Wu Hufan

Wu Hufan

Wu Hufan, born in Suzhou, Jiangsu Province, is the descendant of Wu Dacheng (from the second day of the seventh month of the lunar calendar in 1894 to August 11, 1968). It was originally named Yiyan, with the name of Huijun. Later it was renamed Wan, with the name of Dongzhuang, also known as Qian. It was also named Qianan, with the signature of Hufan. In the 1930s and 1940s, together with Wu daiqiu, Wu Zishen and Feng Chaoran, they were called "three Wu and one Feng". After the founding of the people's Republic of China, he served as the preparatory committee member and painter of Shanghai Chinese Academy of painting, associate professor of Academy of fine arts of Shanghai University, vice chairman of Shanghai Branch of China Artists Association, librarian of Shanghai Municipal Museum of culture and history, and member of Shanghai Cultural Relics preservation Committee. He is good at identifying and filling in CI. From the "four kings" and Dong Qichang to the song and Yuan Dynasties, the landscape has broken through the barriers of the southern and Northern sects, and is unique in its elegant, elegant, elegant and elegant composite painting style, especially the most representative is the fusion ink drying and dyeing, green and green color in a furnace, and many clouds. And write bamboo, orchid, lotus. As an important painter in the 20th century, his significance in the history of Chinese painting has far exceeded his significance as a landscape painter.

Wu Hufan is the author of Lianzhu collection, Meijing painting collection, Meijing Bookstore collection, Wu's calligraphy and painting collection, Wu Hufan landscape collection and many kinds of Wu Hufan painting collection.

Life of the characters

Wu Hufan is the grandson of Wu Dacheng, a famous calligrapher and painter in Qing Dynasty. Master of modern painting, expert of calligraphy and painting.

In his early years, he was known as "South Wu and North Pu" with PU Ru, and later he was known as "three Wu and one Feng" with Wu Zishen, Wu daiqiu and Feng Chaoran. He is good at drawing boneless lotus.

As an appraiser, he and the collector Qian Jingtang are called "appraisal Shuangbi".

As a prominent figure who integrates painting, appreciation and collection, his achievements are various, which can be said to represent a phenomenon in the history of Chinese painting.

Wu Hufan lived in Wuzhong (now Suzhou, Jiangsu Province) for a long time. His house is the former site of Jin Junming's "spring grass leisure house" in Ming Dynasty. Influenced by his family since childhood, he studied painting by Lu Lianfu and went to Shanghai to run a painting and calligraphy office and a painting and Calligraphy Club. In 1939, Meijing library was set up to recruit students and teach apprentices.

Wu Hufan was born in the year of Jiawu. He joined Mei Lanfang, Zhou Xinfang, fan Yanqiao, Wang Yachen and other 20 people to form the "Jiawu tonggeng Association". On Huajia's 60th birthday, he held a banquet "longevity mountain", drank "Millennium wine" and made a commemorative medallion. The medallion had pictures and pictures of "Qianli horse", which belonged to horse in the afternoon. It was very ingenious. Later, he lived as a warlord, moved to Shanghai to avoid chaos, and sold paintings for a living. After liberation, in 1964, our country tried to release the first atomic bomb. He saw several documentaries and color photos, so he used his usual cigarette and cockroach brush to draw a picture of atomic bomb radiation, which was displayed in the exhibition. During the visit of the PLA, he put forward a request in the opinion book: "please make a plate of this picture and print it as a publicity material for the masses to buy.". We can imagine the great influence. The founding of the people's Republic of China was well received.

Wu Hufan's representative works include the picture of gentle wind and waves on the Yangtze River, the picture of snow on Dongguan mountain, the little scenery of Lushan Mountain, the poem of Mi Fu and the morning of Hibiscus. Among them, the picture of gentle wind and waves on the Yangtze River was painted by Wu Hufan to celebrate the August after the liberation of Southwest China after the Chinese people's Liberation Army crossed the natural danger of the Yangtze River.

artistic characteristics

Landscape painting

Wu Hufan is famous for his elegant and elegant style. In the 1930s and 1940s, Wu Hufan became the master of the maritime painting world with his superb and skillful pen work. His "Meijing bookstore" was the most influential art salon in Jiangsu and Zhejiang, where almost all the famous scholars of calligraphy and painting, CI and Qu, Bo Gu, chess and chess at that time went in and out. His green landscape painting, color can be called a unique, not only clear and thick, but also very rich in color, its lines elegant free and easy, is the so-called vigorous in graceful. Therefore, Wu Hufan opened up an unprecedented realm and became a masterpiece in the history of Chinese painting.

Wu Hu sails in mountains and waters, and is also good at Pine, bamboo and lotus. In the early Qing Dynasty, Dong Qichang was influenced by Dong Yuan, Ju ran and Guo Xi in the Song Dynasty. The style of painting remained unchanged, but the style of brushwork became more and more dignified. Its painting style is beautiful and plump, clear and elegant, with deep colors, misty clouds and washed by springs and stones. Wu Hufan's landscape painting is the most distinctive. When he wields his brush, he first sprinkles a large amount of water on the paper, dries it a little, and then dips it in light ink with an ordinary pen to render it slightly. Once mounted, it looks like the cloud and the haze coming out of the hill. Sometimes it's more expensive to paint birds and cattle. There is a long scroll of the painting of five oxen, in which the oxen either look up or down, or look back or stand upright, which is very powerful. The lines are complex, rigid and flexible, and they are precisely constructed.

