Pan Tianshou character evaluation in classical Chinese

1. Character evaluation of Pan Tianshou

People's Daily Online comments: Pan Tianshou's paintings are shocking; one is full of the emotion and interest of life, and the other is full of spiritual tension. and pride.

The former is based on natural expression, while the latter is based on deliberate management. His lifelong struggle coincided with the ups and downs of Western art trends' impact on Chinese art. He believed that the mixing of Chinese and foreign art could promote the brilliant development of art. However, his own creations persisted in seeking innovation from tradition throughout his life, and could not Reach out and learn from external factors.

The differences in style between him and Wu, Qi and Huang do not go beyond the unified circle of traditional materials and tools, expression methods and aesthetic tastes. Therefore, the majestic, dangerous, and powerful aesthetic character he pursues still does not fall outside the traditional aesthetic category of "magnificence" and has not been transformed from drawing on the spirit of Western culture to being sublime.

He is the last master of traditional painting who is approaching but has not yet entered the modern era. Ifeng.com commented: "Pan Tianshou is good at freehand brushwork of flowers, birds, landscapes, and occasional figures.

He is especially good at painting eagles, starlings, fruits and vegetables, pines, and plums. He writes boldly and touches carefully.

The ink and color are crisscrossed, the composition is fresh and green, majestic and interesting.

The themes of Pan Tianshou's paintings include eagles, lotus and pine. , Four Gentlemen, landscapes, characters, etc., every work must have a strange situation, seek balance in the dangerous structure, and the form can be simple but the meaning is far-reaching." 2. Character review of Chen Peiqiu

Chen Peiqiu was born in Nanyang, Henan in 1923 and spent her teenage years in Kunming. She was already interested in art when she was young and had excellent academic performance, especially in mathematics. She grew up in a turbulent situation. When she graduated from high school, it coincided with the Anti-Japanese War. In order to respond to the call for saving the country through science and technology, she entered the Southwest Associated University in 1942. Since his passion for art never faded, Chen decided to study art and was admitted to Chongqing National Art College in 1944.

Students at the National Art College at that time were very yearning for Western art and envisioned Western realism as the only way for China's future art development. However, Chen Peiqiu is not influenced by her peers. She has long been fascinated by traditional Chinese painting, focusing on studying the art of ancient masters, and firmly believes that the art of her predecessors can inspire her artistic creation.

When Chen Peiqiu was studying at the National Art College, Pan Tianshou and Huang Binhong were both teachers in the school department, and she was able to study flower and bird painting with Pan Tianshou. However, she believed that the Song Dynasty was the peak period of Chinese art development, so she was determined to follow the footsteps of her predecessors and follow the artistic direction of the ancient masters. She started with flower-and-bird and landscape paintings from the Song Dynasty, and carefully explored both the gongbi and freehand styles.

After graduating in 1950, Chen Peiqiu began working at the Shanghai Cultural Relics Management Committee. The job at that time gave her a lot of opportunities to browse ancient paintings, and even loaned her flower and bird fan paintings from the Song Dynasty for copying. "Anthology of Flowers and Birds" demonstrates Chen Peiqiu's meticulous flower-and-bird painting techniques of the Song Dynasty, and the paintings in it are all common themes in Song paintings.

After carefully studying the techniques of gongbi, Chen Peiqiu turned to explore a more extensive and freehand style. Generally speaking, a painter's emotions and spirit can be expressed and expressed better through freehand painting. She draws on Xu Wei's abstract and simple shapes and emotional ink painting techniques of the Ming Dynasty.

A few years later, her splash-ink technique was combined with a new combination of techniques. She used vivid brushstrokes and splash-ink to describe every scene in nature. The most successful thing was her ability to mix gongbi and brushwork. The freehand technique makes the work more elegant and graceful.

After China’s reform and opening up, Chen Peiqiu had new observations and feelings about the new things around her. In addition to still insisting on copying ancient paintings, she began to pay attention to Western art. Chen Peiqiu constantly changes her style. She admires the shimmering colors and refined brushstrokes of Manet, Renoir and Degas, and refers to the Impressionist color use in traditional Chinese paintings. In Chen Peiqiu's mature works, the influence of Western art is increasingly evident in landscape painting and color use.

