Huang Binhong

Huang Binhong (January 27, 1865 – March 25, 1955), originally named Maozhi, with the courtesy name Zhi, also known as Pucun, Puchen, Pucheng, and Biqin, styled Bin Hong, and also known by alternate names such as Yuxiang, Hong Sou, and the Man from the Mountains of Huangshan, was originally from She County, Anhui Province, and was born in Jinhua, Zhejiang Province. He was a modern Chinese painter, calligrapher, seal carver, poet, and art educator. He is collectively known with Qi Baishi as "Southern Huang, Northern Qi."
His major painting works include "Return Boat on the Shu River," "Ink Landscape in焦墨 Style," and "Jiuzi Mountain"; published painting albums include "Huang Binhong's Travel Sketch Album," "Huang Binhong's Landscape Album," "Huang Binhong's Landscape Collection," "Huang Binhong's Sketch Album," "Huang Binhong's Landscape Sketch Album," "Huang Binhong's Painting Collection," among others; published works include "Collation of Tao Xi Texts," "General Introduction to Ancient Seals," "Proof of Ancient Zhou Script," "Interpretation of Ancient Characters," "Subtle Insights into Ancient Paintings," "Honglu Painting Talks," "On the Appreciation of Ancient Masterpieces," "Origins of Huangshan Painters," "Essentials of Painting Techniques," "Binhong Cao Tang Seal Collection," "Compilation of Painting Studies," "Miscellaneous Writings of Binhong," "Binhong Poetry Collection," "Art Series," "Shenzhou Grand View," "Shenzhou National Essence Collection," "Collection of Chinese Masterpieces," among others.
In 1881, Huang Binhong studied painting under Chen Chunfan; in 1886, he studied landscape painting under painter Zheng Shan and flower-and-bird painting under Chen Ruoshui; in 1904, he taught at Anhui Public School in Wuhu; in 1909, he created works such as "Yulian, She County" and "Ink Landscape"; in 1916, he created works such as "Lion Grove of Huangshan" and "Expressing the Poetic Sentiment of Lu Fangweng"; in 1925, he created "Distant Mountains in Verdant Hue"; his art historical treatise "Subtle Insights into Ancient Paintings" was published; in 1930, he served as professor at China Art College, Changming Art College, and Xinhua Art College, with his works exhibited at the International Exposition commemorating the centenary of Belgian independence, where he received the "Special Prize for Masterpieces," and also created "Lüqi Garden"; in 1954, he was elected Vice Chairman of the East China Branch of the China Artists Association and appointed Director of the Institute of Ethnic Art at the Central Academy of Fine Arts; in 1955, he was honored as "An Excellent Painter of the Chinese People," and passed away in Hangzhou on March 25 at the age of 90.

On January 27, 1865, Huang Binhong was born on Tie Ling Tou Street in Jinhua, Zhejiang Province.
In 1879, he passed the entrance examinations for Li Zheng and Changshan Academies and received a scholarship.
In 1881, he studied painting under Chen Chunfan.
In 1885, he traveled down the Xin'an River, passing through Hangzhou and Nanjing to Yangzhou, touring the landscapes of southern and northern China and making sketches along the way.
In 1886, he studied landscape painting under painter Zheng Shan and flower-and-bird painting under Chen Ruoshui.
In 1889, he studied under Wang Zhongyi, learned to play the qin and practice swordsmanship, and collaborated with Wang Lüben on a silk scroll painting titled "Plum and Bamboo."
In 1891, he began collecting ancient seals.
In 1904, he taught at Anhui Public School in Wuhu.
In 1905, he taught at Xin'an Middle School in She County and compiled and published the "National Essence Journal."
In 1907, he joined the Society for the Preservation of National Learning, co-editing the "National Essence Journal" with Deng Shi and Huang Jie, and also edited the "Shenzhou National Essence Collection."
