黃賓虹（1865年1月27日—1955年3月25日），初名懋質，後改名質，字樸存，號賓虹，別署予向。原籍安徽省徽州歙縣，生於浙江省金華市。中國近現代國畫家，擅畫山水，為山水畫一代宗師。
Huang Binhong (January 27, 1865 - March 25, 1955), first named Maozhi, later renamed Zhizhi, with the word Pucun and the number Binhong, respectively. Originally from Shexian County, Huizhou, Anhui Province, born in Jinhua City, Zhejiang Province. Chinese painters of modern times are good at painting landscapes and are the masters of landscape painting generation.
黃賓虹自少即喜繪畫、篆刻，六歲能臨摹家藏沈廷瑞（樟崖）山水冊，十三歲應童子試，名列前茅。十六歲在金華麗正書院肄業。與倪蘇泉、蔣蓮僧為知交畫友。二十一歲，補凜貢生，任兩淮鹽運使署錄事。1907年去滬，曾參與吳昌碩主持的海上題襟館活動，協助鄧實、黃節、柳亞子等編輯《政藝通報》、《國粹學報》、《國粹叢書》等，並先後與宣廬愚、鄭午昌等組織宙合社、藝觀學會、爛漫社、蜜蜂畫社等，還在神州國光社、商務印書館、有正書局等單位工作十三四年。1930年在上海任中國藝術專科學校校長。1937年舉家遷至北平任教。1948年秋，應杭州國立西湖藝專之聘，南下任教。解放後任全國第二屆政協委員，中國美術家協會理事。1955年九十壽辰時，獲華東行政委員會頒發的獎狀，被稱為“中國人民優秀的畫家”；同年3月25日病逝於浙江杭州。
Huang Binhong is fond of painting and seal cutting since he was young. At the age of six, he can copy the landscape book of Shen Tingrui (zhangya) collected by his family. At the age of thirteen, he is among the best in the children's test. At the age of 16, I studied at the Lijing college in Jinhua. With Ni Suquan and Jiang lianseng as close friends. At the age of 21, he served as the recorder of the Salt Transport Department of Huaihe River and Huaihe River. In 1907, he went to Shanghai, participated in the activities of the maritime theme library hosted by Wu Changshuo, assisted Deng Shi, Huang Jie, Liu Yazi and other editors in political art bulletin, Journal of national quintessence, national quintessence series, etc., organized zehe society, art concept society, romantic society, bee Painting Society, etc. with xuanluyu, Zheng Wuchang and other organizations successively, and worked in Guoguang society, commercial press, youzhengshu Bureau, etc Four years. In 1930, he was the president of China Academy of Arts in Shanghai. In 1937, the family moved to Peiping to teach. In the autumn of 1948, he was hired by Hangzhou National West Lake Art College to teach in the south. After liberation, he served as a member of the second CPPCC National Committee and a director of China Artists Association. At the ninetieth birthday in 1955, he was awarded the certificate of award by the East China Administrative Committee, and was called "excellent painter of the Chinese people"; he died in Hangzhou, Zhejiang Province on March 25 of the same year.
黃賓虹精研傳統與關注寫生齊頭並進，早年受“新安畫派”影響，以幹筆淡墨、疏淡清逸為特色，為“白賓虹”；八十歲後以黑密厚重、黑裡透亮為特色，為“黑賓虹”。他的技法，得力於李流芳、程邃，所作重視章法上的虛實、繁簡、疏密的統一；用筆如作篆籀，洗練凝重，遒勁有力，在行筆謹嚴處，有縱橫奇峭之趣。所謂“黑、密、厚、重”的畫風，正是他顯著的特色。
Huang Binhong's fine study of tradition goes hand in hand with his concern for sketching. Influenced by the "Xin'an School of painting", in his early years, he was "white Binhong" with his dry brush and light ink, and his thin and elegant style. After 80 years old, he was "black Binhong" with his thick black and transparent style. His technique is based on Li Liufang and Cheng abstruse. His work pays attention to the unity of emptiness and reality, complexity and density in the constitution. His pen is like a seal character, which is refined and dignified, strong and powerful. It has the interest of vertical and horizontal strangeness when he is careful in writing. The so-called "black, dense, thick and heavy" painting style is his distinctive feature.