Chen Peiqiu believes that artistic creation is more important than "new" and "difficult". Her own artistic foundation is based on tradition, and her concept of innovation is relative - there is no new without the old. She carefully studied the painting elements of traditional Chinese painting, using refined lines and traditional brush and ink, combined with the use of colors inspired by Western paintings to depict the texture, volume and movement of the scene. She believes that "newness" requires the accumulation of knowledge and skills, and the accumulation of experience and control skills are time-consuming and laborious. This tortuous and difficult process is "difficulty".

As an inheritor of traditional Chinese painting, she has given herself a mission - to reposition the contribution of traditional Chinese painting to the development of modern art. 3. Representative figures and main viewpoints of the conservative faction in the literary revolution debate

Some conservatives and feudal literati also attacked the New Culture Movement.

Liu Shipei and others organized the monthly magazine "Guo Gu" in January 1919, advocating the "promoting of China's inherent academic purpose" and opposing the New Culture Movement. In March, Lin Shu (Qin Nan) published allusive novels "Jing Sheng" and "Demon Dream" in "New Shenbao", attacking Chen Duxiu, Qian Xuantong, Hu Shi and others, and incited the warlords to suppress the New Culture Movement with force.

At the same time, he published "To Cai Heqing, Taishi Shu" in "Gongyan Pao", attacking the New Culture Movement as "covering Confucius and Mencius and uprooting moral ethics", "abolishing all ancient books and using native dialects as writing", which is " "Rebellion against relatives and contempt for Lun", "human heads and animals roaring". Cai Yuanpei publicly published a "Letter to the "Gongyan Bao" with a Reply to Lin Qinnanjun", emphasizing "adhering to the principle of freedom of thought and embracing inclusiveness", which effectively safeguarded the New Culture Movement.

The literary reform movement that took place before and after the "May 4th" movement opposed the old literature that contained the teachings of Confucius and Mencius, advocated new literature that reflected real life, opposed classical Chinese, and advocated vernacular literature. In January 1917, "New Youth" magazine published Hu Shi's article "A Preliminary Discussion on Literary Reform", which proposed eight things for literary reform, namely: the words must be meaningful, do not imitate the ancients, pay attention to grammar, and do not make innocent remarks. , do not use clichés, do not use allusions, do not use antitheses, and do not avoid common sayings and words.

This was the first signal of a literary revolution. In February 1917, Chen Duxiu published "On Literary Revolution" in New Youth, Volume 2, No. 6, proposing the "three major doctrines" of literary revolution, overthrowing the polished and flattering aristocratic literature, and building a plain and lyrical national literature. Overthrowing the stale and extravagant classical literature, building fresh and honest realistic literature, overthrowing the obscure and difficult mountain and forest literature, building clear and popular social literature, truly raised the banner of literary revolution.

The idea of ??literary revolution was echoed by Qian Xuantong, Liu Bannong and others. They wrote articles criticizing old literature and put forward some specific ideas for literary revolution. Zhou Zuoren published the article "Human Literature", advocating humanistic literature, which was of substantial significance in criticizing the "inhuman literature" in the feudal era.

Li Dazhao published "What is New Literature" and began to raise the issue of Marxism as the leading idea of ??new literature early on. In February 1917, "New Youth" published eight vernacular poems by Hu Shi, which was an attempt by the literary revolution to break through the limitations of theoretical propositions and innovate in content.

In May 1918, "New Youth" published Lu Xun's first vernacular novel "A Madman's Diary", and then published "Kong Yiji" and "Medicine"; after 1919, Guo Moruo published "Current Affairs" Poems such as "Phoenix Nirvana" were published in Xinbao's supplement "Xue Leng". These works described the painful lives of the oppressed people and were filled with thoroughly anti-imperialist and anti-feudal ideas, showing the achievements of the literary revolutionary movement. Pan Gongkai: "The new representative of the old school" Pan Gongkai, president of the Central Academy of Fine Arts, believes that in the near future, Chinese painting is likely to experience a world-wide boom and then gradually die out.

