On this day 133 years ago, on July 8, 1892 (June 15, 1892 lunar calendar), Hu Peiheng, a modern Chinese painter, was born. Hu Peiheng (1892.6-1965.3), whose music name was Xiquan, also known as Heng, the word Peiheng, the name Leng'an, nicknamed Hu Tuketu, Yi Zhi Xing, Mongolian, originally from Zhuo County, Hebei Province, moved to Beijing because his ancestors were grain merchants. He has successively taught in Beiping Normal University, private North China University, Beiping Normal University, and Beiping Art College, sponsored the "Chinese Landscape Painting Correspondence Society", and founded the Leopard Wenzhai Calligraphy and Painting Shop in Beijing Liulichang. He has served as a consultant of the Chinese Painting Research Association and the Hushe Painting Society, a professor at North China University, a lecturer at Beijing Normal University, and a professor at Beiping Art College. After the founding of New China, he successively served as the executive director of the Beijing Chinese Painting Research Association, and the painter and committee member of the Beijing Academy of Painting. Hu Peiheng was young and happy to draw things. In his early years, he was instructed by Li Jingzhai, a Xiling landscape painter, and copied a large number of paintings from the Ming and Qing Dynasties. After the age of 20, he began to interact with famous painters in Beijing such as Jiang Yingsheng, Lin Qinnan, Jincheng, Chen Shizeng, Chen Banding, Xiao Qianzhong, Tang Dingzhi, and He Lizhi, and received their guidance. In 1918, Hu Peiheng joined the Peking University Painting Research Association founded by Cai Yuanpei, and learned Western painting from the Belgian painter Gai Dashi. In 1919, he was hired as a tutor of the Peking University Painting Research Association and edited the "Journal of Painting Studies". In 1920, the Peking University Painting Research Association was renamed the "Institute of Plastic Arts", and the young Hu Peiheng was hired as a mentor. In the same year, Jincheng and Zhou Zhaoxiang founded the Chinese Painting Research Association in Beijing, and Hu Peiheng became the first group of researchers (students). Under the guidance of Jincheng and others, Hu Peiheng further studied traditional painting. Two years later, he was promoted to the teaching assistant and review of the association. In 1927, he initiated the Hushe Painting Association with Jin Yinhu, Xu Yansun, Chen Donghu, and Hui Xiao, and edited the "Hushe Monthly Magazine". In 1928, he opened the purse to publish the "First Episode of Qi Baishi's Painting Album" for Qi Baishi. In 1930, Hu Peiheng wrote in the poem "Four Weeks (Years) of My Teacher's Death in the North Building": "Four years of broken dreams always lead to dust, and every pair of autumn winds has a sorrowful spirit. On this day, there are several clear windows, and who is more to discuss the pen and ink." It shows the friendship between Hu Peiheng and Jincheng. Jincheng, known as the "majority of teachers" in Beijing's painting circle, guided a large number of young painters on the principle of "intensive study of ancient methods and new knowledge". Among them, Hu Peiheng was the oldest and the most mature. Jin Cheng's nephew, Mr. Jin Kaiying, recalled: "The first uncle taught many disciples... One thing I remember very clearly is that the first uncle bought a batch of rice paper, he gave each of the disciples a piece, let them make their own manuscripts, he also painted with them, after handing in the book, opened a exhibition of the works of the eighth paper, I still remember that Hu Peiheng's paintings are the best." Hu Peiheng's early works in ancient times are 1921 (Xinyou) Linshitao's "Endless Picture Scroll of Streams and Mountains" and 1923 (Guihai) Linshitao's "Landscape Book". The former is dripping with ink, and the latter is majestic. Hu's title in the "Linshitao Landscape Book": "The old man of Qingxiang has extraordinary writing and ink, and his artistic conception is mysterious, which is beyond the dreams of those who eat human fireworks. Most of this volume is written about the tourist places of Huang Yan, which can be amazing from one hill to the other. Fools love it, and they come to a volume to keep a outline, but they are limited to academic ability, so they can't help but take their appearance and leave their spirits behind." In the early 1920s, Qi Baishi, Chen Shizeng, Chen Banding, Xiao Qianzhong, etc. all praised Shi Tao, and Hu Peiheng was not immune to their influence. But Hu Peiheng, who can be