在中國近現代畫壇上，黃賓虹是一位非常重要的畫家。其畫風與豐富多變的筆墨，蘊涵著深刻的民族文化精神與自然內美的美學取向。幾十年來，黃賓虹的繪畫一直受到美術界的廣泛關注，並逐漸釋放出巨大的能量，影響著當今中國畫壇。
In the field of modern Chinese painting, Huang Binhong is a very important painter. His painting style and rich and changeable ink contain profound national cultural spirit and aesthetic orientation of natural beauty. For decades, Huang Binhong's painting has been widely concerned by the art world, and gradually released a huge energy, affecting the current Chinese painting world.
黃賓虹的繪畫價值，隨著時間的推移，其效應已顯示出來，而其藝術價值的顯現，又是全方位的。除山水畫外，花鳥畫也境界不凡，書法成就更不能等閒視之；他還有著自己的畫學理論建構；其金石篆刻、文字學、考古學也頗有建樹。黃賓虹的確是一位“不能僅以畫史目之”的學者型藝術家。由於黃賓虹在美術史上的突出貢獻，在他90歲壽辰的時候，被國家授予“中國人民優秀的畫家”榮譽稱號。
Huang Binhong's painting value, with the passage of time, its effect has been shown, and its artistic value is all-round. In addition to landscape painting, flower and bird painting also has an extraordinary realm, and the achievements of calligraphy can not be ignored; he has his own theoretical construction of painting; his epigraphy, philology and Archaeology also have some achievements. Huang Binhong is indeed a scholar type artist who can't only paint history. Due to Huang Binhong's outstanding contribution in the art history, he was awarded the honorary title of "excellent painter of the Chinese people" by the state when he was 90 years old.
在我國近現代繪畫史上，有“南黃北齊”之說，“北齊”指的是居住在北京的花鳥畫巨匠齊白石，而“南黃”說的就是安徽山水畫大師黃賓虹。他擅長山水、花卉，並注重寫生，但成名相對較晚。 他繪畫的技法，早年行力於李流芳、程邃、髡殘、弘仁等，但也兼法元、明各家。所作重視章法上的虛實、繁簡、疏密的統一，用筆如作篆籀，遒勁有力，在行筆謹嚴處，有縱橫奇峭之趣。新安畫派疏淡清逸的畫風對黃賓虹的影響是終生的，六十歲以前是典型的“白賓虹”。
In the modern painting history of our country, there is a saying of "South Yellow and North Qi", which refers to Qi Baishi, a giant flower and bird painter living in Beijing, while "South Yellow" refers to Huang Binhong, a master of Anhui landscape painting. He is good at landscape and flowers, and pays attention to sketching, but his fame is relatively late. In his early years, his painting techniques were applied to Li Liufang, Cheng Qian, Kun can, Hong Ren and so on, but also to various schools of FA yuan and Ming Dynasty. It pays attention to the unity of falsehood and reality, complexity and density in the constitution. The strokes are like zhuanzhen. It is powerful and powerful. When the strokes are careful, it has the interest of vertical and horizontal strangeness. Huang Binhong was influenced by the light and elegant painting style of Xin'an school all his life. Before 60 years old, it was a typical "white Binhong".
