黃賓虹（1865 年1月27日——1955 年3月25日），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，後改名字，字樸存，號賓虹，別署予向。
Huang binhong (January 27, 1865 -- March 25, 1955) was a native of shexian county, huizhou city, anhui province. He was born in jinhua, zhejiang province and grew up in tandu village, shexian county.
黃賓虹是近現代畫家，擅畫山水，為山水畫一代宗師。六歲時，臨摹家藏的沈庭瑞（樗崖）山水冊，曾從鄭珊，陳崇光等學花鳥。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”。
Huang binhong is a modern painter, good at painting landscape, for a great master of landscape painting. When he was six years old, he imitated shen tingrui (chu ya) 's mountain and water book, and learned flowers and birds from zheng shan and Chen chongguang. In his early years, he was influenced by the "xin 'an school of painting". He was characterized by dry brush, light ink and thin, clear and elegant painting. After the age of 80 years with the black dense thick, black inside bright as the characteristic, for the "black bin hong".
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”說的就是安徽的山水畫大師黃賓虹。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，以及髡殘，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 history of modern Chinese painting, there is the saying of "south yellow and north qi". "north qi" refers to qi baishi, a giant flower-and-bird painter living in Beijing, while "south huang" refers to huang binhong, a landscape painter from anhui province. He is good at landscape, flowers, and attention to sketch, but relatively late to fame. His painting technique, early lines of force in Li Liufang, Cheng Sui, and KunCan konin, etc., but is also method of yuan, Ming. The author attaches great importance to the unity of detail, simplicity and density. Pen as a Zhou, elegant, strong in by exactly place, have mountains of vertical and horizontal. The influence of the painting style of xin 'an school on huang binhong is lifelong.
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。
Since the age of 60, he has visited wudu lake, qiupu lake and qishan mountain twice from Shanghai to guichi, anhui. The river was so beautiful that he thought of settling down. The influence of guichi's tour on huang binhong's painting style is to learn the black and dense accumulation style of wuzhen from the light and clear style of xin 'an school. With this as a turning point, the yellow binhong began to "white binhong" gradually to "black binhong" transition. In 1928, huang binhong first visited guangxi and guangdong and painted a large number of sketches. Since then, huang binhong basically jumped out from the ancient powder, but with the real landscape as the model, referring to the past years of "hook ancient painting" experience, created a large number of sketching landscape, in the way of the unprecedented.
69-70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”。證悟發生在兩次浪漫的遊歷途中：“青城坐雨”和“瞿塘夜遊”。
Aged 69-70, huang binhong had a trip to bashu. This was his chance to make a leap in painting. His greatest achievement is to realize the "principle" of the reform in his old age from the true landscape. Enlightenment occurred on two romantic journeys: "sitting in the rain in qingcheng" and "night excursion in qutang".
“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！
"Qingcheng sitting in the rain" is in the early spring of 1933, huang binhong to qingcheng mountain on the way to the rain, wet, simply sat in the rain to watch the changes in the mountain, from then on enlightenment. The next day, he painted "qingcheng misty rain book" more than ten pieces: coke ink, ink, dry dry and ink. In these pen and ink experiments, he wanted to find the "rain on the wall" feeling. Rain from the wall down, arbitrary and dense, some places are particularly wet and thick, some places may leave dry and hair white, and along the wall of the channel are "roof leaks." When we compare this feeling to "qingcheng mountain", how cool the "rain on the wall" ah! Is completely the northern song panoramic landscape of the laws and regulations, the same ink accumulation, layer upon layer thick, but the ink dripping wet, cloud smoke disillusion, the rain meaning slash, ink, ink, ink, water, no use its pole!
“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。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，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。
"Night excursion to qutang" took place on the way back to Shanghai in May after a trip to qingcheng. One night, huang binhong wanted to see what du fu had seen here, "a vine on the stone and a rose on the moon". He walked along the river in the direction of white emperor city. He was deeply attracted by the moonlit night mountain, so he felt for more than an hour to sketch in the moonlight. < / p > < p > the next morning, huang binhong looked at the draft cried: "the wall, the wall! Virtual in real, virtual in real. Wonderful, wonderful, wonderful!" At this point, huang binhong's rain mountain and night mountain are his best and most frequent painting themes, which have become the aesthetic conscious pursuit of the combination of richness and brilliance. After the age of 70, the painting works, will be dripping wet, rich hua zi; He likes to use ink accumulation, ink splash-ink, ink breaking, ink, so that the layers of deep, magnificent, shocking. The so-called "black, dense, thick and heavy" painting style is his gradually formed distinctive characteristics. This remarkable feature also elevated Chinese landscape painting to a sovereign 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。“宋畫多晦冥，荊關燦一燈；夜行山盡處，開朗最高層。”
Huang binhong once said that the learning tradition should follow the steps: "first copy yuan painting, with its use of ink pen is better; Second copy Ming painting, with its structure stable, not easy to enter the evil path; Again copy tang painting, so that learning can pursue the ancient; Finally, copy song painting, with its method to prepare more changes. Huang binhong said the song painting, in addition to the northern song, often together with the five dynasties jing hao, guan tong, dong yuan, juran home. "Song painting more obscure, jingguan can a lamp; At the end of the night, the highest level of the cheerful."
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。
In the eleven years in Peiping, huang binhong completed the transformation of "black binhong", and then carried out the experiment of "ink ink danqing combination". With the method of dot dyeing, the stone color of cinnabar, stone blue, stone green is heavily dyed into the black ink, "hidden ink, hidden ink", which is inspired by the western impressionism, to think of the two systems of Chinese landscape painting (ink and green) for the integration of a major initiative.
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。
After returning to hangzhou in the south, he saw the xia jade unearthed in liangzhu and realized the ink method. He integrated the clang of the stone and the mot-motting of the xia jade into one. The hazy harmony of the picture was closer to the charm of the jiangnan landscape.
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。
Huang binhong is a very important painter in modern and contemporary Chinese painting. His painting style and rich and varied brush and ink contain profound national cultural spirit and aesthetic orientation of natural inner beauty. For decades, huang binhong's paintings have been widely concerned by the art circle, and gradually released a huge energy, affecting the current Chinese painting world.
文中此幅畫作技法，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。
The painting technique in this paper is mainly attributed to li liufang and cheng sui, who attach importance to the unity of fictions, simplicity and density in the composition. Pen as a Zhou, washs practice dignified, elegant, strong in by exactly place, have mountains of vertical and horizontal. The so-called "black, dense, thick and heavy" painting style is his distinctive characteristics.
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