Chen Danqing said that the greatest figure painting in China in the 20th century is the "Picture of Refugees" by Mr. Jiang Zhaohe . The painting was created in 1942, 2 meters long and 27 meters wide, and took 1 year to complete.
At that time, the Japanese invaders had trampled on half of our country's rivers and mountains. The picture revealed the devastating trauma caused to the Chinese nation through group portraits of people with sad faces, exhaustion, and falling to the ground.
Speaking of "The Refugees", we will naturally think of Mr. Xu Beihong " Tian Heng Five Hundred Shi ".
is both a large-scale painting work. Although "Tian Heng Five Hundred Men" can be called the best, it is ultimately the first work that is used to the same painting in Western Europe. At that time, there were no large group of oil paintings in China. Mr. Xu could control them alone, and it was the pioneering work of local historical paintings.
Tian Heng Five Hundreds Partial
"The Refugees" was published a few years later than "The Refugees" and although Mr. Jiang had taught Xu Beihong two years, it is difficult to have a clear correspondence between the "The Refugees" and Xu Beihong's path. The "Immortal Picture" is complete, mature, self-sufficial, inconsistent, and has the weight that a classic can stand firm.
In the 1950s, large-scale group portraits of former Soviet Union were introduced, and more and more revolutionary and historical paintings appeared in China, which are now called "main melody" creation. I don’t want to say it all is political propaganda. I still feel that Perot Gongliu, Dong Xiwen, , Wang Shikuo, , Gao Hong, , and He Kongde. But I am sure that the above achievements cannot be compared with "The Picture of Refugees".
Talking about "The Picture of Refugees", its persuasiveness is difficult to find equal examples in local works, but it can be observed in European classics. The despair, tragedy, and death projected by this painting are like fragments of the Bible, which catch up with religious murals from the late Middle Ages and early of the Renaissance; the combination of more than a hundred characters in the picture is entangled and can each be in their own position and in their own form, and it is also first-class in Europe. The face, caste, expression, and temperament of each character in the painting are highly accurate - not "accurate", but "as it is" - which is comparable to the self-portraits of Velazkei's "Dwarf" series and the self-portraits of Rembrandt .
Velaskez's "Dwarfs Sitting on the Floor"
And the moral power, psychological depth and historical weight of "The Refugee Picture" belong to the same branch as Repin , Sulikov, and Korukhizhi; the calm and profound narrative nature of the whole scroll reminds me of the "Resurrection" of Tolstoy and the insulted and damaged people in the writings of Dostoyevsky .
talks about the strong response an artist can make during his fall, "The Refugees" is more than "HTM2 Guernica " by Picasso , and the political context during the draft of "The Refugees" is far more dangerous and difficult than "Guernica".
Picasso's "Guernica"
"The Picture of Refugees" in the 1950s was exhibited in the former Soviet Union. His colleagues applauded and paid tribute in front of the painting, saying: Mr. Jiang Zhaohe is "Rembrandt of China." This metaphor is half true.
Rembrandt was born in the prime of Baroque . The country and neighboring countries have brilliant stars. Chinese modern art was still learning language. "The Picture of Refugees" was published, but it was only above and outside the crowd. It is a miracle.
Jiang Zhaohe (1904 - 1986)
Mr. Jiang’s talent is to depict characters; Mr. Jiang’s aspirations are to truthfully draw the truth he witnessed. If he is interested in Chinese painting , he will look down on him; if he is realism, he will also limit him.
Mr. Jiang was a self-taught apprentice. He was a poor apprentice in his early years and went to Shanghai to engage in craft advertising art. He was a character who started his work. His early career in learning and making money, including paintings of charcoal pens and portraits, which have always been despised by painters in the middle school of China. In fact, since ancient times, more than half of the classics of Central and European paintings have been "portrait orders".
"Disaster Picture" partial
is unquestionable. "Disaster Picture" grasps the characters' methods and learns art from Xu Beihong privately with Mr. Jiang in Beijing, but Mr. Jiang was not a beginner Bai Ding before.
For example, Xu Beihong himself was also good at folk portrait ordering before studying abroad. The two geniuses' skills in drawing boys are not based on the Western Academy's modeling training, but are rooted in the local fine brushwork embroidery tradition.
"Picture of Refugees" partially
This tradition goes back to the Song and Ming Dynasties and Qing Dynasties. Mr. Xu's ability to learn foreign paintings first and his precise actions are beyond his talent and understanding, which is the foundation of local embroidered statues. Mr. Jiang is the same.