六十歲以後，曾兩次自上海至安徽貴池，遊覽烏渡湖、秋浦、齊山。江上風景甚佳，他起了定居之念。貴池之遊在黃賓虹畫風上的影響，便是從新安畫派的疏淡清逸，轉開學習吳鎮的黑密厚重的積墨風格。以此為轉機，黃賓虹開始由“白賓虹”逐漸向“黑賓虹”過渡。1928年黃賓虹首遊桂、粵，畫了大量寫生作品。自此以後，黃賓虹基本上從古人粉本中脫跳出來，而以真山水為範本，參以過去多年“鉤古畫法”的經驗，創作了大量的寫生山水，在章法上前無古人。 七十歲，黃賓虹有巴蜀之遊。這是他繪畫上產生飛躍的契機。其最大的收穫，是從真山水中證悟了他晚年變法之“理”，所畫作品，興會淋漓、渾厚華滋；喜以積墨、潑墨、破墨、宿墨互用，使山川層層深厚，氣勢磅礴，驚世駭俗。所謂“黑、密、厚、重”的畫風，正是他逐漸形成的顯著特色。這一顯著特點，也使中國的山水畫上升到一種至高無上的境界。 在中國近現代畫壇上，黃賓虹是一位非常重要的畫家。其畫風與豐富多變的筆墨中，蘊涵著深刻的民族文化精神與自然內美的美學取向。幾十年來，黃賓虹的繪畫一直受到美術界的廣泛關注，並逐漸釋放出巨大的能量，影響著當今中國畫壇。
After 60 years old, I visited Wudu lake, Qiupu and Qishan from Shanghai to Guichi, Anhui twice. The scenery on the river is so beautiful that he has the idea of settling down. The influence of Guichi tour on Huang Binhong's painting style is to turn from the light and elegant style of Xin'an School of painting to the dark and thick style of Wu Zhen. Taking this as a turning point, Huang Binhong began to transition from "white Binhong" to "black Binhong". In 1928, Huang Binghong visited Guangxi and Guangdong for the first time and drew a lot of sketch works. Since then, Huang Binhong has basically jumped out of the ancient books. Taking the real landscape as the model and taking the experience of "ancient hook painting" for many years in the past, he has created a large number of sketched landscapes, which are unprecedented in terms of composition. At the age of 70, Huang Binhong had a tour of Bashu. This is an opportunity for him to make a leap in painting. His greatest achievement is to realize the "principle" of his transformation in his later years from the real mountains and rivers. His paintings are full of enthusiasm and profundity. He likes to use ink accumulation, splashing, breaking and staying together to make the mountains and rivers deep, magnificent and shocking. The so-called "black, dense, thick and heavy" painting style is the distinctive feature that he gradually formed. This remarkable characteristic also makes Chinese landscape painting rise to a supreme state. In the field of modern Chinese painting, Huang Binhong is a very important painter. His painting style and rich and changeable brushwork contain profound national cultural spirit and aesthetic orientation of natural beauty. For decades, Huang Binhong's painting has been widely concerned by the art world, and gradually released a huge energy, affecting the current Chinese painting world.
黃賓虹是二十世紀中國畫壇上承前啟後的大家。他在50歲前馳縱百家，溯追唐、宋。其後飽遊飫看，九上黃山、五上九華、四上泰山，又登五嶺、雁蕩、暢遊巴蜀，足跡半天下。70後融會貫通，卓然成一代名匠。他的繪畫，在深研傳統，取精用宏的基礎上凝聚和昇華，進而融鑄為自己的藝術個性。與二十世紀的其他畫壇巨匠相較，黃賓虹更具學養，更富於文人氣質。除了山水畫創作，他在金石學、美術史學、詩學、文字學、古籍整理出版等領域均有卓犖的貢獻。黃賓虹的山水畫創作道路經歷了師古人、師造化和融化古人造化形成獨創風格3個階段。大約60歲以前以師古人為主；60～70歲以師造化為主；70歲以後，自立面目，漸趨成熟，風格渾厚華滋，意境鬱勃澹宕，是黃賓虹山水畫的基本特點。
Huang Binhong is a great link between the past and the future in the field of Chinese painting in the 20th century. Before he was 50 years old, he ran hundreds of families and chased Tang and Song dynasties. After that, I had a full tour of Huangshan Mountain, Jiuhua Mountain, Taishan Mountain, Wuling Mountain, Yandang Mountain and Bashu mountain, with footprints of half the world. After 70, he became a famous craftsman. His painting, based on the deep study of tradition and the refinement and application of macro, condenses and sublimates, and then melts into his own artistic personality. Compared with other great painters in the 20th century, Huang Binhong is more educated and literati. In addition to the creation of landscape painting, he has made outstanding contributions in the fields of epigraphy, art history, poetics, philology, Ancient Books Collation and publication, etc. Huang Binhong's creation of landscape painting has gone through three stages: learning from the ancients, learning from the ancients and melting the ancients to form an original style. Before about 60 years old, it was mainly based on learning from the ancients; between 60 and 70 years old, it was mainly based on learning from nature; after 70 years old, it was a basic feature of Huang Binhong's landscape painting that it was self-supporting, gradually mature, full-bodied and gorgeous in style, and gloomy in artistic conception.