In 1908, in Shanghai, he co-edited the "Art Series" with Deng Shi, edited the "Shenzhou National Essence Collection" and various painting albums; participated in the "Shanghai Tijin Hall Society for Epigraphy and Painting"; published "Huang Binhong's Theory of Painting" and "Miscellaneous Writings of Binhong — Preface to Village Residence" in the "National Essence Journal."
In 1909, he created works such as "Yulian, She County" and "Ink Landscape." [10]
In 1910, he created works such as "Poetry Written at Jianjia Tower," "Rain and Wind Tower," and "Pingdeng Pavilion."
In 1912, he served as chief editor of the "Shenzhou Daily"; published essays including "Preface to Zhenxiang Pictorial," "Origins of Paintings in the Upper, Middle, and Lower Ancients," "Stone Carvings of the Han Dynasty," "Famous Paintings Recorded in the Jin, Wei, and Six Dynasties," "On the Primacy of Tang Painting, Parts I and II," "On the Formation of the Imperial Painting Academy in the Five Dynasties," "On the Paintings of Jing Hao and Guan Tong," "On the Flourishing of Northern Song Painting," "Dongpo and the Birth of Literati Ink Play," "On the Completeness of the Xuanhe Painting Catalog," "On the Distinct Schools of Xu Xi and Huang Quan's Flower-and-Bird Painting," among others in the "Zhenxiang Pictorial"; additionally created landscape paintings such as "Viewing Beishan from Jiaoshan" and "Haixi Temple."
In 1913, he co-created "Banana and Rock" with Wu Changshuo, and also created "Ancient Landscape Album," "Tour of Mount Tai," "Illustration for Discussing Poetry," "Jiansong Pavilion," "Huangye Tower," "Longchan Yuye Studio," "Longqiu," among others.
In 1914, he collaborated with Zheng Manshu, Cai Zhefu, and Wang Yiting on "Dreaming at Fenhu," and also created "Traversing Snow to Visit Ancient Steles," "Recent Journey," among others.
In 1915, he served as an editor for the "Shibao"; also created works such as "Old Dwelling at Fenhu," "Tandu," "Baotou Room," "Tiansu Pavilion," "Recent Journey," among others.
In 1916, he created works such as "Lion Grove of Huangshan" and "Expressing the Poetic Sentiment of Lu Fangweng."
In 1917, he created works such as "Landscape of Yayan Village, Jinhua" and "Seal Carving by Qinzhai."
In June 1918, he created "Scroll of Inspecting Steles," among others.
In 1920, he created works such as "Colored Landscape."
In 1921, he created "Huangshan."
In April 1922, he served as Director of Fine Arts at the Translation and Publishing Department of the Commercial Press; collaborated with Wang Juyou, Wang Shengyuan, Wang Shanruo, Yang Xueyao, and Yang Xuemei on "Cold Forest and Distant Peaks"; also created "Tiansu Pavilion" and "Chunfei Pavilion," among others.
In July 1923, he created "Inscription for Celebrating Master Peiren's Fiftieth Birthday"; in December, his seven-character ancient poems "Inscription for Zhu Sheng Junshi's Longevity Ink," "Inscription for Gu Mou's Reading Painting Window," and "Ballad of Ancient Pine at Guichi Wu Du, Dedicated to Wang Juyou" were published in "Nanshe Anthology"; also created "Old Dwelling at Xianghu," "Night Drive by Moonlight," "Autumn Maple Appreciation in Tian Nan," among others. [11]
In 1924, he composed the poem "New Autumn on Chiyang Lake"; collaborated with Chunshu and Xue'an on "Lengxiang Pavilion Scroll," and also created "Jiansong Pavilion."
In 1925, he created "Distant Mountains in Verdant Hue"; his art historical treatise "Subtle Insights into Ancient Paintings" was published.
In 1926, he resumed his editorial role at the "Shenzhou National Essence Society."
In 1927, he presided over the compilation and printing of "Collection of Chinese Masterpieces"; also created works such as "Hongshu Studio," "Biwu Immortal Pavilion," "Red Maple and White Phoenix Scroll," "Morning Wind on the River," among others.