This view is related to his consistent "conservative" life experience - Pan Gongkai: "the new representative of the old school". Faced with the soaring market prices of Chinese art, Pan Gongkai, who painted traditional Chinese paintings, "is not in a hurry". As the president of the Central Academy of Fine Arts and the former president of the China Academy of Art, Pan Gongkai believes that "the gap between the art market price and the value of art works is probably inevitable."

He also mentioned jokingly that foreigners cannot understand Chinese paintings and dare not say bad things casually. Although oil paintings are easy to sell in the market, they may not be as good when taken to the West. evaluate. Pan Gongkai even believes that in the near future, Chinese painting is likely to experience a world-wide prosperity, a "diffusion period" in which "diffusion" is the way to disappear - just like the "Hellenistic Age" was the period of Greek art. The dispersal period is the same - after that, they will gradually disappear due to the narrowing of national differences and the internationalization of cultural life.

The "innovation" issue that is also debated in the Chinese painting circle, in Pan Gongkai's view, is a concept derived entirely from modernist technology and is not based on the requirements of artistic originality. "Chinese painting itself is mainly The ancients had many opinions on "painting well", and Zhang Daqian once said that one should compete with the best painters of the ancients."

There is another thing that Pan Gongkai is talking about. Tao's identity - the second son of Pan Tianshou, a master of traditional Chinese painting. Although he was born into a family of traditional Chinese painters, Pan Gongkai actually did not start painting traditional Chinese paintings until after the "Cultural Revolution".

Since his childhood, Pan Gongkai has been much more interested in technology than painting. He even boasted about having "made a radio as big as the smallest razor box." On May 10, the seminar "Modernity, Modern Transformation and Consciousness" hosted by Pan Gongkai was held at the Guangdong Museum of Art.

The topic is related to the topic that Pan Gongkai and his doctoral students are studying - the path of modern Chinese art. At the same time, there is also Pan Gongkai's solo exhibition "Still Waters Flow Deeply".

Family inheritance is not inheritance from teachers. Pan Gongkai was born in 1947. At that time, his father Pan Tianshou was in his fifties and serving as the principal of the National Art College. After that, the current situation changed and the school changed its name several times. Pan Tianshou continued to teach in the Academy of Fine Arts. In 1959, he served as the dean of Zhejiang Academy of Fine Arts (formerly the National Art College) until the beginning of the "Cultural Revolution".

Pan Gongkai grew up in the courtyard of the Academy of Fine Arts. Under the influence, Pan Gongkai did not immediately embark on the path of art. Pan Gongkai described himself as a child to Southern Weekend reporters: "Relatively introverted, very quiet, and very interested in technology.

There were many children playing in the yard, and I hardly went out to follow them. Play and make things at home every day.

"What makes him proud to this day is that he was able to make his own tube radio in the third grade of elementary school.

That tube radio was the first radio made by a primary school student in Hangzhou, and was later taken to participate in the competition Children's Science and Technology Expo. Pan Gongkai's eldest brother is also more interested in technology. He has never painted before.

When Pan Gongkai was in elementary school, his eldest brother was already a college student majoring in engineering, and he became a college student after graduation. An engineer at Hangzhou Silk Printing and Dyeing Factory. At that time, it was already popular that "if you learn mathematics, physics and chemistry well, you will not be afraid of traveling around the world". Pan Gongkai "felt that his brother was great".

The two brothers "deviated". His father, Pan Tianshou, doesn’t care about his family background. “As you become a teacher, you will understand that success cannot be judged in just one moment.

He trusts me and my eldest brother in studying. 4. The conservative period of the Republic of China

Some conservative and feudal literati also attacked the New Culture Movement.

Liu Shipei and others organized the monthly magazine "Guo Gu" in January 1919, advocating the "promoting of China's inherent academic purpose" and opposing the New Culture Movement. In March, Lin Shu (Qin Nan) published allusive novels "Jing Sheng" and "Demon Dream" in "New Shenbao", attacking Chen Duxiu, Qian Xuantong, Hu Shi and others, and incited the warlords to suppress the New Culture Movement with force.

