藏品名稱：婁江宋文治江南春意濃
藏品規(guī)格：136X67cm
交易方式：新加坡拍賣專場(chǎng)
藏品簡(jiǎn)介： 宋文治,1919年10月生，江蘇省太倉縣人。筆名宋灝。早年家貧，小學(xué)畢業(yè)后到上海廣告社學(xué)徒，業(yè)余時(shí)間到蘇州美術(shù)專科學(xué)校滬校學(xué)習(xí)半年素描，后長(zhǎng)期任小學(xué)、中學(xué)、師范學(xué)校美術(shù)教師，工作之余刻若學(xué)習(xí)繪畫，成就甚大。
他從事畫藝初期由《芥子園畫譜》、清初“四王”入手，筆墨精妙，品味高雅，繼而又上溯明、元、宋筆墨韻致，兼融南北諸家。曾得朱屺瞻、陸儼少二老指點(diǎn)，又從張石圓、吳湖帆學(xué)畫，得見大量名家真跡，心摹手追。特別是在解放后他開始背起畫夾走向自然，廣師造化，進(jìn)一步融合諸家諸法，致力于探究以傳統(tǒng)筆墨表現(xiàn)新時(shí)代風(fēng)貌，歷二萬三千余里，創(chuàng)作出大批謳歌祖國山河的、屬于自己的、溶入了新時(shí)代特點(diǎn)和現(xiàn)代人感情的山水畫。1956年便以成名作<桐江放筏>在畫壇嶄露頭角。受清僧石濤“筆墨當(dāng)隨時(shí)代”等思想影響，他在特定的繪畫語境中用“老瓶裝新酒”，創(chuàng)作出了<山川巨變>等富有時(shí)代氣息的優(yōu)秀作品，個(gè)人畫風(fēng)也隨之一變。之后他繼續(xù)堅(jiān)持一手伸向傳統(tǒng)，一手伸向生活，游歷名山大川，外師造化，內(nèi)得心源，不斷錘煉筆墨，開拓畫境視野，繼續(xù)以傳統(tǒng)水墨寫意筆法表現(xiàn)時(shí)代風(fēng)采，由此畫名日隆。他以典雅獨(dú)致的審美觀念和筆觸生動(dòng)地描繪黃山、廬山、長(zhǎng)江等，作品構(gòu)思精巧嚴(yán)謹(jǐn)，筆墨蒼勁凝練，畫風(fēng)清新秀潤，氣勢(shì)雄放宏大，意境深邃雋美。特別是他的江南風(fēng)情畫作因?yàn)榍妍惖溲拧€(gè)性秀逸明快而獨(dú)標(biāo)一格。
20世紀(jì)80年代以來，宋文治受潑墨潑彩等畫風(fēng)影響，借鑒青綠山水、淺絳山水和西洋水彩等畫法，大膽否定自我，再次開拓思變，進(jìn)一步地錘煉新的繪畫語言，力求探究中國畫未來新路，終以沒骨潑彩山水畫新風(fēng)貌凸現(xiàn)于世。與張大千、劉海粟憑借激情潑墨潑彩偶然所得畫法不同的是：他大膽地將潑彩、流痕、拓跡等渲染手法與勾、皴、擦、點(diǎn)等傳統(tǒng)筆墨有機(jī)地融為一體，作畫程序恰與水墨設(shè)色技法相反，意在筆先，于色中施墨，并在繪畫中增添了“制作”技巧成分，由此淋漓盡致地表現(xiàn)客觀自然，這同時(shí)也顯示了他駕馭筆墨，豐富變幻的技巧，又再次引起了我國畫壇的密切關(guān)注。他還曾被譽(yù)為“當(dāng)代山水畫八家”之一，因其喜繪江南水鄉(xiāng)柔美虛靈、清新雋秀的風(fēng)光，秀潤中見蒼茫，得有“宋太湖”之雅號(hào)，由此進(jìn)一步地延續(xù)和發(fā)展了現(xiàn)代“金陵畫派”山水畫風(fēng)。
Collection Name: Loujiang Song Wenzhi Jiangnan Spring Intension
Collection Specification: 136X67cm
Trading Method: Singapore Auction Specialty
Collection Introduction: Song Wenzhi, born in October 1919, from Taicang County, Jiangsu Province. The pen name is Song Hao. In his early years, he was poor. After graduation from primary school, he went to Shanghai Advertising Society as an apprentice. In his spare time, he went to Shanghai School of Suzhou Academy of Fine Arts to study sketch for half a year. After that, he served as an art teacher in primary, middle and normal schools for a long time. After working, he spared no time to study painting and made great achievements.
In the early stage of his painting career, he started with "Mustard Seed Garden Painting Spectrum" and "Four Kings" in the early Qing Dynasty, with exquisite brush and ink, elegant taste, and then traced back to the Ming Dynasty, Yuan Dynasty and Song Dynasty, and melted all the northern and southern schools. He had been instructed by Zhu Lizhan and Lu Lishao, and learned painting from Zhang Shiyuan and Wuhu Sailing. A large number of famous artists were found and tracked by hand. Especially after liberation, he began to carry his painting clips to the nature, and further integrated various schools of thought. He devoted himself to exploring the traditional brush and ink to represent the new era. Over the past 23,000 years, he created a large number of landscape paintings which eulogized the motherland, belonged to himself, and melted into the characteristics of the new era and the feelings of modern people. In 1956, Tongjiang Raft became a famous painting. Influenced by the Qing monk Shi Tao's thought of "pen and ink should keep pace with the times", he used "old bottles to pack new wine" in a specific painting context to create excellent works with the flavor of the times, such as "great changes in mountains and rivers", and his personal painting style changed accordingly. After that, he continued to stick to the tradition and life with one hand, traveled famous mountains and rivers, made by foreign teachers, learned from inside, constantly refined brush and ink, broadened the vision of painting, and continued to use traditional ink freehand brushwork to express the style of the times, thus the painting became more and more famous. He vividly depicts Huangshan, Lushan and Yangtze River with elegant and unique aesthetic concept and brush strokes. His works are delicate and precise in conception, vigorous and concise in brush and ink, fresh and fresh in style, magnificent in momentum and profound in artistic conception. Especially his Jiangnan style paintings are unique because of their elegance and elegance, elegant and lively personality.
Since the 1980s, influenced by painting styles such as splashing ink and splashing colours, Song Wenzhi boldly denied himself by drawing lessons from such painting methods as green landscapes, shallow Jiang landscapes and Western watercolours, once again exploited and changed his mind, further refined his new painting language, and tried to explore a new way of Chinese painting in the future, and finally emerged in the world with a new style of boneless splashing coloured landscapes and waters. Different from Zhang Daqian's and Liu Haisu's accidental paintings by splashing ink and splashing colors with passion, he boldly blended splashing colors, rubbing marks and rubbings with traditional brush and ink such as hook, rubbing, rubbing and dotting. The painting procedure is just the opposite of ink and ink coloring techniques, aiming at applying ink in the color first and adding ink in the painting. The composition of "production" skills, thus fully and vividly expressing the objective nature, which also shows his mastery of brush and ink, rich and changeable skills, and once again attracted close attention in China's painting circles. He has also been praised as one of the "eight contemporary landscape painters", because he likes to paint the beautiful and meaningful scenery in the south of the Yangtze River, which is so beautiful that he can see the vast land in the elegance of the "Song Taihu Lake", thus further continuing and developing the modern "Jinling School" landscape painting style.
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