陈半丁，即陈年，画家。浙江山阴（今绍兴）人。字半丁（有《陈半丁画册》），一字半痴，别署辟痴，又字静山。以字半丁行世。号半丁老人、半叟、半翁、半野老、山阴半叟、稽山半老、山阴道上人、不须翁、老复丁、竹环、竹环斋主人、鉴湖钓徒、蓬莱山民、藐世头陀。室名一根草堂、五亩之园、竹环斋、莫自鸣馆。1876年（清光绪二年）5月14日出生。家境贫寒，自幼学习诗文书画。

  少年时父母双亡，生活坎坷。为谋生，十四岁就在兰溪一店当学徒。十五岁在转至钱庄学徒中开始接触笔墨，自此一发不可收，自言当时“嗜书画入骨，饥饿犹不顾也”。十九岁时随表叔吴石潜（西泠印社创始人之一）来上海于严小舫之小长庐馆拓印为业。20岁时赴上海，与任伯年、吴昌硕相识，后拜吴昌硕为师。40岁后到北京，初就职于北京图书馆，后任教于北平艺术专科学校。擅花卉、山水、人物、走兽，以写意花卉最知名。除任颐、吴昌硕外，又师法赵之谦、徐渭、陈淳，吸收明清各家画法而独树一帜。作品笔墨苍润朴拙，色彩鲜丽、沉着，形象简练、概括，讲求诗书画印的相互作用。兼善摹印。曾任中国美术家协会理事、北京画院副院长、中国画研究会会长。1970年1月29日卒于北京陈半丁擅长花卉、山水，兼及书法、篆刻。写意花卉师承任伯年、吴昌硕，又师法陈淳、徐渭、石涛、李复堂、赵之谦诸家。书法以行草见长。作品有《卢橘夏熟》、《高枝带雨压雕栏》、《惟有黄花是故人》等。1956年在北京举办个人作品展览。 有《陈半丁画集》、《陈半丁花卉画谱》行世。

张大千艺惊陈半丁30年代的一天，北平城里的10余名画家举行雅集。在宴会上、年龄最大、名望最高的大画家陈半丁老人兴奋地宣布：他新近搜获到清初著名画家石涛和尚的一部画册精品、精美非凡、 世所罕见，为此他特地邀请北平艺苑名流第二天晚6点到他家中鉴赏。受到邀请的有中国画学会会长周养阉以及著名画家黄君壁、任伯年、马晋、王雪涛、于非阊、徐燕孙等。 陈半丁邀请了这么多画苑名流、却少邀了一个人、此人就是当时正客居北平、初登画坛、尚无名气的年轻画家张大千。但张大千是个有名的“石涛迷”。他少年习画，就下功夫临摹石涛、八大山人，徐渭、和吴昌硕的画，研习多年、画拔几可乱真、有“南方石涛”之称。这次，他风闻艺林有此雅集、鉴赏石涛精品，此等机会他岂能放过?因而不等陈半丁相邀，第二天下午3点张大千就直趋陈府求见，毫不客气地当面向陈半丁观摩。而陈半丁的脾气是客人没有一齐到，就不出示藏画的，他对张大千这位虎头虎脑的后生小子摆架子说：“我约朋友来共赏、请贴的时间是6点。我不能先给你看、要等朋友到齐了大家一起欣赏。你想见识、可以，但不是现在，要等到6点。”说完，离座而去，留下张大千一人在客厅里坐冷板凳。年青的张大千受到如此冷落、也是老大不高兴。但为了鉴赏石涛的稀世珍品，他不得不忍心吞声地挨了三个多小时。到了6点多，贵客齐集后，陈半丁先在宴席上讲了一通开场白、自称幸获名迹、不敢私秘自珍，愿为友好共赏。张大千被挤在这批名流的外圈，等陈半个捧出 宝贝画册、刚刚展示，张大千就不由自主地大声叫起来：“是这个册子啊!不用看了，我晓得!”陈半丁被这个年轻人的狂妄急躁弄得很生气，于是他学着张大千的四川口音说：“你晓得，你晓得啥子嘛?”陈半丁想，我画册还未全打开，你怎么晓得?但这时张大千却不慌不忙地讲出，此画册第一页画的是什么，第二页画的是什么，题的什么款，用的什么印章，如数家珍、一一道来。陈半丁与众画家一边听张大千讲，一边翻看画册 ，进行核对，发现张大千竟说得丝毫不差。陈半丁与众画家什分惊奇、陈在画家黄君壁惊异地问张大千：“你怎么记得这么清楚?”张大千的回答更使大家大吃一惊。他得意地说：“这画册是我画的，咋个不晓得?”原来，这画册是张大千以前临摹石涛画风的习作之一，早已流传失落多年、不知怎么竟辗转到陈半手里。张大千临摹之精、画艺水平水高，竟瞒过了一代国画大师与老前辈陈半丁之眼 。张大千从此在画界名声大振。 陈半丁拜吴昌朔为师陈半丁，清光绪二年（丙子1876）出生于浙江绍兴柯桥的中医世家，十九岁时随表叔吴石潜（西泠印社创始人之一）来上海于严小舫之小长庐馆拓印为业。当时，大画家吴昌硕先生也经常出入小长庐馆，见此青年人十分好学，深为厚爱。