1928年黃賓虹首遊桂、粵，畫了大量寫生作品。“青城坐雨”是在1933年的早春，黃賓虹去青城山途中遇雨，全身溼透，索性坐於雨中細賞山色變幻，從此大悟。第二天，他連續畫了《青城煙雨冊》十餘幅：焦墨、潑墨、幹皴加宿墨。在這些筆墨試驗中，他要找到“雨淋牆頭”的感覺。雨從牆頭淋下來，任意縱橫氤氳，有些地方特別溼而濃重，有些地方可能留下幹處而發白，而順牆流下的條條水道都是“屋漏痕”。當我們把這種感覺拿來對照《青城山中》，多麼酷肖“雨淋牆頭”啊！完全是北宋全景山水的章法，一樣的筆墨攢簇，層層深厚，卻是水墨淋漓，雲煙幻滅，雨意滂沱，積墨、破墨、漬墨、鋪水，無所不用其極！
In 1928, Huang Binghong visited Guangxi and Guangdong for the first time and drew a lot of sketch works. "Sitting in the rain in Qingcheng" was in the early spring of 1933, when Huang Binhong was caught in the rain on his way to Qingcheng Mountain, he was wet all over, and he simply sat in the rain and watched the changes of the mountain color, and then realized. The next day, he painted more than ten copies of the book: Jiao Mo, splash Mo, Gan Cun and Su mo. In these ink experiments, he wants to find the feeling of "rain on the wall". The rain drips down from the wall, freely and vertically. Some places are particularly wet and thick. Some places may leave dry places and turn white. All the waterways flowing down the wall are "house leakage marks". When we compare this feeling with "Qingcheng Mountain", how cool the "rain wall" ah! It's the whole landscape rules of the Northern Song Dynasty. The same brush and ink are accumulated in clusters, which are deep layer by layer, but the ink is dripping, the clouds and smoke are disillusioned, the rain is torrential, and there's no need to accumulate ink, break ink, stain ink and spread water!
“瞿塘夜遊”是發生在遊青城後的五月，回滬途中的奉節。一天晚上，黃賓虹想去看看杜甫當年在此所見到的“石上藤蘿月”。他沿江邊朝白帝城方向走去。月色下的夜山深深地吸引著他，於是在月光下摸索著畫了一個多小時的速寫。翌晨，黃賓虹看著速寫稿大聲叫道：“月移壁，月移壁！實中虛，虛中實。妙，妙，妙極了！”至此，黃賓虹的雨山、夜山是其最擅長、最經常的繪畫主題，合渾厚與華滋而成美學上自覺之追求。
"Qutang night tour" is the Fengjie Festival on the way back to Shanghai in May after visiting Qingcheng. One night, Huang Binhong wanted to see the "Lianluo moon on the stone" that Du Fu had seen here. He walked along the river toward Baidi city. He was deeply attracted by the night mountain under the moonlight, so he fumbled for a sketch of more than an hour under the moonlight. The next morning, Huang Binghong looked at the sketch and shouted, "the moon moves the wall, the moon moves the wall! The real is the virtual, the virtual is the real. Wonderful, wonderful, wonderful! " At this point, Huang Binhong's Yushan and Yeshan are his best and most frequent painting themes, which are combined with the pursuit of aesthetic consciousness.
七十歲後，所畫作品，興會淋漓、渾厚華滋；喜以積墨、潑墨、破墨、宿墨互用，使山川層層深厚，氣勢磅礴，十分挺拔。所謂“黑、密、厚、重”的畫風，正是他逐漸形成的顯著特色。這一顯著特點，也使中國的山水畫上升到一種至高無上的境界。
After 70 years of age, the paintings are full of enthusiasm and brilliance; they like to use ink accumulation, splashing, breaking and staying together to make the mountains and rivers deep, magnificent and very straight. The so-called "black, dense, thick and heavy" painting style is the distinctive feature that he gradually formed. This remarkable characteristic also makes Chinese landscape painting rise to a supreme state.