In 1928, he served as a lecturer at the Chinese Painting Research Society of Jinan University; compiled and published "Lanman Society Artists' Album," "Continuation of Shenzhou Grand View," "Yiguan," among others. That year, Chen Zhu, representing the Guangxi Education Department, invited Huang Binhong to lecture at Guangxi University; thereafter, he began a life of traveling, lecturing, and meeting friends, with Chen Zhu accompanying him as host. After touring Guilin, Chen Zhu invited Huang Binhong and his party to visit Luocun in Beiliu for fieldwork, for whom Huang painted "Gou Lou Listening to Springs," "Anluo Mountain," and "Chen Zhu's Mountain Residence in Beiliu Luocun," among others. [33]
In 1929, he served as Professor of Chinese Painting Theory and Poetry at Shanghai Art College and as a lecturer at Xinhua Art University; published articles including "Biography of Shen Shitian of the Ming Dynasty," "Preface to the Ancient Seal Collection of Binhong Cao Tang," "Ancient Seal Inscriptions on Pottery," "Honglu Painting Talks," "Preface to the Reprinted Art Series," "Discourse on Painting at the Art Exhibition," "Zhoulu Painting Talks," among others in "Yiguan"; published "Distinctions in Painterly Character" in "Art Exhibition Gazette"; and published "Ancient Seal Collection of Binhong Cao Tang."
In 1930, he served as professor at China Art College, Changming Art College, and Xinhua Art College; his works participated in the International Exposition commemorating the centenary of Belgian independence, receiving the "Special Prize for Masterpieces"; also created "Lüqi Garden."
In May 1931, he visited Yandang Mountain and created works such as "Large Screen of Yandang Mountain," "Great Dragon Waterfall," "Three-Tiered Waterfall," "Three Scenic Views of Xiangyan," "Magnificent Iron City," among others; also created "Yandang Mountain Scroll," "Landscape," "Southern Tour," "Beihao Thatched Cottage," "Dazhi Pavilion," "Yandang Scenery," "Floating Islet on North Bank of Jiaoshan," "Ganlu Temple," "Ink Stone," "Innumerable Petals Carry a Small Boat," "Light Reddish-Brown Landscape," among others.
In 1932, he toured Shanghai's Pudong with Xie Jinyu, Zhang Daqian, and Zhang Shanzi, co-creating "Hongfan Jingshe"; also appointed as a trustee and head of the Chinese Painting Department at Sichuan Art College; created works such as "Luoyun Mountain, Qian County — Journey Through Zhejiang and Anhui," "One Corner of Wisdom Sea, Huangshan," "Dantai — Record of Huangshan Journey," "Liushan, Lin'an — Journey Through Zhejiang and Anhui," "Zhoushan," "Luodong Port," "Baidi City," "Spring Scenery of Emei Mountain Scroll," "Solitary Boat Amidst Mountains and Clouds," "Memories of Lake Lotus," among others.
In 1933, he served as landscape painting mentor at the Chinese Painting Research Society of Jinan University; also created works such as "Record of Beibei Journey," "Colored Landscape Fan," "Jianglang Mountain Fossil Pavilion," "Dabeikou," "Southward View of Seas and Mountains," "Yao Mountain," "Elephant Trunk Mountain," "Landscape of Guilin," among others.
In October 1934, he participated in the First Calligraphy and Painting Exhibition hosted by Baichuan Calligraphy and Painting Society at the Hu Society in Shanghai; also created works such as "Mo Chao," "On the Way to Emei," "Baihua," "Listening to Sails Pavilion II and III," "Pine and Rock," "Inscription for Sichuan Journey in Ji Xu," "Landscape Dedicated to Tianzhi," among others.
