A pleasant collaboration

I didn't have much contact with Brother Baoshi in the past. During the War of Resistance Against Japan, he taught at Chongqing Central University and the National Art College, while I wandered and sketched in various places in the southwest, northwest, and north. At that time, I was holding an art exhibition in Chongqing, and he came to see it every time. Although we had contact, it was always brief. After the 1950s, he worked in Nanjing, and my job was in Guangzhou. Apart from attending some national and cultural conferences, I rarely met once.

Between 1959 and 1961, due to a strange fate, we had two rare opportunities to work together. One was a collaboration with the giant painting "So Many Beauties in Jiangshan", and the other was an invitation to travel to Northeast China to sketch together. Both collaborations were not easy to come by, and they were also quite effective. This is due to the influence of our subjective factors and certain objective conditions.

What are subjective factors and objective conditions? I believe that subjectively, there is first and foremost a common foundation, which is the pulse of the times and the foundation of tradition, as well as the common view that "writing should follow the times" and the desire to "serve the people".

The creation of "Jiangshan So Many Beauties" has been summarized. Looking back now, the writing is not deep enough. At least one point has not been summarized, which is that during the creative process, it was required to maintain their respective art styles while being coordinated and unified. We have never worked together before, so we are a bit worried about it. We are afraid that due to poor cooperation, we may not be able to complete the task. In the more than four months of creative process, there is one thing that is worth summarizing (it was not written at that time), that is, we all start from the overall situation, consider the effect, ensure to carry forward their respective strengths, respect their respective strengths, learn from each other, respect each other, learn from each other's strengths, and have the same goal. At that time, we can consciously be the other's assistant in the process of cooperation, and be willing to be the other's supporting role, to highlight their respective strengths and expertise, and go all out to deal with this serious and arduous task.

What are objective conditions? First of all, there is a new China, which leads to such a magnificent and magnificent Great Hall of the People, and then there is a need for a grand painting like "So Many Beautiful Rivers and Mountains". Undoubtedly, this is the gift of the times, which gives rise to the rebirth of art. They are all products of the times. We are fortunate to live in such a great era and have accepted such a glorious political task. How do we deal with this glorious creative task that has never been experienced in the history of painting? In the process of cooperation, I deeply realized that even if we both have subjective factors that are acceptable without certain objective conditions, it is absolutely impossible to complete such a difficult and significant task, and even without the cooperation of any component, it is impossible to complete it well. At the beginning, it was clear that it was based on the theme of "Qinyuan Spring: Ode to Snow", with the theme of "so many beautiful mountains and rivers". At that time, both of us drafted based on the content of the words, but several sketches were not approved due to not grasping the main points. This is limited by the level of our subjective factors, and we feel exhausted and powerless to break through any point. We are pondering deeply. Mr. Chen has come, Mr. Guo has also come, as well as Wu Ha and Qi Yanming. They have provided valuable feedback during each review process, which has greatly inspired us and expanded our emotions. Due to our limited level of thinking, we always circle around the concrete aspects of words, and they all ask questions about imagery. Mr. Chen and Mr. Guo all spoke in unison, pointing out the need to establish a clear intention. Mr. Chen first proposed that "there are so many beauties in the country", and the word "jiao" should be emphasized first. How can we reflect the beauty of the country? He said in one breath that the picture must include "inside and outside the Great Wall", "below the mountains and rivers", as well as the East China Sea, snow capped mountains on the banks, and the lush land of Jiangnan. The geography includes east, west, north, south, and seasons include spring, summer, autumn, and winter. Only in this way can one become charming. Only by fully embodying the essence of coquettishness can we reflect the majestic momentum of the word "many". We listened attentively while stirring up waves of thought, and indeed felt a sudden enlightenment. Brother Baoshi's thoughts come faster than mine, his acceptance ability is stronger, and his experience is deeper than mine. So he thought of another realm. And then it was suggested whether or not the sun should shine? Do you want a character to appear? What character appears At this moment, Mr. Guo spoke up. Chairman Mao's "Ode to Snow" was before the liberation, so it is said that "it must be sunny". It's the tenth anniversary of liberation now, and the sun hasn't set yet? I think we should draw the sun rising in the east. All the others present agree with this opinion, but they do not advocate for the appearance of characters, believing that having characters may harm the artistic conception. We have conducted repeated research and discussion based on the above opinions, and have repeatedly revised the sketch. Fortunately, we have accumulated a certain amount of life experience and are more adept at sketching. More importantly, we have already established a common artistic concept, which can integrate the first collaboration of Jinling brush and Lingnan style into a larger painting, preserving both their respective styles and coordinating and unifying them. This is nothing else, mainly because we have a common foundation of the pulse of the times and the roots of tradition; With the principle of "pen and ink should follow the times", we must abide by it together; All adhere to the common views of "learning from the past but not sticking to the past", "learning from nature should dominate nature", and "art cannot be separated from politics, but is not a vassal of politics"; And each has certain creative experience and profound life accumulation in practice. These are all conditions for us to cooperate well. But it must be pointed out that no matter how good the subjective factors are, without the coordination of these objective conditions, it is definitely impossible to complete such a difficult task.