At the same time, he published "To Cai Heqing, Taishi Shu" in "Gongyan Pao", attacking the New Culture Movement as "covering Confucius and Mencius and uprooting moral ethics", "abolishing all ancient books and using native dialects as writing", which is " "Rebellion against relatives and contempt for Lun", "human heads and animals roaring". Cai Yuanpei publicly published a "Letter to the "Gongyan Bao" with a Reply to Lin Qinnanjun", emphasizing "adhering to the principle of freedom of thought and embracing inclusiveness", which effectively safeguarded the New Culture Movement.

The literary reform movement that took place before and after the "May 4th" movement opposed the old literature that contained the teachings of Confucius and Mencius, advocated new literature that reflected real life, opposed classical Chinese, and advocated vernacular literature. In January 1917, "New Youth" magazine published Hu Shi's article "A Preliminary Discussion on Literary Reform", which proposed eight things for literary reform, namely: the words must be meaningful, do not imitate the ancients, pay attention to grammar, and do not make innocent remarks. , do not use clichés, do not use allusions, do not use antitheses, and do not avoid common sayings and words.

This was the first signal of a literary revolution. In February 1917, Chen Duxiu published "On Literary Revolution" in New Youth, Volume 2, No. 6, proposing the "three major doctrines" of literary revolution, overthrowing the polished and flattering aristocratic literature, and building a plain and lyrical national literature. Overthrowing the stale and extravagant classical literature, building fresh and honest realistic literature, overthrowing the obscure and difficult mountain and forest literature, building clear and popular social literature, truly raised the banner of literary revolution.

The idea of ??literary revolution was echoed by Qian Xuantong, Liu Bannong and others. They wrote articles criticizing old literature and put forward some specific ideas for literary revolution. Zhou Zuoren published the article "Human Literature", advocating humanistic literature, which was of substantial significance in criticizing the "inhuman literature" in the feudal era.

Li Dazhao published "What is New Literature" and began to raise the issue of Marxism as the leading idea of ??new literature early on. In February 1917, "New Youth" published eight vernacular poems by Hu Shi, which was an attempt by the literary revolution to break through the limitations of theoretical propositions and innovate in content.

In May 1918, "New Youth" published Lu Xun's first vernacular novel "A Madman's Diary", and then published "Kong Yiji" and "Medicine"; after 1919, Guo Moruo published "Current Affairs" Poems such as "Phoenix Nirvana" were published in Xinbao's supplement "Xue Leng". These works described the painful lives of the oppressed people and were filled with thoroughly anti-imperialist and anti-feudal ideas, showing the achievements of the literary revolutionary movement. Pan Gongkai, president of the Central Academy of Fine Arts, believes that in the near future, Chinese painting is likely to experience a worldwide boom and then gradually die out.

This view is related to his consistent "conservative" life experience - Pan Gongkai: "the new representative of the old school". Faced with the soaring market prices of Chinese artworks, Pan Gongkai, who painted traditional Chinese paintings, "is not in a hurry". As the president of the Central Academy of Fine Arts and the former president of the China Academy of Art, Pan Gongkai believes that "the gap between the art market price and the value of art works is probably inevitable."

He also mentioned jokingly that foreigners cannot understand Chinese paintings and dare not say bad things casually. Although oil paintings are easy to sell in the market, they may not be as good when taken to the West. evaluate. Pan Gongkai even believes that in the near future, Chinese painting is likely to experience a world-wide prosperity, a "diffusion period" in which "diffusion" is the way to disappear - just like the "Hellenistic Age" was the period of Greek art. The dispersal period is the same - after that, they will gradually disappear due to the narrowing of national differences and the internationalization of cultural life.

The "innovation" issue that is also debated in the Chinese painting circle, in Pan Gongkai's view, is a concept derived entirely from modernist technology and is not based on the requirements of artistic originality. "Chinese painting itself is mainly The ancients had many opinions on "painting well", and Zhang Daqian once said that one should compete with the best painters of the ancients."

There is another thing that Pan Gongkai is talking about. Tao's identity - the second son of Pan Tianshou, a master of traditional Chinese painting.

Although he was born into a family of traditional Chinese painters, Pan Gongkai actually did not start painting traditional Chinese paintings until after the "Cultural Revolution".

Since his childhood, Pan Gongkai has been much more interested in technology than painting. He even mentioned with some arrogance that he once "made a radio as big as the smallest razor box." On May 10, the seminar "Modernity, Modern Transformation and Consciousness" hosted by Pan Gongkai was held at the Guangdong Museum of Art.