compatible with Chinese and Western paintings, was never limited to one family. From the mid-1920s to the 1930s, the first to five episodes of "Hu Peiheng's Paintings" were published one after another, mostly imitating the works of various schools in Lin, including Huang Gongwang, Wang Meng, Wuzhen, Shen Zhou, Wang Duo, Cheng Chui, Cheng Zhengkui, Shixi, Meiqing, Wu Li, Luo Mu, etc. It can be seen that he is mainly from the Southern School, but also dabbled in the Northern School, such as "Linjin Li Mountain Snow Pine Picture" (1923), "Song Dynasty Xuexi Return Picture" (early 1920s) are typical Li Guo School works. He himself also said: "Yu Ailin's Northern School Paintings, the first painting in the first three episodes is also from the Northern School. What Yu wrote about the Southern Sect paintings has the meaning of the Northern Sect. "In the article" Linggu Ruyan ", he divided the ancient works into dim (such as Ni Yunlin's school), flat (such as Huang Gongwang's school), Zhuangzheng (such as Dong Yuan, Ju Ran, Wen Zhengming, Shen Zhou), secret (such as Wang Meng, Shixi, Wu Li), bold (such as Bada, Shi Tao), unrestrained (such as Tang Yin, Yun Nantian), Qigu (such as Jin Dongxin), Jiaojian (such as Ma Yuan, Xia Gui), Gongzhi (such as Liu Songnian, Zhao Mengyu), Yanyu (such as Mi Fu, Gao Fangshan). As for how to write each style, he explained it based on his own experience, which shows his profound understanding of copying. In 1926, Qi Baishi inscribed the poem "Mr. Leng'an's Picture Scroll": "The level of pointillism is clear, and it inspires people's hearts and sees nothing. He was 3,000 generations old in the painting garden, and everyone did not forget this Weng." Praise his works. Around 1927, Hu Peiheng's painting style gradually matured. While continuing to study traditions, independent creation increased and artistic personality also emerged. Subsequent works generally have two faces, one is complicated in structure and dense in texture, which is generally derived from the comprehensive changes of Wang Meng, Shixi, and Wu Li's painting styles; the other is a multi-wet pen, with complex and simple structure, and more use of splashing ink. The pen line is thick and unrestrained, and the influence of Shen Zhou and especially Shi Tao can be seen. When Qin Zhongwen talked about the "Hu Peiheng Posthumous Works Exhibition" held in Beijing in August 1962, he summed up Hu Peiheng's early works in two sentences: one is "fine and lovely", and the other is "constantly committed to inheriting the ancient people and absorbing the exquisite techniques of advanced brushes"; the first sentence is about the painting style, and the second sentence is to point out their close connection with tradition. However, Qin's "fine" works in the early stage are in terms of art exhibitions. The author has seen more than 200 works in the early stage, and there are not many "fine" works. Even these fine works have the characteristics of indulgence and casual. It can be said that they can be thick and thin, and no matter the thickness, they are overflowing with a loose and unrestrained temperament. Since the 1950s, Hu Peiheng has sought a new style of landscape painting, and has successively sketched along the Fengsha Railway (1953), Guilin in Guangxi and Shaoshan in Hunan (1956). Among them, Guilin sketching, with strong enthusiasm as the sect, became a turning point in the style of his later years. As Qin Zhongwen said: "When writing Guilin landscapes, the brushwork is spicy, the weather is thick, the Qingdai is strong, and the Dan Huang is charismatic, all of which show the unrestrained and majestic painting realm, which is old with age, and achieves the achievement of innovation that he pursues." Specifically, the characteristics of this new style are: the composition is concise, the close-up close-up is preferred, and there is no longer a scene of mountains and rivers, and the scenery of mountains and rivers is superimposed; the pen and ink are thick, and the stippling paintings are mostly hooked with powerful burnt ink; and the contrasting colors are preferred, such as lime, stone green, lead powder, magenta, etc. In a nutshell, these works can be brushly painted with heavy colors, making them unique. Hu Peiheng is also very satisfied with his "reform method in the old age". There is a poem that says: "The marigold is yellow for another year, and the reform method in the old age is full of energy. The sunset is infinite and spring is always there, and the trees are lush and the mountains