非但自己亲自传授，还将其介绍于好友任伯年，蒲作英。自此，好学的陈半丁如渴者临井，他向吴昌硕学习书、印、大写意花卉；向任伯年学翎毛、人物；向蒲作英学山水。在海派艺术之大洋中，年轻的陈半丁以自己的努力，汲取各种风格的营养，夯实了自己的艺术基础。陈半丁应缶翁之约，在苏州新居雍睦堂居住了一年有余。在此年余中，与缶翁“旦夕得同室深研”，半丁在一丝不苟地为缶翁先考妣作神像之暇余，缶翁也手把手地授其印画书法，并为之篆了不少印面嘱授其刀法。 丙午年三月，一幅由半丁先生精心制作的缶翁先考妣像（见图）在苏州完成，像为直幅，长1.32米，宽0.67米，缶翁先考辛甲公端坐正中，头冠裘帽，身着皮衣，胸垂朝珠。辛甲公左前坐有结发万氏夫人（昌硕先生母亲），右前坐有继室杨氏夫人，两位夫人戴凤冠，着霞帔，帔上描有腾舞之金龙。三位先祖神态端祥，所坐的虎皮靠椅置于有大红牡丹图案的灰色地毯之上。此图为工笔写实，人物肖像逼真，细部也交代清楚。图中辛甲公帽上之翠顶红缨，领里子的填红描金，袍子露出部分的海水波纹，两位夫人衣冠上的佩物补子等安排得十分周到。尤其是裘皮衣的毛感和地毯之绒感，唯妙唯肖犹伸手可触，画家的扎实功底也由此可见。画像左下角的一排楷书小字显示出画家绘画时之崇敬心情“丙午三月半丁陈年敬绘”。此幅先祖神像，昌硕先生十分满意，每逢除夕及祭日，总展于中堂供奉，亲率全家祭拜，以不忘祖德，并世代相传，直至今日。半丁先生在缶寓完成神像后不久，应上海宁波会馆董事严子均之邀赴沪作画。后又应金城之邀赴京。在京经金城推荐入肃王府作吴柳堂侍御画像。画像完成后迁出肃王府开始了其在京的鬻画生涯。当时因半丁先生初入京城画圈，各种关系尚未展开，前来购画者寥寥无几，颇不如意。为此远在上海的吴昌硕也为爱徒在京之处境十分忧虑。1910年，六十七岁的昌硕先生特地赶往北京，为半丁介绍各种关系和画店，并在琉璃厂纸店亲自为其书写了润格，称其“性嗜古，能作画，写花卉、人物直追宋元，近写罗汉变幻百出，在佛法上可称无上妙谛，求者履盈户外……”在京数月中，还为半丁治了不少印，其中有相当部分为缶篆陈刻合作，以示对之器重。由于吴昌硕在画坛的影响和推荐“把场”，陈半丁的艺术为京城人氏所接纳，从此其售画局面逐步打开。缶翁的京城之行，为半丁日后在京成为艺坛奇葩奠定了良好的基业。 关于陈半丁与尤无曲的一点回忆 誉满海内外的大画家陈半丁已过世多年，他的作品迄今犹为人们所珍视。40年代，笔者曾与他有过交往，当时他住北京地安门米粮库胡同，记得他的住所，一进门迎面是山子石，院落松林成行，清幽雅静，地面除种植花草外，还种了一些老玉米、白菜、萝卜等，红砖砌成的小楼，为半丁老人安憩及作画之处，据说以前胡适之曾住过这里的。半丁老人喜戴小帽头，穿坎肩。他虽离开原籍浙江绍兴多年，但仍有故乡口音，与人谈话诚恳亲切，待客从不虚伪。值得一叙的是国人画展系由他开始的，那还是清代的肃亲王在旅顺生病时，他曾在大连开第一次画展。当时盛况空前，报纸刊登，不少人喜看半丁老人作品，终日在展室盘桓不去。记得有一次笔者去他家，适老人正对两位弟子张爱林、尤无曲讲授书画。老人曾对两徒说，孔子教子路收，教颜回放，即所谓因人施教。爱林没临过帖，写出居然有意思，这是有天才，但今后须收，不可再放。无曲临帖时间太长。写出字来，无时不在自拘自谨所以今后须放，不可再收了。老人说，作品拿出展览，即使不比人家强，至少自己也要不惭愧，才可以谈得到开画展。老人坐在一张古老大沙发上，对两个弟子越讲越精神，谈一阵话，喝一阵茶，走到墙边看一阵悬挂着的明清名画。这两位弟子当时年约二、三十岁。听说无曲画展，多半是半丁老人在画上为之题字。开画展事先必须征得半丁老人的同意。还记得和老人谈到艺术时，老人说，随便抹两笔的，哪里就算得上艺术？艺术范围太大了，就连建筑制造乃至枪炮子弹，全是艺术。绘画不过是文人余兴，课余爱好，往清高里说，也不过是一种高尚的玩艺儿而已，像我这简直谈不到艺术。当初，学画的没有现在这样多，也比现在难。那时印刷品缺乏，轻易见不到参考资料，向人借用完了一还，仍然莫名其妙。因此为了学画方便，就成立个社会团体、此即艺专的前身。老人还说，一群学生学画，叫他们都学我，这个不妥当，就如同唱戏，他是旦角的嗓子，绝不能因为和我学而唱老生，所以与我不相近的我不教，不能让人家费力不讨好。半丁老人还说过，3年出个状元，可是3年出不了名画家。有天才也要用功，我的男孩女孩都能画几笔，但不用功就不能成功，这可不是世袭，我绝不勉强他们。许多人不知道半丁老人原来的名字，他原名陈年，字静山，“半丁“是他的号，他不但能书会画，而且还长于治印。