The topic is related to the topic that Pan Gongkai and his doctoral students are studying - the path of modern Chinese art. At the same time, there is also Pan Gongkai's solo exhibition "Still Waters Flow Deeply".

Pan Gongkai was born in 1947, when his father Pan Tianshou was fifty years old and serving as the principal of the National Art College. Afterwards, the current situation changed and the school changed its name several times. Pan Tianshou continued to teach in the Academy of Fine Arts. In 1959, he served as the dean of Zhejiang Academy of Fine Arts (formerly the National Art College) until the beginning of the "Cultural Revolution".

Pan Gongkai grew up in the courtyard of the Academy of Fine Arts. Under the influence, Pan Gongkai did not immediately embark on the path of art. Pan Gongkai described himself as a child to Southern Weekend reporters: "Relatively introverted, very quiet, and very interested in technology.

There were many children playing in the yard, and I hardly went out to follow them. He plays and makes things at home every day. "What makes him proud is that he was able to make his own tube radio in the third grade of elementary school.

That tube radio was the first radio made by a primary school student in Hangzhou. It was later used to participate in the Children's Science and Technology Expo. Pan Gongkai's eldest brother is also more interested in technology. He has never painted.

When Pan Gongkai was in elementary school, his eldest brother was already a college student majoring in engineering. After graduation, he became an engineer at Hangzhou Silk Printing and Dyeing United Factory. At that time, it was already popular that "if you learn mathematics, physics and chemistry well, you will not be afraid of traveling all over the world", and Pan Gongkai "felt that his brother was great".

The brothers "deviated" from their family roots, but their father Pan Tianshou didn't care. "As you become a teacher for a long time, you will understand that you cannot judge a person's success by looking at a moment.

He trusts my elder brother and I in our studies, and almost never asks you what you are studying or what your test scores were. "Pan." 5. Famous figures in Ningbo

Since the Southern Song Dynasty, a large number of important officials have appeared in Ningbo.

The Shi family in Yinxian County, which produced three prime ministers in the Southern Song Dynasty, came from Ningbo. In the Ming Dynasty, Ningbo had the famous official Fang Xiaoru, who was known as the "seed of reading in the world", as well as four chief ministers of the cabinet Shen Yiguan, Zhang Huangyan, Xiong Rulin and Shen Chenquan, as well as many ministers.

The two presidents in the history of the Republic of China, Chiang Zhongzheng and Chiang Ching-kuo, were both from Ningbo. Among the military and political officials of the Republic of China were Ningbo citizens, including Hu Zongnan and Yu Jishi. Ningbo merchant gangs emerged in the middle and late Ming Dynasty, represented by Le Xianyang, who founded Tongrentang.

In the middle and late Qing Dynasty, Ningbo merchants landed in Shanghai and became an important commercial and social force. Representatives of this period include Li Yeting, Zhenhai Fang family, Yan Xinhou, Ye Chengzhong, Yu Qiaqing and so on.

Sun Yat-sen once commented: "In every port in our country, there is no business of Yong people. Even in European countries, there are also many Yong merchants. Their capabilities are second to none." After World War II, Ningbo The business gangs moved to Hong Kong, North America and other places. The representatives at this time were Wang Kuancheng, Pao Yugang, Run Run Shaw, Li Daksan, Cao Guangbiao, Ying Changqi, Zhang Zhongmou and Zhao Anzhong.

Since the 1980s, a number of business celebrities have emerged in Ningbo, including Ding Lei, Zhuang Sihao, etc. Ningbo celebrities in the cultural and scientific circles include the Ming Dynasty philosopher Wang Shouren, the Qing Dynasty scholars Huang Zongxi, Wan Sida, Wan Sitong and Quan Zuwang, the writer Yao Xie, and the calligrapher Mei Tiaoding.

