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Going up to the sky and facing the abyss: Huangshan in Lai Shaoqi's eyes

来源:黄山日报 作者:王国银 December 10, 2019 15:10:35 Source: Huangshan Daily Author: Silver Kingdom

In October 1939, it was a period of fire and smoke. The Chinese land was being trampled by the Japanese iron hoof, and the Chinese nation was being ravaged by the Japanese invaders. Lai Shaoqi, who is engaged in the editing and distribution of newspapers and magazines in Guangxi, was blacklisted by the authorities. There is a danger of arrest at any time. He was organized to leave immediately to join the New Fourth Army in southern Anhui and join the anti-Japanese front.

After several rounds, Lai Shaoqi came from Zhejiang to Huizhou, passed the foot of the Huangshan Mountain, and took a bamboo raft down the Qingye River to reach Yunling County, Shexian County. Lai Shaoqi didn't have time to visit Huangshan because of the urgent situation of the revolution. At this stage, he wrote an article every day at the appointment of the Daily Salvation. At the foot of Huangshan, he wrote the ninth article, titled "On the Green River". This was the first time he saw Huangshan, and Huangshan impressed him very much.

In 1959, Lai Shaoqi was transferred from Shanghai Federation of Literary and Art Education to the Anhui Provincial Propaganda Department as Deputy Minister. Since then, he has taken Huangshan as a painting creation base and went up the mountain almost every year, ranging from a few days to a few months. People in the mountains. " Zhong Lingyu's beautiful Huangshan made him indulge in it and became an inexhaustible source of painting creation. Like Shi Tao, Cheng Ye, and Huang Binhong, he searched for the strange peaks and painted the beauty of the hills of Huangshan, and used the ancient and modern to fuse China and the West , The art of painting reached its peak. The famous painter Tang Yun commented on his "Huang Shan Tu". If Shi Tao and Mei Qing are both leaders of the "Huang Shan Painting School", then Lai Shaoqi is worthy of being the banner holder of the "New Huang Shan Painting School".

Lai Shaoqi's paintings have gone through the process from woodcut prints to landscape paintings. Around the early 1960s, Lai Shaoqi organized a group of printmakers such as Zhang Hong, Shi Songling, and Tao Tianyue to come to Huangshan to experience life and learn the Hui school print tradition. They jointly created large-scale color printings "Huangshan Houhai" and "Huangshan Hotel". In commemorating the 20th anniversary of "Mao Zedong's Speech at the Yan'an Literature and Art Symposium", the exhibition "Huangshan Houhai" caused a strong response after the exhibition, and Anhui jumped into the ranks of major printmaking provinces. Later, Marshal Chen Yi led foreign diplomatic envoys in Huangshan as the theme, and jointly created the prints of "Chen Yi Yin Poems", which also had a profound impact.

Printmaking belongs to a unique and emerging type of painting, because of lack of cohesion and development is not fast. Lai Shaoqi wanted to establish a national printmaking association very early. After months of preparation, everything is ready. Under the leadership and promotion of Lai Shaoqi, the meeting was held in Huangshan. Before the meeting, Lai Shaoqi accompanied Li Hua, Gu Yuan, Wang Qi and more than 60 well-known printmakers to Huangshan in advance, sketching on the mountain to create, publicize and promote Huangshan. On April 19, 1980, the inaugural meeting of Chinese printmakers was held at the Huangshan Hotel, and Lai Shaoqi was elected as the vice chairman of the Chinese Printmaking Association.

In the late 1970s and early to mid-1980s, Lai Shaoqi often lived in the Ziyun Tower after arriving in Huangshan. This place is relatively quiet and is a good place for viewing, sketching, copying, and creating. At this time, he mainly created landscape paintings of Huangshan Mountains and called himself the "Huangshan Period", which was also the period of the greatest gains in his life. Judging from the collection of Lai Shaoqi Art Museum in Hefei and his large collection of paintings, Huangshan-themed Chinese paintings account for more than a third. Among them, in the summer and autumn of 1980, Lai Shaoqi concentrated his efforts on creation in Huangshan, and successively painted "A Spring with All Sounds", "Autumn Mountain Rainfall Comes to Cold", "Autumn Red Leaves Map", "Emerald Pool after Rain", "Huangshan Wansong Map" and other two large paintings, and also created "The praise of Huangshan" for Huangshan Administration. The Lai Shaoqi Painting and Calligraphy Exhibition held in Hefei, Nanjing, Shanghai, Hangzhou, Hong Kong and other places for a period of time also mostly focused on the theme of Huangshan.

His Huangshan-themed works are rich in fine works and huge in size, as well as decorated on important occasions. Although he has traveled many places, including Mount Tai, Yandang Mountain, Tiantai Mountain, Putuo Mountain and other famous mountains and rivers, but whenever someone asked him to create, he always thought of Huangshan and drew Huangshan, which was already in his bones, anytime and anywhere.

