't vent it to the outside, so he suppressed it, twisted it, forged it, and finally made it public in another form. These are the "black paintings" of the Eighth National Congress. You see, those paintings, the atmosphere is so cold, so weird, so empty. However, as long as you look more and think more about the life experience of the Eighth National Congress, you can realize that this indifference is like lava cooled by a volcano, which is a hot product; That's weird, in fact, it's not strange, it's a tortuous expression of unforgettable hatred between the country and the enemy; That virtual silence is just an illusion. In fact, has there ever been a day of virtual silence in the deep heart?
The Eighth National Congress is also good at poetry, and many of his poems are on paintings. Poetry is difficult to understand. Even Shao Changheng, who was at the same time as the Eighth National Congress, said: "The mountain man has several volumes of poems hidden in the basket, and the secrets are not visible. The paintings and other inscriptions of the mountain man are quaint, mixed with quiet words, which are incomprehensible." (Shao Changheng: Biography of Eight Mountain People) These poems are genuine "black poems" (metaphorical poems), because "black poems" and paintings complement each other, but they can make people see their political implications slightly.
The author recently read a modest book: Poems and Paintings of Badashanren (selected notes by Zhu Anqun and Xu Ben, Huazhong University of Science and Technology Press 1993 edition), in which 100 poems on paintings of the Eighth National Congress were annotated and explained one by one. This is a valuable book. With rich historical and cultural accomplishment and a detailed understanding of Zhu Da's life and life, the author brought out the "black taste" of these "black poems" and "black paintings". Although not all of them are correct, it is undoubtedly of great help to our in-depth understanding of the Eighth National Congress.
Eight likes to draw watermelons. Watermelon is not the traditional theme of China's painting, and the Eighth National Congress likes to paint it, which has a profound meaning. In one of them, there is a solitary melon in the lower right corner and a poem in the left half. Poetry cloud:
Write this green door, chanting long hair.
It takes two people to lift it and eat it in July.
Why do you want to point out that this melon is caused by "Qingmen"? It turns out that there is an allusion here. The Zhaoping Plain in the Han Dynasty was the Dongling Hou of the Qin Dynasty. After the demise of the Qin Dynasty, he planted melons at the East Gate of Chang 'an. This melon is called "Qingmen Melon" or "Dongling Melon". It shows that melon is a "green melon", and the nostalgia for the former dynasty is clear. This melon is so big that it needs two people to praise the beauty of the former dynasty and the difficulty of revival. "Eat it in July", it seems that the time is not yet ripe, and this melon can't be eaten. Literally, it means: "Latent minions should bear it" and wait for the opportunity to restore the country. At the Eighth National Congress, there is also a picture of "Gua Yue Tu" with a poem:
When the moon is full on the watermelon, the side of the cake is bright.
Each refers to moon cakes, and the year of the donkey is ripe for a period of time.
August 15th is the Mid-Autumn Festival, which is the day of reunion. At this time, painting melons and the moon has different meanings. The moon is so bright and the melon is so sweet, but the person (painter) in front of the melon under the moon is so broken and sad. The two sets off, and its emotional meaning is not difficult to observe. "Everyone refers to moon cakes" is an allusion that the Han people in the late Yuan Dynasty took eating moon cakes on August 15th as a signal to show their eagerness to restore the country. However, is there any hope for restoring the country? No. "The year of the donkey ripens the melon for a period of time"-I am afraid this "melon" will never ripen. The sadness of despair enveloped the whole article.
The eight paintings are very strange, and the shapes are often different. Most of the birds he painted are hunched back and necked, with wide eyes, full of suspicion and vigilance; Some birds are independent and seem to be out of balance; Some birds perched on the branches, looking clumsy and tired, as if they had no intention of flying. Every pair of birds always looks in different directions; Some are painted: one is asleep and the other is looking around.
In terms of image combination, the Eighth National Congress also broke the routine. He composed a painting of deer and birds, with the deer looking up at the bird and the bird looking down at the deer. He put fish and quail together, and the two things, one in the water and the other on the land, combined into one painting, which was incredible. The eight painted eagles don't look at the blue sky or the prey such as rabbits and birds, but they look at a crab inexplicably. Paintings like this are truly "black paintings". Some of these paintings do refer to something, for example, his Picture of Two Peacocks, in which three bald peacocks are dragged, some people think it refers to Song Luo, the governor of Jiangxi Province. But most metaphorical paintings, I think, mainly convey a mood. This kind of mood metaphor painting is different from the political metaphor painting that does refer to something, and it is more aesthetic.
Eight poems on paintings say, "There are no more ink spots than tears." This can be regarded as an aesthetic summary of his metaphorical painting. "Ink spot" means "tear spot". "draw your heart". The Eighth National Congress brought the tradition of rewriting the spirit, emphasizing freehand brushwork and literary interest in China's painting aesthetics to the extreme. Perhaps before the Eighth National Congress, there were also metaphorical paintings in Chinese painting, but at least it didn't come out. Only when it came to the Eighth National Congress did metaphorical painting become a new kind of painting. Eight well-deserved grandfathers of "black painting".
"Black painting" is the product of a special era, and we can know that special era from "black painting". "Black painting" is actually not black!