绘画艺术

陈半丁花卉、山水、人物兼擅，以花鸟、山水画最为著名。陈半丁是“运古派”的高手，他“一方面研究古法不遗余力，一方面发挥个性，表现自我，务以古人成法，运以自然丘壑，加以个人的理想化，造成一种与古不背，却与古不同的，不即不离的绘画。”陈半丁的花鸟最初学习吴昌硕、任伯年。在他1908年所作的《秋花秋食》图中可以清晰地看到任伯年的影子。他“1924年所作《墨牡丹》扇，大体上都不出缶老规范：花以吴氏的点法写成，枝叶都力求朴厚拙重气息，题字也是一派吴氏风貌……1925年所作的《牡丹图》轴与缶翁几可乱真，花、苞、叶、枝干及数墨点都极为神似，也见功力，只不过花朵将缶翁的圆点变成长点，石头略逊之”。来京后他由专师吴昌硕、任伯年而溯源青藤、白阳、八大及扬州画派、金陵画派。陈半丁临习徐渭的作品很多，但临作的面貌不尽相同。作于1956年的《墨葡萄》是“只求神似不求圆”，笔法恣意，水墨淋漓，完全是徐渭式的狂放不羁。而1943年创作的《临徐青藤花卉册》画面中的物象并不完全背离真实，造型简约而严谨，是将青藤白阳融于一体的感觉。对于同一题材，陈半丁是广师博览。比如他梅花题材的作品，1932年创作的《梅花扇》笔墨古雅，受金农的影响。1935年所作的《花卉四条屏》中的梅花条可见他对于汪士慎、赵之谦的学习。1940年的《梅花竹石图》中的梅花，有八大的韵致。他还有大量吴昌硕风格的梅花作品，比如1962年创作的《梅、石、水仙》与1964年创作的《牡丹梅花》。他的花卉画造型严谨，如“菊叶是怎样长的，梅花枝干是怎么生的，都合乎它的生长规律。凡那些‘笔不到处’往往已经‘意到’”。“他善画牡丹、菊花、紫藤、荷花……常以洗炼、概括的笔墨和艳丽沉着的色彩，表现不同环境气候下花卉鸟兽的不同容貌和姿态。其笔墨苍润朴拙，含蓄有力，构图上讲究诗书画印的相互作用，统一中有变化”。陈半丁的弟子尤无曲回忆道：“陈先生从传统中来，他画的是陈白阳再加吴昌硕。”陈半丁既师法古人笔墨，又深谙民众的审美心理，将文人高雅笔墨与世俗人情，以及市民的审美喜好相结合，因而他的花卉作品雅俗共赏。“但有时关注形似使他放不开手脚，故有人称其画为‘小写意’；有时留恋色彩的浓艳与真实，难免使画作‘失去魂魄，五色无主’”20世纪初的山水画家不再甘于临摹“四王”，往往由“四王”上溯明代、宋元乃至五代诸家，同时临习“四僧”，“扬州画派”的风气盛行一时。陈半丁置身其中，山水画走的也是相同的路子，由“四王”入手，主要师法石涛，于石涛画风中加入宋元古意，形成个人苍润秀美，简约疏放的面貌。从其早年所作的几幅绢本山水中可以了解他从临习“四王”入手，只是早年的作品稍欠笔力。其作于1948年的《竹溪清话》，1949年的《拟郭河阳〈秋山图〉》，都是一派宋元人气象。有趣的是他一幅作于1935年的《山水画》中题道“略师梅道人”。画面中一派南国景色，近景是湖边石岸；中景是柳堤及茅屋、人物，中景右侧有间茅舍，一捧物童子从茅屋中走出，中部茅舍外有三人围坐，岸边的柳树枝条在微风的吹拂下飘向一边；远景是远山。相对于传统的“三段式”构图方式，此幅作品中的近中远景呈三条平行线。画中的山石以湿笔画出，虽用湿笔，但不含混，笔路清晰。梅道人吴镇向来以湿笔重墨画山水，构图奇险。此幅作品构图新颖、奇而不险，画中颇具宋人笔意，画风古雅清新，与吴镇似无太大关系1930年创作的《浔阳琵琶》中题道“略以大涤子法写之”。此作品“既汲取原济讲究墨法，纵横跌宕的气势，又善于结合元、明两代文人山水的蕴藉温润”。1908年的《临清湘山水册》和1910年的《临大涤子山水册》，选取了石涛不同时期不同风格的作品。《临清湘山水册》画面多选取近中景，用笔紧致，用墨水气淋漓，将沈周、石涛、宋元风格相杂糅。