黃賓虹曾說過學習傳統應遵循的步驟：“先摹元畫，以其用筆用墨佳；次摹明畫，以其結構平穩，不易入邪道；再摹唐畫，使學能追古；最後臨摹宋畫，以其法備變化多。”黃賓虹所說的宋畫，除了北宋的大家外，往往合五代荊浩、關仝、董源、巨然諸家在內。
Huang Binghong once said that the steps to be followed in learning the tradition: "first copy the yuan painting, and use the ink with its pen; second copy the Ming painting, with its stable structure, not easy to enter the evil way; then copy the Tang painting, so that learning can catch up with the ancient; finally copy the Song painting, with its method to prepare for many changes." In addition to the great masters of the Northern Song Dynasty, Huang Binhong's paintings of the Song Dynasty often include Jinghao, Guantong, Dongyuan and Juran of the Five Dynasties.
在北平的十一年，黃賓虹完成“黑賓虹”的轉變後，又進行“水墨丹青合體”的試驗。用點染法將石色的硃砂、石青、石綠厚厚地點染到黑密的水墨之中，“丹青隱墨，墨隱丹青”，這是受西方印象派啟發，思以將中國山水畫兩大體系（水墨與青綠）進行融合的一大創舉。南歸杭州後，看到良渚出土的夏玉而悟墨法，將金石的鏗鏘與夏玉的斑駁融為一體，畫面的朦朧融洽更接近江南山水的韻致，筆與墨一片化機。
In the 11 years of Peiping, after Huang Binhong completed the transformation of "heibinhong", he carried out the experiment of "combination of ink and painting". Using spot dyeing method to dye the stone red sand, stone green and stone green thick places into the black and dense ink, which is inspired by western impressionism, to integrate the two major systems of Chinese landscape painting (ink and green). After returning to Hangzhou in the south, I saw the Xia jade unearthed in Liangzhu and understood the ink method, which integrated the clang of gold and stone with the mottle of Xia jade. The hazy harmony of the picture was closer to the charm of the landscape in the south of the Yangtze River, and the pen and ink were integrated.
專家推薦：黃賓虹，原籍安徽省徽州歙縣，生於浙江金華，成長於老家歙縣潭渡村，初名懋質，後改名質，字樸存，號賓虹，別署予向。近現代畫家，擅畫山水，為山水畫一代宗師。此幅山水取高遠式構圖，主體為近處的青山草木鬱鬱蔥蔥，山路順山谷蜿蜒而上。遠山以濃淡結合的水墨寫出雲霧氤氳。高山與民居，繁與簡，虛與實，對比互相襯托中畫面更靈動。畫高巖幽壑，長松平湖，巖崖間古木盤虯，雜草叢生，山徑盤陀。峽谷間山館水榭或半隱於崖畔。此畫結構嚴謹，意境清幽。蒼勁秀潤，極富逸趣與韻味，此件藏品全景式佈局，以斜角取勢。筆墨酣暢淋漓，利落灑脫，技巧純熟，功力深厚，率意中見純真。石頭以橫筆側鋒橫掃而成又略施赭色，樹木則勾畫皴擦而成。畫中樹木挺拔，工整細緻，設色雅緻，筆頗嚴整，墨色尤鮮潤，樹之參差起倒亦顧盼生動。體現了畫家這一時期山水畫的典型風貌。
Recommended by experts: Huang Binhong, originally from Shexian County, Huizhou, Anhui Province, was born in Jinhua, Zhejiang Province, and grew up in Tangdu village, Shexian County, his hometown. He was first named Maozhi, then changed his name to Zhizhi, then Pucun and Binhong, respectively. Modern painters, good at landscape painting, landscape painting generation master. This landscape takes a high and far style composition, the main body of which is the nearby green mountains and lush vegetation, and the mountain road winds up along the valley. The distant mountains write the dense clouds with the combination of thick and light ink. Mountains and dwellings, complex and simple, virtual and real, contrast each other set off in a more flexible picture. Painting high rocks and deep valleys, long pines and flat lakes, ancient trees among cliffs, overgrown with weeds, mountain path and pantuo. Among the canyons, there are mountain pavilions and waterside pavilions or half hidden on the cliff side. The structure of the painting is rigorous and the artistic conception is quiet. It is vigorous, elegant and charming. The collection is arranged in a panoramic way, taking advantage of the oblique angle. The brush and ink are incisive, clean and free, skillful in technique, profound in skill and pure in meaning. The stone is made by sweeping with the side edge of the horizontal pen and applying ochre slightly, while the trees are made by sketching and scratching. In the painting, the trees are tall, neat and meticulous, the colors are elegant, the pen is quite neat, the ink is particularly fresh and moist, and the uneven rise and fall of the trees are also vivid. It embodies the typical style of landscape painting in this period.