During the Republic of China, Ningbo had literati Chen Bui and Lin Handa, writers Rou Shi, Yin Fu and Tang Tao, calligrapher Sha Menghai and traditional Chinese painting master Pan Tianshou. Contemporary celebrities in Ningbo's cultural circles include drama theorist and cultural scholar Yu Qiuyu, English writer Lu Gusun, Chancellor of the University of Nottingham Yang Fujia, President of Peking University Medical School Han Qide, former President of the Chinese Academy of Sciences ***, modern educator Jiang Menglin, geologist Scientist Weng Wenhao, biologist Tong Dizhou, geneticist Tan Jiazhen, orthopedic scientist Chen Zhongwei, the father of amputated hand replantation, Nobel Prize winner Tu Youyou in Physiology or Medicine, Internet writer Annie Baby (Li Jie), etc. .

In addition, the total number of academicians of the two academies who were born in Ningbo and whose ancestral home is Ningbo exceeds 100. 6. The Beauty of Bridges from the Eight Chinese Language Texts of People's Education Press

The Beauty of Bridges Table of Contents [Hide] Original Text Appreciation Author Introduction Related Works Text Discussion and Teaching Suggestions [Edit this paragraph] Original Text Appreciation "The bridge I have walked is better than yours. There is still a long way to go." Nowadays, few people probably use this tone to teach young children a lesson! Naturally, we will pass through countless bridges in our lifetime. Apart from the engineers who build bridges, painters probably see the most bridges.

Most artists like bridges, and I always look for bridges wherever I go.

Bridge, how beautiful! "Little Bridges and Flowing Waters and Houses" is of poetic beauty, but in fact it is more formal beauty in painting: Houses are blocks of water; flowing water is long lines and curves; lines and blocks form a contrasting beauty; bridges and running water are Intersection is richer in formal changes, and it is also the medium between lines and surfaces. It is a bridge that communicates the form changes between lines and surfaces! If the scenery is ruined and all the stone bridges in the Jiangnan water towns or Venice are demolished, although the green water will still surround people's homes, it will completely destroy the structural beauty and formal beauty in the eyes of the painter.

The structure of the stone arch bridge itself is very beautiful: round bridge openings, square stones, and curved bridge backs. The square and round sides get along harmoniously and appropriately. The laws of mechanics often coincide with the laws of beauty. combine. However, my love for bridges does not focus on appreciating bridges as large handicrafts, nor does it focus on the development of bridges since Li Chun’s Zhaozhou Bridge, but on the various forms of bridges in different environments. effect.

Both sides of the river in Wuzhen, Mao Dun’s hometown, are covered with dense reeds, which are really airtight. Whenever a stone bridge appears in the middle, it seems that the stuffy reeds took a deep breath and let out a comfortable breath. gas. The strong arc of the arch bridge or the simple straight lines of the square bridge are in sharp contrast to the reeds.

In the early spring weather, the thin willow threads are fluttering at the head of the stone bridge in the Jiangnan countryside. The slender hairsprings are blowing against the hard stones of the bridge. Even if the dawn wind and the waning moon cannot be seen, the painter is ecstatic! The lake is vast and the water and sky are the same color. In front of a pure and bright background, a long bridge suddenly appears, like a crouching dragon. It is alive and often hundreds or thousands of years old. People cherish the beauty of the Long Bridge.

The imitated Marco Polo Bridge in the Summer Palace only has 17 holes, while the Baodai Bridge in Suzhou has 53 holes. If you take a boat and watch it slowly along the bridge, you will feel as satisfied as reading an epic poem. Wind and rain bridges are often encountered in mountainous areas in Guangxi, Yunnan, Guizhou and other provinces. The bridges are covered with corridors and pavilions to protect them from the rain. They are ideal locations for embellishment of figures in ancient landscape paintings.

Because there are mostly rapids under the bridge, people always stop here to admire the waterfalls and springs. Painters and photographers must have a battle here. Zhang Zeduan used the bridge as the centerpiece of the painting in "Along the River During the Qingming Festival" because the bridges, pedestrians and various boats above and below the bridges will inevitably show lively scenes, and the strong life sentiments of the streets on both sides of the strait are also connected by the bridges. Condensed drawing.

The development of contradictions promotes the climax of drama. The overlapping and interlacing of images form a rich picture. Bridges often play the role of connecting the overlapping and interlacing of images. No wonder bridges are often encountered in paintings and photography works. As far as the eye can see, there is a crop field, which is a bit monotonous. A small bridge suddenly appears at the end of the path. The reflection of the bridge is reflected in the river under the bridge, and the reflection is often pierced by duckweeds and weeds.