A Brief Introduction of Zhu Da, a Man from Badashan Mountain
A famous painter in the Qing Dynasty, one of the "four monks" in the early Qing Dynasty, Badashanren is one of his names. He was born in 1626 and died in 1705. He is a descendant of Zhu Quan, the king of Jiangning, a royal family in the Ming Dynasty, and is the ninth grandson. /kloc-When I was 0/9 years old, my country was ruined, and I felt sad and angry. I pretended to be stupid and put a big dumb word on the door, and I didn't talk to people. At the age of 23, he became a monk in Fengxin Mountain. Due to long-term accumulation of worries and depression, he suffered from madness.
Special features of money recognition
Badashanren has a lot of characters, names and aliases. His original name is Tong, also known as Zhu Da, and his name is Badashanren, Xuege, Geshan, Geshan Donkey, Renwu, Liangyue and Daolang. After being a Taoist priest, he lived in the "table cloud spectrum". After entering the Qing Dynasty, his name was hidden, and when he was cut into a monk, he took the dharma name and passed it on, and the word blade was used in Kangxi Gengjia (1680) at the age of 55. The first snow began at 4 1 year-old and was used at the age of 55. No.1 mountain was first seen at the age of 46 until the age of 59, and he also had the equal sign of donkey, donkey house and human house. The donkey money was first seen at the age of 56 and at the latest at the age of 58.
People's house and donkey's house are used at the same time. Before the age of 60, the characters used still have names such as Fa Yi, Dian Dian, Chun Han, Yi Xue Heng, Lie House and Hong Xuan. Zhu Da is a monk's name, and "Dang" is the vulgar writing of the word "Donkey". As for the name of Badashan Renren, it was taken after he abandoned the monk and returned to the common customs. From the age of 59 until his death at the age of 80, all the previous words were abandoned. The book "Badashanren" has profound meaning, and the "Eighth National Congress" is closely linked with "Shanren", that is, "crying and laughing" is his hidden meaning, and he has a poem "Laughing and crying is spreading" to express the feelings of the country's demise and distress.
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Badashan people are good at painting landscapes and flowers and birds. His paintings are unrestrained, do not constitute a law, are vigorous and beautiful, and are full of escape, and the composition is not complete but complete. His "one flower, one bird" is not about the number and size, but about the position and momentum in the layout. And whether it is used timely, surprisingly and skillfully. This is his "three wins" method. If there are shortcomings in the layout of paintings, sometimes books and clouds are used to fill their meaning. Badashan people can write poems and have exquisite calligraphy, so even if his paintings are not many, with his poems, the artistic conception is sufficient, and his paintings make people feel small and many, which is artistic ingenuity.
Most of his landscape paintings are ink and wash, patriarchal clan system is Dong Qichang, and Huang Gongwang, Ni Zan and Dong Qichang are used to draw landscapes. However, there is no elegant, peaceful, clean and elegant style. Instead, he is lonely and desolate, revealing a strong and simple atmosphere in the desolate realm, reflecting his lonely and angry mood and determined personality. His ink is different from Dong Qichang's, Dong Qichang's light ink can moisten Ming Jie, and Badashan people can moisten Ming Jie by dry rubbing. Therefore, the painting is both "unrestrained", Badashan people are not the same as others, and they are both "moist", and Badashan people are not the same as others.
A painter's artistic performance can be different from that of his predecessors, but it is also behind others. His flower-and-bird paintings are particularly outstanding and have the most personality. Most of his paintings are lyrical, expressing the meaning by symbolic means, personalizing the images and pinning their feelings. Such as fish and birds, once made a "supercilious look at people" to express cynicism. His flower-and-bird painting style can be divided into three periods. Before the age of 50, he was a monk, which was the early period. He spent a lot of money on "passing on", "a mountain", "a donkey" and "a house for people", painting fruits and vegetables, flowers and pine plums, and most of them were books. The picture is more elaborate and powerful.
From 50 to 65 years old, the painting style gradually changed, and I liked to paint fish, birds, grass insects and animals. The image was exaggerated, and the mouths and eyes of animals and birds were mostly square, with oval faces, big and small, and endangered. Birds lived on one foot and hung on one foot. After the age of 65, it is late, and the art is becoming more and more mature. The brushwork became Park Mao-hsiung-wei, and the shape was extremely exaggerated. The eyes of fish and birds circled a little, their eyes were against the rim of their eyes, and they looked "supercilious".
Some of the birds he painted seem very stubborn. Even if there is not much ink, they show the bird's feathers, which makes people feel untouchable and fly at the touch. Some birds shrink their necks with fists and feet, and they are both bullied and unyielding, and they are more concise in composition and pen and ink. These images are undoubtedly the portrayal of the painter himself, that is, "indignant and sad songs, worried about the world, and expressing their feelings in pen and ink." He wrote in a poem about Huang Gongwang's landscapes: "The clouds in Guo's family are small, but there are many trees in Dong's old hemp tree. People can understand pictures when they want to see them, and Yifeng is still with Song Shanhe. Show his national consciousness.
Badashanren's paintings had little influence at that time, and only Niu Shihui and Wanwan and others spread their teachings, but they had a far-reaching influence on later paintings. His artistic achievements were mainly unconventional and created by himself. His freehand brushwork is different from that of Xu Wei, who is bold and unrestrained and can let go, and Badashan people are strict and can let go. The "Eight Eccentrics of Yangzhou" in the middle of Qing Dynasty, the "Shanghai School" in the late period and modern masters such as Qi Baishi, Zhang Daqian, Pan Tianshou and Li Kuchan are all influenced by it.