In 1935, he published essays in "Chinese Painting Monthly" including "Brief Discussion on the Xin'an School," "Transformation of Chinese Landscape Painting in Ancient and Modern Times," "On Drawing from Strengths," "Spirit Over Material," among others; published "Great Causes of the Rise and Decline of Painting" in "Education Magazine"; in August, created "Long Scroll of Sichuan Landscapes" and "Long Scroll of West Lake"; in September, co-created "Eagle, Pine, and Rock" with Liu Haisu, and "Mixed Trees and Rock Spring" with Xu Beihong; also created "Guanyang Lidui," "Huangniu Mountain Scenery," "Longfeng Pond Scenery," "Colored Flowers," "Huangli Bay," "Chicken Return Corner," "Songwang Terrace," "Cuiya," "Deep Ravine and Steep Path," "Sparse Forest Spring," "Boating," "Fishermen's Joy," "Yuejiang Wind-Driven Boat," among others.
In 1935, invited by the Guangxi Zhuang Autonomous Region Education Department, the 70-year-old Huang Binhong returned to Guangxi for lectures, touring Dairong Mountain, Goukong Cave in Beiliu, and Dujiao Mountain in Rongxian; stayed at the home of Feng Zhen (a native of Shanyuan Village, Beiliu, then professor at Wuxi National Specialized College), exchanging poetry and painting sketches extensively, and created the scroll "Eight Scenic Views of Shanyuan," among others. [33]
In April 1936, he compiled and published "Huang Binhong's Travel Sketch Album"; also created works such as "Ru Jing Tang," "Crossing the Hengcha River," "Lake Mirrors the Sloping Mountains," "Emerald Peaks and Sails," "Dense Shade Whispering," "Outside the Lecture Hall, Colorful Isles," among others.
In April 1937, he served as interim council member of the National Fine Arts Research Society; in August, taught at the National Palace Museum's Chinese Painting Research Institute and served as professor at Beijing Art College; also created works such as "Ink Landscape" and "Sea and Mountain Wonders."
In 1938, he created works such as "Colored Landscape," "Former Imperial Palace of the Song Dynasty," "Guangwang Pavilion," among others. [12]
In 1939, he created works such as "Scenery of Huangshan," "Distant Clouds and Waves," "Kuo Ridge into Azure Sky," "Xicha An," "One Corner of the Coast," "Line from Li Chunchen," among others.
In 1940, he compiled and published "Binhong Cao Tang Collection of Ancient Seals," "Preface to Ancient Jade Seals," "Self-Preface to Binhong Cao Tang's Collection of Ancient Seals"; also published articles including "Painting Talks," "Painters Born in the Year Gengchen," "Mural Inscriptions of Yi Wu Shan," "Miscellaneous Anecdotes of Master Jianjiang," "Discussions on Dragon and Phoenix Seals," "Discussions on Zhou and Qin Seals," "Interpretation of Nuo Ancient Seals, Part I," among others in the "Zhonghe Monthly"; created works such as "Kuanglu White Clouds," "Colored Landscape Scroll," "Imitating Li Xigu's Depiction of Sichuan Mountains," "Deep in the Clouds, Medicinal Herbs Fragrant," "Hundreds of Peaks with Clear Streams," "Layered Emerald Springs," "Spring Rain Misty," among others.
In 1941, he published "Theory of Yangshi Pictographic Origin" in the "Zhonghe Monthly"; created works such as "Listening Garden Copying Books," "Cranes Singing on Western Hills," "Record of Journey to Xingping, Guangxi, Parts I and II," "Colored Landscape," "Fishermen's Boats at Juzhou," "Clear Interest by the Pond," among others.
In 1942, he created works such as "Expressing the Poetic Sentiment of Li Kongtong," "Boneless Landscape," "Sparse and Distant," "Imitating Li Tanyuan's Style," among others.
In 1943, he published "Anecdotes of Gou Daoren" and "Remnants of Gou Daoren's Writings" in the "Zhonghe Monthly."
In 1944, he published "Anecdotes of Painters" in the "Zhonghe Monthly"; created works such as "Imitating the Styles of Dong Yuan and Ju Mi," "Xianxian Thatched Cottage," "Landscape Fan," among others.
In 1945, he created works such as "Frozen Yellow River," "Returning Hunters," "Lingyan," "Nanqiao," "Landscape of Guilin," "Colored Landscape," "Gold Text Couplet," among others.