Whether it is a wooden bridge or a stone bridge, the length and width of its body and the water waves under the bridge work together to compose music of shape and color. The fields are silent, and painters love to listen to the singing of bridges in silent places. They look for bridges, just like children looking for excitement.

Transportation between the mountains and canyons is carried out by iron cable bridges and bamboo cable bridges. I have painted many rope bridges in Tibet, Xishuangbanna, Sichuan and other places. Human rope bridges are dangerous, but in the eyes of painters, rope bridges are just a line, a flexible line! It is difficult to say that an isolated line has any vitality. It is the precipitous environment that gives birth to the life of the bridge. It is the diverse lines of mountains, rocks, trees and rapids that set off the rope bridge to achieve the effect of a line with unique vitality.

The Nanjing Yangtze River Bridge looks like a straight line from a distance. Is the straight line beautiful? Are straight lines more consistent with the new aesthetic? It is not appropriate to ask general questions or give general answers. In the processing of artistic forms, there are often slight mistakes and huge differences. In order to draw the Yangtze River Bridge, I once climbed up the Lion Rock in Nanjing, just to find points, lines, and surfaces that contrast, echo, and extend the straight lines of the bridge! In order to draw the Qiantang River Bridge, I climbed up to the hillside behind the Liuhe Pagoda twice, but I could never handle the relationship between the huge Liuhe Pagoda and the long bridge, so it didn't form a picture.

Although there are many weeping willows along the riverside and peach blossoms blooming all over the mountain, the color of the makeup can’t affect the beauty of the structure! There are many straight bridges on Chengkun Road, and trains are constantly crossing bridges, entering holes, exiting holes, and crossing bridges, almost connecting bridges to holes and holes to bridges. Every time we pass through the circular valley, looking forward and backward, we see the straight lines of many bridges cutting through the steep slopes from time to time. Sometimes they appear dangerous and beautiful, and sometimes they are dangerous but not beautiful. Beauty and danger are not the same thing.

Photographers and painters continue to explore the beauty of bridges. Both large bridges and small bridges have their own beauty. Someone painted a magpie bridge. The bridge composed of magpies not only has a good meaning, but also has a free and lively form.

Any image that plays a key role in composition and connection actually possesses the beauty of a bridge! [Edit this paragraph] About the author Wu Guanzhong, born in 1919, is a modern Chinese painter. Born on July 5, 1919 in a rural teacher's family in Yixing County, Jiangsu Province.

After graduating from the Wuxi Normal Junior High School, he was admitted to the Provincial Advanced Industrial Vocational School run by Zhejiang University. In 1936, he transferred to Hangzhou Art College and studied Chinese and Western painting from Li Chaoshi, Chang Shuhong and Pan Tianshou.

Graduated in 1942 and served as a teaching assistant at National Chongqing University. In 1946, he obtained a public scholarship to study in France.

From 1947 to 1950, he studied oil painting at the studio of Professor Souffelpi at the Ecole Supérieure des Beaux-Arts in Paris; at the same time, he studied at the Lott Studio and studied art history at the Louvre School of Art History, with excellent results in all aspects. .

Wu Guanzhong returned to China in the autumn of 1950.

He has taught at the Central Academy of Fine Arts, the Department of Architecture of Tsinghua University, the Beijing Academy of Art, and the Central Academy of Arts and Crafts. He is currently a professor at the Central Academy of Arts and Crafts, an executive director of the Chinese Artists Association, and a member of the National Committee of the Chinese People's Political Consultative Conference.

From the 1950s to the 1970s, Wu Guanzhong devoted himself to the creation of oil painting landscapes and explored the nationalization of oil painting. He strives to integrate the intuitive vividness of European oil paintings in depicting nature and the rich and delicate colors of oil paintings with the traditional Chinese artistic spirit and aesthetic ideals.

He is good at expressing the scenery of Jiangnan water towns, such as the new green in early spring, thin mist, waterside cottages, black tiles and white walls. The harmonious and fresh tones, tranquility and light beauty create a unique scene in the picture. A lyrical appeal. Since the 1970s.