《临大涤子山水册》构图复杂，用笔较前作细碎，学石涛的干笔皴法，但整幅画作山石树木的造型又不全似大涤子，他是在有技巧的巧妙地学习石涛。其画于1965年的《隔浦群山》与画于1943年的《石桥观瀑图》，都是“意在董巨之间”。但是1943年的作品中石涛的痕迹似比董巨更为明显，画面中“用了许多大墨点来强调画面上的一致性”。在山石的造型上采用石涛的方形的山石结体形式。1965年的《隔浦群山》采取高远构图法，画面境界开阔，山头以焦墨点苔，山石用干笔皴擦，设色古雅，得董巨“平淡天真”意味。 陈半丁是一个“兼宗数家者……能兼蓄并收，不限一格，不拘一隅……能脱去一个人的羁绊采取众人的所长，因所习既多，自然能将名家于不知不觉中参合为一，以形成自己的面目”。陈半丁的花卉主调是“陈白阳再加吴昌硕”，他将吴昌硕、赵之谦金石书法的苍劲寓于画中，将华新罗的清俊，金冬心、汪士慎的疏放掺杂进去，同时习得青藤、白阳的水墨淋漓，所以他的花卉画中少了几分吴氏横扫千军的霸气，多了几分俊秀清新润泽，老练而不重拙，清秀而不怯弱。陈半丁的山水画主要习石涛，但是在石涛中加入宋元高古意趣，同时将石涛的笔法、墨法加以简化，形成一种更为疏放古雅的个人风格陈半丁的临习对象乃是当时社会、当时画坛的某一派的共同选择。当时的画坛“革新派”与“传统派”正在进行着激烈的论争，看似热闹非常的画坛其实只有两种选择。“画家在选择画风时，并不是全然自由的……各类型绘画在渊源上的复杂性……画家风格的选择早已形成一套理论结构，不同风格意味着不同的深度内涵”。作为“平常谈艺，没有不提到‘缶老’的”吴昌硕亲授弟子，陈师曾和金城的好友，他当然选择了金石派与传统阵线。但是，作为20世纪初期到中期北京画坛的领军人物，将海派画风带入北京画坛的先锋人物，今天的人们忘却了他曾有的辉煌及艺术的成就。陈半丁绘画的艺术价值在当代艺术市场上被低估，这既有因研究的空缺所导致的认识空白，也有因宣传不够导致的知之甚少。但面对今天这样一个浮躁的画坛，一个呼唤传统回归的当代，陈半丁绘画的艺术价值更值得被重新认识。

书法艺术

陈半丁书工四体，行书深得米元章韵趣，颇负时誉。治印遵缶翁钝刀之法，然篆法、章法略异，浑厚高迈，一洗时人浮媚险怪之习，曾见所刻『徐荷』一印印跋云：『自来刻印，未有不从秦汉，不然，学无根源。』又在『倬厂八十後所作』印边跋中云：『汉印重白文，方圆粗细并用，老缶後知者鲜矣。』印旨如此，而所作亦随之。寿石工《杂忆当代印人》诗，其一首为合咏半丁、白石者，诗云：『敬涤堂中六博新，借山馆外绝嚣尘。钝刀利刃余清事，□扁虬圆齐与陈。』陈齐并称，推崇可见。新中国成立後，被举为中国画研究会副会长、中央文史研究馆馆员、北京中国画院副院长，虽年登耄耋，仍体健身轻，挥毫作画无倦容，创作热情甚高。某次昼展，因对一画家作品之意见与康生相左，迨十年浩劫，康乃借机使人抄其家，并进行—系列批判、游斗、殴打，即沦陷时期所刻『不使孽钱』、『老年清苦』、『彊其骨』等闲章亦成『反党』之罪证。

Chen Banding, the old painter. Zhejiang Shanyin people (Jin Shaoxing). Word half Ding (with "Chen Banding" album), a half of the word, do not open the Department of the Department of Chi Chi, and static mountain. With the word half ding. Half man, half Ding Chaucer, Ban Weng, noe, Shanyin Chaucer, half half Jishan, vagina, old mountain to Weng, old Ding, bamboo, bamboo complex ring ring studio owner, fishing, mountain, Penglai lake and the Dhuta enlightenment. These names a cottage, five acres of garden, bamboo ring, Zhai Mo Ming museum. 1876 (Guangxu two years) was born in May 14th. Poor family, he studied painting and calligraphy.