Wu Hufan is also known as the first bamboo painter in modern times. This painting of enjoying spring also shows his superb skill in bamboo painting. He drew bamboo from the Song Dynasty people's double hook, and took part in Zhao Yong's ink bamboo and Yun Shouping's boneless techniques. In the light ink or light color painting of bamboo, the bamboo has the charm of light and elegant, especially the use and control of water is just right, which makes the bamboo leaves have the tendency of "phoenix tail tip roll". Although it is not colored, it still has the sense of magnificence of meticulousness, richness and verdure. Although this painting is congzhu, the charm of Wu's ink bamboo has been revealed.

During this period, Wu Hufan also made a lot of efforts in flower, pommel horse and figure painting, such as "imitating Zheng Suo's orchid" in 1931, "imitating Tang Yin's lady" in 1935, "Xinyi" in 1935, "Linzhao's three horses" in 1935, "Linzhang Zizheng's two yuans" and "Linwang Ruoshui's two yuans" from the end of this year to the beginning of 1936 Starting from water, it is a comprehensive process of marching towards characters, pommel horses, flowers and birds. Wu Hufan's painting of lotus, Wuzhang Qingluo, which was written in 1936, is a masterpiece of Wu Hufan's painting of lotus. This painting depicts the scene of lotus blooming with freehand brushwork, color and ink. It is known from the title that it is Wu Hufan's accidental painting of lotus from life. It can be seen from this painting that Wu Hufan's Lotus painting is beautiful, elegant and bright. It has a deep relationship with Yun Nantian.

Yunbiao Qifeng is Wu Hufan's masterpiece. It was first published in 1936. The main body of the painting is surrounded by mountains, the distant peaks straight into the clouds, the valley is filled with white clouds, rows of pine and fir cover the mountain in the middle view, the pavilions are hidden in the green, the streams are murmuring in the close view, and the water vapor and clouds are dense in the distant view...... The whole picture is full of the beauty of the gully. In terms of painting method, it can be light and bright with boneless baking; it can be deep and profound with Xie Suo Cun, PI Ma Cun, or small axe splitting Cun. In this painting, we can see that Wu Hufan has got rid of the shackles of the school and formed his own style of painting. In addition to Yunbiao Qifeng, Xiaoyun bizhang, HaiYe Yungang and Qiuling Hengyun are all important works that mark the maturity of his painting style.

Yupu peach blossom is another representative of Wu Hufan's green landscape painting. This painting depicts the beautiful scenery of Jiangnan in March. In spring, in the south of the Yangtze River, the grass is delicious, the birds are singing and dancing, the peach blossom is red on the surface, and the fishing boats are rippling in twos and threes among the blue waves, which reminds us of the ideal world described in Tao Yuanming's the tale of peach blossom. Its composition adopts the Pingyuan method, which can be seen from the Jiangnan school represented by Dong Yuan and Juran. In terms of painting method, Yupu peach blossom mainly absorbs and integrates the methods of Dong Yuan, Juran and Huang Gongwang, such as the Pima Cun of the mountain. These short strips come from Dong Yuan's Xiaoxiang, Xiashan, xiashankou waiting for crossing, Juran's Qiushan Wenwen, stratabound trees, especially Huang Gongwang's Fuchun mountain residence. Wu Hufan's works were almost the same in the period of the Republic of China. The painting of Fuchun Mountain Residence is one of the most important secrets collected by Wu Hufan Meijing Library in 1936. Wu has copied it many times. From this painting, we can see the deep impression of Wu on Huang. However, compared with Huang Gongwang's texturing method, they have subtle differences. For example, Huang's brushwork is weak and flexible, while Wu's brushwork is more vigorous and solid on the basis of flexibility. This has a great relationship with Wu's learning from Tang Yin. In fact, it is also a great contribution and characteristic of Wu Hufan in inheriting tradition. The use of color is a major feature of Wu Hufan's paintings, especially his landscape paintings, such as Dongguan Puxue, Qiuling Hengyun and Yupu peach blossom, are bright and full of decoration. This is the result of his repeated exploration of the origin of color use. Tang and Song dynasties were the peak periods of green landscape painting. In addition to wall painting, the paintings of river sail Pavilion, thousand li River and mountain, and Wansong Jinque are all immortal masterpieces of green landscape painting. Zhao Mengfu in Yuan Dynasty, Wen Zhengming, Qiu Ying, Dong Qichang in Ming Dynasty and Wang Jian in Qing Dynasty can still inherit the development of green landscape. But generally speaking, after Yuan Dynasty, the light purple ink became the mainstream, and the green landscape went from bad to worse. Green landscape can be divided into big green and small green. The former is more hook outline, less Cun pen, heavy coloring, strong decoration; the latter is in the light color of ink on the basis of thin cover green. Although there are some differences between the two, the main colors are stone green and stone green. Therefore, the high purity of the formal language of the green (Jinbi) landscape in Tang and Song Dynasties is its important feature. On the other hand, the high purity of formal language does not hinder its richness. This is because its color is finished by rendering and backing for many times. In 1930s, Wu Hufan found that Zhao Boju had seven layers of green landscape colors, which was beneficial to his landscape painting. Wu Hufan made further development on this basis. His landscape color is far more than that of stone green, stone green, mud gold and so on. Almost all the traditional Chinese painting pigments use it. In this way, under Wu Hufan's pen, the ancient green landscape language is highly pure and the style is simple and elegant

Chinese PinYin : Wu Hu Fan