In 1946, he created works such as "Yicui Pavilion," "Haiyin Temple Scroll," "Colored Landscape," "Pine Waves," "Yangshuo Landscape," among others.
In 1947, he created works such as "Instruction of Wisdom and Talent Thatched Cottage," "Imitating Yuan Dynasty Flowers," "Imitating the Style of Dong Beiyuan Scroll," "Expressing Yuan Dynasty Poetic Sentiment," "Scenery of Jinhua Cave," "Wuyi Landscape," "Sichuan Mountains Delicate," "Scenery Above Yanling," "Sightings from a Boat on Min River," "Huxi," "Green Mountains Gathering Light Clouds," "All Dust Dispersed," among others.
In 1948, he created works such as "Landscape Scroll," "Record of Journey to Sichuan," "Endless Rivers and Mountains," "Yangshuo Landscape," "Mountain Ink Landscape," "Expressing the Poetic Sentiment of Chen Shan," "Small Scene on Jialing River Scroll," "Sitting Amidst Autumnal Maple Forests," "Imitating Mi Nancgong's Style," "Landscape Scroll with Poem Dedicated to Junliang," "Scenery at Yulei Pass on Sichuan River," among others.
In August 1949, he was appointed professor at the National Art College and elected by the Hangzhou Municipal Government as a representative to the Hangzhou People's Representative Assembly; also created works such as "Tandu Village," "Double Clarity of Plum and Bamboo," "Neilingding Scenery," "Clouds and Emerald Peaks," "Record of Lakefront Journey," "Sightings from a Boat on Xin'an River," "Viewing Xiqia Mountain from the South of West Lake," "Immortal Pavilion," "Huangshan Rare Flowers Scroll," among others.
In 1950, he created works such as "Landscape with Refreshing Air," "Ink Landscape in焦墨 Style," "Imitating Wang Qiao's Insects and Flowers," "Peaks Layered, Clouds Circling," "Yicui Pavilion II," "Simplified Landscape," "Real Scene of Yandang Dragon Waterfall," "Woodcutter of Qingcheng."
In 1952, he created works such as "Scenery of Huangshan," "Huangshan Songgu White Dragon Pond," "Colored Long Scroll," "Mokan of Shuyin Pavilion," "Lake and Mountain on the Verge of Rain," "Landscape," "Huangshan Mingxian Spring," "Clear Morning at Lake Cottage," "Imitating Anwu," among others.
In 1953, he was awarded the title of "People's Artist," elected as Standing Committee Member of the China Artists Association and as a member of the Second National Committee of the China Federation of Literary and Art Circles; also created works such as "Nanyue Landscape," "Pine and Cypress in Spring," "Hibiscus Scroll," "Immortal Companions," "Sightings from a Boat on Xin'an River," "Return Sails on the River," "Crossing the Hengcha River," "Ink Landscape in焦墨 Style," "Sichuan Mountains," "River Trees," "Yongkang Mountain," "Shore of Lianjiang River," "Inscribed Landscape Fan for Nuan," "Lingyang Gorge," "Imitating Zou Yibai's Landscape," among others.
In 1954, he was elected Vice Chairman of the East China Branch of the China Artists Association and appointed Director of the Institute of Ethnic Art at the Central Academy of Fine Arts [9]; in July, elected as a representative to the Zhejiang Provincial People's Congress; also created works such as "Return Boat on the Sichuan River," "Dawn View from Yungu Temple," "Contemplating the Sublime," "Xixi Thatched Cottage," "Deep Night of Qingcheng," "Viewing the Splendor of Fuchun," "Serene Mist and Silence," "Record of Journey on Xin'an River," "Wind and Rock, Curving Stream," "Layered Peaks and Dense Forest," "Opposite Shuzhou," "Westward View from Qingliang Terrace," "Zhoushan," among others. [5]
In 1955, he was honored as "An Excellent Painter of the Chinese People"; in January, elected as a member of the Second National Committee of the Chinese People's Political Consultative Conference; on March 25, he passed away in Hangzhou at the age of 90.