According to an old student of the Academy of Fineties, Mr. Jiang demonstrated in class in the 1950s, and there was no Western painting routine of "the contour is first, the details are portrayed later", but instead started directly from the bridge of the eyebrows, eyes, nose, and painted all the way without any changes. This is the viewing and techniques accumulated by the ancients over thousands of years.
"Dispatch Picture" local
"Dispatch Picture" characters all have names, surnames and backgrounds, and have vivid representations of codes such as sociology, physiology, , genealogy, genetics, and even local chronicles. At the same time, it is dominated by fear and combined with the tragic scene of falling. This kind of painting situation depends not only on the power of the modeling, but also on the author's understanding of people and using this precise understanding to control his imagination.
The image of "Ah Q" written by Mr. Jiang in his prime is an excellent example. Ah Q is a literary model that does have a true person but no one. Many painters’ Ah Q is like a phantom, which is equivalent to a comic. Although it is very meaningful, it does not understand people. Mr. Jiang's Ah Q is a humble and proud person, a shrinking and slight and despicable person.
"Share to Ah Q"
This is the only realistic work of Ah Q's image I have seen. Has anyone ever seen Ah Q? But Mr. Jiang is good at "reading people" and "knowing" Ah Q, and this painting is the only photo that is in-depth with the original work. Because Mr. Jiang is just like Lu Xun, he has unique eyes and sees through people, and has various human codes and paradigms in his heart - this is the talent of several portrait masters in the world.
"The Refugees" has more than 100 large-sized characters, all of whom are angry and intimidating. The connection between each group of characters is like a turbulent wave, and the terrifying feeling that the title character gives people is like a sacred. However, the contribution of "The Refugees" is not just a record of national suffering. To expand on the long and glorious history of Chinese painting, "The Picture of the Refugees" is the first masterpiece to describe the trauma of war and the fall of the nation.
"Idle Refugee Map" partial
This is also a topic that can be discussed in depth. Chinese literary poetry, such as , , , , , , , , , , 3, , , 3, , , talk about war, is touching, but it is mostly written in a profile. Painting is the only image media in ancient times, and the entire history of Chinese painting has no theme of chaos, and it is far away from the truth of fall and death.
日本2日本25日本日本日本3, the Yuan people entered the Central Plains, and the " Yangzhou Three Days" and "Jiading Ten Tu" have never been seen to describe a painting - this is not a derogatory meaning. Compared with Western art history, it is a big difference between Chinese and Western cultures, and long stories cannot be short--in terms of the theme and function of painting, the New Culture Movement in the 20th century was indeed revolutionary to painting. "The Picture of the Refugees" is therefore worthy of being a pioneer work of modern Chinese art.
"Picture of Refugees" Some of the local
Mr. abandons any concept with his inner will and sincerity, does not virtualize any hope, does not advocate high-pitched propositions, but is loyal to the disasters and points directly to the desperate situation where the people are in trouble and there is no regret in the world. This was not taken by the government at that time, and it was not even a left-wing accent.
However, this is true for the victims; this is true for the desperate situation of all people in wartime; this is true for death; so true art should be true. Those who do not embellish or deceive themselves, despair because of great love, and not only despair because of great love, are also the soul of "The Picture of Refugees".
"Picture of Refugees" Some of the Chinese have never been able to stand the despair of despair. Chinese people generally hate the uncovered truth in art and in all words. Around 1979, I saw the original work of "The Refugees" for the first time. The location was People's Art Publishing House .
It was only three years after the end of the Cultural Revolution, and everything was still in chaos. Such a precious tribute was not collected by the state and was actually in the dark corridor of human beauty! I was in my twenties and only came out of my rough life. I was ignorant and no one seemed to be present to investigate why this painting appeared in such an occasion. I was amazed by the stimulating atmosphere in the painting and did not think about anything else.
"Immortal Picture" Partial
After reading Liu Xilin's long article, I realized that when the Immortal Picture was borrowed by the Chinese Revolutionary Museum in 1959, it was withdrawn because Kang Sheng pointed out that it was "too low in tune"; the following year of the Cultural Revolution, it was designated as "a big poisonous weed that anti-communist and treason" and was almost destroyed. It was not until September 1979 that Central Academy of Fine Arts made a conclusion and reported to the Party Group of the Ministry of Culture for approval, and was evaluated, calling it a "realistic patriotic work." That year, in 1943, when the "Immortal Picture" was born, Mr. Jiang was an old man in the past thirty-six years.
Where are the refugees in "The Refugees Picture"? They entered Mr. Jiang's painting at the cost of a disaster, like a ghost. Unexpectedly, this painting was like a ghost. In the long years after the victory, they were guilty and were almost destroyed. It may prove that today's Chinese are generally still spiritual refugees.
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