More than four months of hard work have passed. We work day and night, and sometimes we don't rest on Sundays. By mid September, the work had basically been rushed out. Looking back on our smooth progress in creation, we must not forget that the above mentioned individuals often supervise and check our progress, provide us with timely ideas, and motivate us. When the finished product was hung at the Great Hall of the People for approval by Premier Zhou, our mood was particularly tense that day because after the picture was hung on site, we felt that it was not ideal enough, so we had to wait for the result of Premier Zhou's approval with an anxious mood. Thinking about it, Mr. Chen accompanied Premier Zhou and we immediately went forward to greet him. The Premier shook hands with us and expressed warm condolences, saying, "You have worked hard," and "I didn't expect that you are still very young.". The Premier immediately ascended the White Marble steps to gaze at the paintings. He had climbed up and down the stairs several times, and even climbed to the highest points on both sides of the painting, repeatedly looking up, down, left, and right, carefully examining each angle. It was like this that he carefully reviewed for almost an hour. Then, in front of everyone, he expressed his opinion, "I agree with Mr. Chen that the painting is good, and we are both satisfied with it. The painting is very imposing." Then he said, "However... I think the painting is a bit small, and it must be widened and raised at least two meters, and one meter higher. The sun is too small to match the building, and it should be magnified at least twice as much." After saying his opinion, he reminded us a few words: "Time is running out, the painting needs to be improved, but attention should be paid to physical health." The painting was not fully framed and hung in the People's Assembly Hall until the evening of September 29th.   It turned out that he had drawn circles with a pencil next to each of the four characters for family matters. Some had one or two circles, while others had four or five circles. His intention in writing the four characters was to ask us to choose the six characters "the rivers and mountains are so beautiful" to use. We had to choose according to the characters that his elderly family drew in circles, and then ask Zhang Zhengyu to enlarge the picture and draw it onto the screen. At this point, the task was finally completed. I have explained here that the purpose of the above process is twofold. The first point is to explain that the completion of the task depends on the cooperation of various forces and the support of objective conditions from multiple aspects. Otherwise, such a difficult task cannot be completed. The second point is to talk about my personal feelings. From everything I can recall now, it seems like I have had a dream. Because Brother Baoshi and I both come from the old society, we will never forget the hardships and experiences of being poor painters in the old era. This firsthand experience and situation naturally create a contrast between beauty and evil and the old and new. The touching scenes and plots mentioned above, such a cooperative relationship between subjectivity and objectivity between upper and lower, was unimaginable in the past. As an old intellectual engaged in painting, being so valued and respected, and receiving such meticulous care and care, it is the first time in my life that I have experienced such comfort and warmth That's all, why don't we miss it! How can we forget!

Like-minded teachers and friends

My other collaboration with Brother Baoshi was a more fluid and comfortable travel sketch. Due to our shared goals and similar interests in life, we have always gotten along well, truly helping each other in terms of ideology and business, caring for each other in life, and understanding and taking care of each other when faced with difficulties. Especially in terms of literary and artistic ideas, one can achieve unreserved debates and exchanges. Therefore, we gradually established a friendship of mentorship and became like-minded comrades in arms.

When creating the painting "So Many Beauties in the Mountains and Rivers", we lived together at the Oriental Hotel in Qianmen. During our break, we visited the park together or strolled around the Liuli Factory. Due to our proximity to Liuli Factory, we have visited more frequently. Whether it's old paper and ink, or other study treasures, folk crafts, unearthed cultural relics, or ancient thread bound books, they are all our prey. We rarely return empty handed to the Liuli Factory, and each time we boast about our harvest. Without affecting work, the owner of an ancient calligraphy and painting shop often sends valuable ancient calligraphy and paintings to the Oriental Hotel, allowing us to hang them in our bedrooms and slowly appreciate the selected works. Due to this convenient condition, we have purchased many works from famous artists. I also purchased some valuable ancient paintings for the teaching needs of the Chinese Painting Department of Guangzhou Academy of Fine Arts. Whether it's reading calligraphy or painting, or identifying ancient artifacts, Brother Baoshi has more experience and cultivation than me, and his identification ability is also stronger than mine. For a few months

I have indeed learned a lot in this area. I don't think this is a waste of time, but I deeply understand that it is a meaningful research and analysis learning, which not only enriches knowledge but also enhances cultivation; It also adds an extraordinary enjoyment of beauty to life.