When the children's parents are dead, life is rough. In order to earn a living, fourteen years old in Lanxi as an apprentice. At the age of fifteen to the banks started to contact the apprentice in ink, since one can not close, he was "addicted to painting your hunger in spite of Judah also". At the age of nineteen with uncle Wu Shiqian (Xiling Seal-Engravers'Society co-founder) to Shanghai to Xiaofang small Yan Long Lu Pavilion for rubbing. At the age of 20 in Shanghai, met with Wu Changshuo, Ren, after worship Wu Changshuo as a teacher. After 40 years in Beijing, first worked in Beijing library, taught in Beiping art school. Good flowers, landscapes, figures, animals, flowers to the most famous. In addition to Ren Yi, Wu Changshuo, Zhao Zhiqian, Xu Wei, Chen Chun and imitating the painting and absorption of Ming and Qing Dynasties, become an independent school. Works of ink pale color, sincere, calm and concise image, generalization, interaction with poetry and print. Jianshan moyin. The former president of Chinese Artists Association, vice president of Beijing art academy, China painting research association. Chen Banding died in Beijing on January 29, 1970 at the flowers, landscape, and calligraphy and seal cutting. Flowers from Ren Bonian, Wu Changshuo, and Chen Chun, Xu Wei, Shi Tao, from Li Futang and Zhao Zhiqian. With known cursive calligraphy. Works of "orange", "Lu Xia cooked high branches with rain", "only the Yellow rail pressure is the enemy". Solo exhibition in Beijing in 1956. A "Chen Banding album", "Chen Banding" the world bank flower painting.