Invited to create two large paintings of "Huangshan Kowloon Falls" and "A Praise of Huangshan" for the Xijiao Hotel of the Shanghai Municipal Government;

Invited to create a huge Chinese painting "Huangshan Gao" for Hangzhou Hotel;

Invited to create two “Sleep through Huangshan Xihaimen” by Nanhu Hotel in Guangzhou;

Invited to create "One Night in the Mountain" and "Shuanglong Waterfall" in the President's Suite for the Diaoyutai State Guest House in Beijing, which was arranged in the Presidential Suite, and later he created "Huangshan Five Hundred Mile";

Invited to create six Chinese paintings “Song Tao of the Sea of Clouds” for China Disabled Persons Welfare Foundation;

Invited to create an eight-foot painting "Song Tao of Huangshan" for the Central United Front Work Department;

...

Lai Shaoqi was deeply influenced by Chinese traditional culture and returned to his hometown in Guangdong when he was old. Since then, his painting style has changed greatly, forming a unique and strong artistic style, calling himself "Bing Yin Reform" or "Decay Reform". In fact, his paintings in his hometown in Guangdong are still based on the Huangshan theme, but because of his age and body, he can't climb mountains as often as he used to. He intuitively feels Huangshan. At this time, Huangshan he painted was more abstract and freehand, and more hazy and blurred. Huangshan at this time is a supreme situation, a world that is difficult to reach.

In the 1960s, he painted "The Baizhang Spring". At that time, he was still a teacher-made and had more realistic elements. However, the "Baizhang Spring" painted after the transformation was completely changed, with rich colors and deep artistic conception. It was a dreamlike fantasy. , The feeling of being intoxicated, with an unforgettable impression of space dissolving in the abyss. No wonder he expressed it in the paragraph: "Whistling Dragon Yinquan hits the stone, and the sky is dark and dark. The quiet wind is flowing into the dream, and Tianma is drunk."

In 1991, he created a "Yellow Rain in the Huangshan Mountain" while he was in Manhattan, New York, USA. This painting is exactly the lingering impression of Huangshan that year. After years of precipitation, it has penetrated into the bone marrow and became the easiest in his spiritual world. Touching the "weakness". After the painting was finished, he remembered: In the summer of 1969, I spent the night at Huangshan Temple in Huangshan, dreaming of rain. A waterfall hangs on the wall in the morning. Then buckle the gate and go to the sky. Has been in a hurry for 22 years ...

In order to satisfy his day and night thoughts on Huangshan, he returned to Anhui in the eighth year after returning to Guangdong and came to Huangshan again. This trip to Huangshan should be his trip to Huangshan more than a hundred times. Lai Shaoqi painted on the mountain for 10 days. Although he was 80 years old, with a bumpy journey and busy activities, people found that Lai Shaoqi, who had devoted himself to Huangshan's arms, was rejuvenated. He walked on crutches to select scenes. He never shouted to be tired. Sometimes he took three or four hours to paint, and stayed at last The next great article is "The Praise of Huangshan, Anhui, China".

In the last paintings of his life, he no longer painted mountains. At this time, he was using his life to bloom "the image of the avenue." In "Song of Huangshan" he wrote: "The rivers and mountains are magnificent, and they will go again and again. Huangshan is buried with halberds, and spring is green." It seems that he has fully integrated himself into Huangshan and became a part of nature. What is buried is Green grass grows out of myself.

The Lai Shaoqi we know now is more of a glorious side of his life. In fact, his life experience is also extremely bumpy and difficult. In addition to the possible accidents when he was an editor and publisher in Guangxi in the early years, he joined the New Fourth Army and soon encountered the "Southern Anhui Incident". After being arrested, he was detained in a concentration camp in Shangrao. Unfair treatment, was dismissed and laid aside until he was reinstated in 1978; he had already become the main founder of the New Print School of Chinese printmaking, and his achievements were remarkable, but he later challenged himself to change the painting and become the New Huangshan School Flag holder. In his old age, the style of painting has changed again, entering a new world of painting, and sublimating art again.

Regarding Lai Shaoqi, people who know him have already written a lot of things, and it is easy to repeat again. However, in the process of collecting information, I discovered unexpectedly that I felt it necessary to write another article. It turned out that after leaving Anhui, Lai Shaoqi wrote a special letter to Huangshan, asking him to carve it on the rock wall, which not only adds cultural connotation, but also serves as a permanent memorial. However, shortly after the word was written, Huangshan was included in the UNESCO World Cultural and Natural Heritage List. In accordance with the World Heritage Convention, in order to maintain the authenticity and integrity of the heritage, it is no longer allowed to add stone inscriptions on the rock wall. Already.

We opened this calligraphy very carefully, and the eight big characters suddenly came into our eyes: the sky was up, and the abyss was down.

Everyone quietly looked at these eight characters, as if they were not in calligraphy, but chewing the image of Huangshan in Lai Lao's heart.

In fact, Lai Lao did not know that Huangshan people also had a Lai Lao image in their hearts. These eight words are exactly what Huangshan people think of Lai Lao.


Edit: Wen Chao