From June to September 1961, I was invited to travel and sketch in Northeast China with Brother Baoshi, and visited Jilin, Harbin, and Heilongjiang successively. Beijing "New Film" sent a working group to climb Changbai Mountain with us, swim Jingbo Lake, and shoot a documentary for us. Our journey in Northeast China was divided into three sections, with each section stopping to reflect, digest, and organize the collected manuscripts in a timely manner. Over the past three to four months, everyone has drawn a batch of sketches, which were publicly observed in Beijing and later published by Liaoning Publishing House. In the preface of the publication, Brother Baoshi wrote: "In terms of sketching and creation, there are also some personal experiences. In our joint activities over the past four months, as long as we feel something, we are always willing to exchange and research our opinions, and sometimes argue and argue. This is what we think is the most meaningful point... because we are inseparable, either 'looking at the world' or 'living in comparison to the door', a painting."

Unexpectedly, we often drop our paintbrush a few times and sit together to discuss, ponder and help each other, so personally, this period of life is also rare This passage seems to make him very humble and sincere. In the old era, the so-called "literati are inferior to each other" and "walking together like an enemy country" did not exist between us. Due to our relationship being based on our career, we are like-minded, our emotions are sincere, and our hearts are open and sincere. Therefore, our friendship is eternal.

Art Life Forever

Brother Baoshi is not only a renowned painter with significant influence, but also a scholar with comprehensive cultivation and an aesthetic educator. He has a great deal of research on the history of Chinese art, is skilled in poetry and literature, and is also a relatively inconspicuous epigrapher. Most of his seals are self carved. When he studied in Japan, he relied on the remuneration earned from engraving to make a living and pay tuition fees. He likes to drink alcohol, and there is a saying that goes: "Often after getting drunk." That is, when he draws, he first seeks to gain momentum, often using the drunkenness after drinking to stroke his brush. He is good at solving the unity of contradictions in artistic expression techniques. The unity of opposites in writing, such as rigidity, softness, thickness, speed, intensity, dryness and wetness, can achieve "harmony but difference, disobedience but not obedience". I particularly admire his rough brushstrokes of mountains and rivers paired with fine brushstrokes of characters, such as the free and agile dance of dragons and phoenixes in landscape painting, and the serious and exquisite meticulous depiction of the characters in the scenery. This is undoubtedly a secret to achieving artistic effects through the unity of boldness and meticulousness, which is welcomed. He is very meticulous in his research on inscriptions and seals in his works, demanding seriousness and never being careless. It is an integral part of the whole, and only allows for organic combinations that complement each other. It must not be a flaw that disrupts the overall picture. So, when it comes to the arrangement of question placement, font, size, and quantity design, they are all very particular; As for the position of the seal, the size of the seal used, the red and white text of the seal, and its style, there are also certain requirements that make it conform to the laws of beauty and achieve a perfect overall effect. These are not his inventions, but the fine traditions of the laws of national painting art. Due to his great respect for these valuable and excellent traditions, he not only inherited them in his own practice, but also developed them.

In short, it is no coincidence that Brother Baoshi's works have gained worldwide acclaim. His artistic achievements not only brought glory to the country and morale to the people, but also made his own contribution to enriching the world's artistic treasure trove. Due to his great artistic achievements being an objective existence, his artistic power cannot be underestimated. It has been twenty years since his passing so far. While commemorating him here, we also need to learn from him, study his academic spirit seriously, and inherit his unfinished legacy. It is precisely because of the saying, "The calamity of the waves adds beauty to the spring, but we regret to cultivate the young master." At present, we have won the spring of literature and art. May our new Chinese painting become even more prosperous and prosperous. We should base ourselves on our own country and face the world. We should take sports athletes as role models, so that our art, like the achievements of Brother Baoshi, can bring glory to our country and boost the morale of our nation in the world painting world. Wishing Brother Baoshi an eternal artistic life, and his spirit will always remain in the world.