Art of painting
Chen Banding flowers, landscapes, figures and good, with flowers and birds, landscape painting is the most famous. Chen Banding is the "ancient" master "on the one hand, he studies the ancient law on the one hand spare no effort, individuality, self performance, service to the transport method, with natural Vals, idealized person, causing a back with the ancient and ancient, but different, be neither too familiar nor too distant painting." Chen Banding flowers and birds in the initial study of Ren Bonian, Wu Changshuo. In 1908 he made the "autumn autumn flower" food map can be seen clearly in the shadow of ren. He "made in 1924" ink "Peony fan, fou old norms are not substantially: Flowers written by Wu point method to Portsmouth Houzhuo leaves heavy breath, inscription is also a style of wu...... In 1925 the "Peony" axis and fou Weng almost lifelike, flowers, leaves, stems and bracts, the number of dots are extremely similar, but also the skill, but the flowers will become long fou Weng dot, is the stone". He came to Beijing after by specialist Wu Changshuo, Ren and traceability of ivy, Bai Yang, eight and Yangzhou school, Jinling school. Chen Banding Xu Wei's works a lot, but the face of the face is not the same. In 1956 the "ink grape" is just not for the spirit circle ", writing freely, ink dripping, his style is completely uninhibited. But in 1943 the creation of "flower" Ivy Lin Xu of the image object is not entirely away from the reality, modeling simple and rigorous, Aoto Shirayo is in one sense. For the same subject, Chen Banding is a wide division of the expo. For example, he plum theme works, in 1932 the creation of "Plum Blossom Fan" and quaint, influenced by Jin nong. 1935 "flower four screen" in the plum blossom in the visible he for Zhao Zhiqian, Wang Shishen's learning. In 1940 the "plum blossom" in bamboo and stone plum, eight charm. He also has a large number of Wu Changshuo style plum works, such as the 1962 creation of the "plum, stone, Narcissus" and the 1964 creation of "Peony plum blossom". His flower paintings rigorous modeling, such as "chrysanthemum leaf is how long, how is the plum branches, with its growth rule. Where those 'pens are not everywhere' often have 'meaning' ". "He was good at painting peony, lotus, chrysanthemum, wisteria...... In general, pure text and gorgeous cool colors, different looks and gestures of different environments and climates of birds and flowers. The ink pale sincere, pithy, interaction on the composition of exquisite paint printing, unity change". Chen Banding's disciples, you can not remember the song: "Mr. Chen from the traditional, he painted a painting of Wu Changshuo and Chen Baiyang." Chen Banding is learning from the ancient text, but also well versed in people's aesthetic psychology, the literati elegant brushwork and secular people, as well as the combination of public aesthetic preferences, so his flower middlebrows. "But sometimes a concern made him hand and foot, so it is called the" freehand brushwork painting "; gaudy and real color sometimes nostalgia, it is inevitable that the paintings' lost soul, at the beginning of twentieth Century be scared out of one's wits" landscape painters are no longer willing to copy the "four Wangs", often by "Four Wangs" in Ming Dynasty, and even five yuan back at the same time from the generation, Lin Xi "four monks", "Yangzhou school" atmosphere prevailed. In which Chen Banding, the landscape painting is also taking the same way, by "Four Wangs" to start, mainly learning from Shi Tao, Shi Tao to join the song and Yuan Dynasties ancient style, the formation of personal pale beautiful appearance, simple drainage. From the early landscape painted by the know him from Lin Xi "and" just start early works less strokes. In 1948 the "Zhuxi" so, 1949 "to" Guo Heyang Akiyama Map > ", is a song people weather. It is interesting that he made in 1935, a "landscape painting" in the title of "Shi Mei Road slightly". In the picture a southern scenery, the lake is close to rocky shores; China is Liu Di and cottages, figure, middle right is the cottage, a boy out of the hut. There are three people around the middle, cottage, willow branches floating to the side in the breeze; a vision of a distant mountain. Compared with the traditional "three section" method of composition, the near future in this picture is three parallel lines. The rocks in wet strokes, although with a wet brush, but not vague, brushwork. Mei Road Wuzhen has always been to wet ink painting, composition of odd risk. This piece of work is a new composition, odd without insurance, a song with the painting style, elegant and fresh, like without too much relationship between creation and the 1930 Wuzhen "Xunyang Pipa" in the title "slightly to write the di