專家推薦：整個畫面元氣淋漓，筆力圓渾，墨彩飛動，給人一種清新奇麗之感。其意境清遠而深邃，去盡斧鑿雕琢之跡，令觀者動容。賓翁此作點畫披離、墨滲漬化，坡石樹屋欹側欲摧，但又似被一種神秘鬱勃的內力牢牢吸引。構築這種矛盾極限中的大平衡，是晚年黃賓虹大心力、大腕力的結晶。其落筆如重錘，尤其最後一遍之焦墨點苔，如斬釘截鐵般砸向畫面，無論氣勢亦或質感都給人前所未有的聲色激盪及心靈震撼。以坡石、煙嵐、流水將畫面分作段落，每段之間又以山頭、樹木作為接引，從視覺上緊密串聯，整個畫面氣韻貫通，筆墨蒼潤，極耐推敲。畫中樹木、山石先用淡墨勾染，中鋒出筆，再反覆皴擦，柔韌剛勁，線條之間施加形態各異的苔點，使色墨融于波磔的點線之中。山石、樹木局部以色彩提亮，呈現“丹青隱墨、墨隱丹青”的效果。構圖削繁就簡，佈局規整自然，築室棲隱於青山密樹間，前依溪水，迴盪穿插；雖非崇山峻嶺，卻毋損其清幽深邈之境，全畫用筆老練而明快，設色蒼潤，清朗明澈，極得恬淡之逸緻，足證其筆墨在不同階段自生面貌，各具精彩可觀處。收藏價值極高！
Experts recommend: the whole picture is full of vitality, with round strokes and flying ink colors, giving people a fresh and wonderful feeling. Its artistic conception is clear and profound. It makes the audience moved by the trace of chiseling and carving. Binweng's painting is full of dots, ink and water, and the side of the house is about to be destroyed, but it seems to be firmly attracted by a mysterious and gloomy internal force. It is the crystallization of Huang Binhong's great heart force and great wrist force in his later years to build the great balance in the limit of contradiction. Its writing is like a heavy hammer, especially the last time of burning ink and moss, which smashes into the picture like a nail in the coffin. No matter its momentum or texture, it gives people unprecedented voice, color and soul shock. The picture is divided into sections by slope stone, smoke haze and running water, and each section is connected by mountains and trees, which is closely connected visually. The whole picture is full of charm, green ink, and extremely resistant to scrutiny. In the painting, trees and rocks are first scratched with light ink, then the center is out of the pen, and then they are repeatedly chapped and rubbed. The lines are flexible and strong, and the moss points of different shapes are applied between the lines, so that the color and ink are integrated into the dots and lines of the waves. Some of the rocks and trees are brightened with color, showing the effect of "ink hidden, ink hidden". The composition is simple, the layout is regular and natural, the building room is hidden in the green mountains and dense trees, and the front is surrounded by streams. Although it is not a high mountain, it does not damage the quiet and deep Miao. The whole painting is sophisticated and bright with the pen, and the color is verdant, bright and clear, which is very quiet and easy, which fully proves that the pen and ink have their own appearance at different stages, and each has a wonderful and considerable place. Collection value is very high!
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