are more beautiful in the evening." Hu Peiheng's achievements go far beyond the creation of landscape paintings. He is knowledgeable and versatile, appreciates well, is good at poetry and writing, and has also made significant contributions in the field of art education and editing and publishing. His works include "Introduction to Landscape Painting", "Wang Shigu Painting Method", "Chinese Landscape Painting Arrangement Law", "Chinese Landscape Painting Dot Moss Method", "Painting Essays", "Hu Peiheng Painting", "Lin Gu Ruoyan", "Leng An Painting Achievements", "How I Draw Landscape Painting", "Research on Landscape Painting Techniques", "Qi Baishi Painting Method and Appreciation", "Wang Shigu", etc. These works are mainly aimed at young people who study painting, integrating painting notation, art history knowledge, traditional painting theory, painter research and work appreciation. They are a new type of comprehensive popular reading material, which has distinct characteristics of the times and has a wide impact after publication. There is also no shortage of incisive insights in these popular works. For example, "Wang Shigu's Painting Method", written in the mid-1920s, feels the situation of Wang Shigu's "people in the past were as respectful as he was, but people today refuse to be so", and makes objective and fair criticism. The article makes a comprehensive analysis from Wang Shigu's artistic history, ancient times, paintings, comments from various schools, changes in painting schools, and the "good points" and "bad points" of works. Even today, it is still very exciting to read. "Qi Baishi's Painting Method and Appreciation", co-written by him and his son Hu Yan, is the first work to describe Qi Baishi's painting method and has high art historical value. Zhu Yu's "Interview with Hu Peiheng, a famous Chinese painter," says that Hu Peiheng "in the Chinese painting industry, it is generally recognized that he is known for his apprenticeship." Qian Baoang's "Preface to Hu Peiheng's Apprentice's Drawing Sketches" says: "Sir's person is like the spring breeze, and the winter is also warm. His teachings are also tireless, and he has a pearl in his eyes. His words are especially able to be explained in simple terms. What the ancients could not explain in thousands of words, the master can make the profound essence clear without more than ten words. The predecessors made a statement, lest it was not mysterious, and the master would rule it by scientific methods, so the educated would get twice the result with half the effort." Hu Peiheng summed up his educational methods as "difficult before easy", "analytical method" and so on, and the rich experience in this area still needs to be explored and studied. Hu Peiheng is also an excellent editor, and has successively edited the "Journal of Painting Studies" of Peking University Painting Research Association, "Fine Arts" of Peking University Institute of Plastic Arts "and" Lake Society Monthly "of Hu Society. In particular," Lake Society Monthly ", which was founded in 1927 to 1937, has a total of 100 issues in 10 years. It is one of the longest-lasting fine arts journals in the first half of the 20th century, and has always been edited by Hu Peiheng. The journal introduced many ancient and modern painters, published a large number of ancient and modern paintings and works on painting, as well as calligraphy, seal carving, antique collection, poetry, bronze research, etc., fully demonstrating Hu Peiheng's broad vision and multi-faceted ability. These publications have become precious documents for studying the history of Chinese art in the 20th century. Hu Peiheng is a close friend of Qi Baishi. The first Qi Baishi picture book published in 1928 was edited by Hu Peiheng. In his "Preface", he praised Qi Baishi for his "straightforward nature, liking to be a hero, and having the style of an ancient martyr". "The artistic conception of the work is profound and novel." In the early 1930s, Hu Peiheng founded "Leopard Wenzhai" in Liulichang, ran a book board, and edited and printed many picture books. In addition to Hu's own works, there were also "Da Di Zi Landscape Essence Printing", "Huangzi Jiu Fuchun Mountain Residence Map", "Qi Baishi Picture Book", "Xiao Qianzhong's Apprentice Drawings", "Xiao Qian Zhongshan Water Essence Book", etc., which contributed to the promotion of Chinese painting and calligraphy. Comments: Hu Peiheng is a versatile artist who has made great contributions to Chinese landscape painting and calligraphy.