zi". This work has absorbed the former exquisite ink, and the ups and downs of the momentum, but also good at combining two yuan and Ming Dynasties landscape and warm". In 1908 the "landscape" and Linqing Hunan 1910 "big Lin Di Zi landscape", the famous works of different styles in different periods. "Linqing Hunan landscape" screen select nearly compact ink pen, medium, gas dripping, Shen Zhou, Shi Tao, song style mingled. "The big Di Zi landscape" composition is complex, pen than before crushing, Shi Tao dry pen Cunfa, but the paintings of mountains and trees modelingNot all like a big polyester, he is in a clever way to learn Shi Tao. The painting in 1965 "across the mountains" and Pu in 1943 painting "stone waterfall", is "to Dong Ju". But in 1943 the work of Shi Tao's mark is more obvious than the Dong Ju, the picture with a lot of ink points to emphasize the consistency of the picture". The famous rocks in the square in shape on the rocks. 1965 "across the mountains" take lofty mapping Pu, picture open, hill to ink point moss, rocks with dry brush, color quaint, Dong giant flat and innocent means. Chen Banding is a "and a number of family...... And the storage and collection, not limited to one, or a...... Can a man take off the fetters and director, because learning is more natural can be famous in imperceptibly for participation, to form his own face". Chen Banding flower theme is "Chen Baiyang Wu Changshuo", he will Wu Changshuo, Zhao Zhiqian calligraphy and painting in China, Luo Qing Jun, Jin Dongxin, Wang Shishen posted the doping in, at the same time the acquisition of ivy, Bai Yang ink dripping, so his flower paintings a little Wu a little more domineering sweep away the millions of enemy troops. Beautiful fresh moist, sophisticated and delicate and not humble, not cowardly. Chen Banding's landscape painting the main Xi Shi Tao, but joined the song and Yuan Dynasties ancient charm in Shi Tao, while Shi Tao's calligraphy, ink method is simplified, the formation of a more elegant personal style of Chen Banding from the clinical learning object is the society at that time, when painting a faction of the common choice. At the time of the painting "progressives" and "orthodoxy" engaged in a fierce debate, seemingly very lively painting is actually only two choices. "The painter in the choice of style, is not completely free...... The complexity of the origin of various types of painting...... The choice of the artist's style has already formed a set of theoretical structure, which means different depth". As usual on art, not to mention "fou the old" Wu Changshuo "Qinshou disciple, Chen Shiceng Jincheng and friends, of course he chose the epigraphic and traditional front. However, as the beginning of the twentieth Century to the character of Beijing painting leading period, the style of the Shanghai school into the Beijing painting pioneer, today people forget he had some brilliant and artistic achievements. The artistic value of Chen Banding's painting is underestimated in the contemporary art market, which is not only caused by the vacancy of research, but also because of the lack of publicity. But in the face of today's fickle contemporary painting, a call for the return of tradition, Chen Banding's artistic value is more worthy of re understanding.
The art of calligraphy
Chen Banding won the four book industry, running Miyuanzhang rhyme interest quite a negative reputation when. India as fou Weng blunt knife method, so the seal method, Zhang Falve, and a wash of floating Gomez, Mei weird Xi, had seen a "moment" Xu bearing seal sequence goes: "no unsolicited imprint, from the Qin and Han Dynasties, otherwise, no root. "In the" Eighty "after the factory Zhuo India:" cloud edge sequence Hanyin heavy white paper, thickness and radius, the wise man carry fresh old fou. "The purpose of this is so, and what it does is. "Memories of contemporary Yinren Shou masonry" poem, the first half is Heyong Ding, white stone, a poem: "King Ditang six Bo new, by mountains outside the vast clamor. A blunt knife sword of Yu Qing, Qiu and Chen Qi - flat circle. Chen Qi and said, respected visible. After the founding of new China, was elected as vice president, Central Research Institute of culture librarian, Beijing China academy vice president China Painting Research Association, although the year's oldest, still light body fitness, brush painting without fatigue, creative enthusiasm is very high. One day, because of the views of a painter's works with Kang Sheng at odds, until ten years of catastrophe, Cornell took the opportunity to make people copy their home, and a series of criticism, denounced, beaten, namely the moment "during the fall does not make money" and "evil" and "poor old strong bone easily" chapter "anti party" s evidence.