A Study Of Lin Shu's Painter Career

Lin Shu(1852-1924),a cultural keeper,a cultural complex of ancient writers,translators,poets,painters.He had a "famous history" because of his verbal vilifications with Cai Yuanpei and others in the New Culture Movement,and after his death,commentators at home and abroad had a different reputation for his work.As a painter,Lin Shu 11 years old early involved in painting,23-year-old teacher Chen Wentai formally learned to paint,in his later years,the mountains and water petals incense "four kings",the formation of pen and ink depressed,morale-boosting picture of the people.Looking at its life,young zhuangdutai,middle-year short-lived pen,late life in Beijing to sell paintings for the industry,Runge high,non-silent and nameless generation.However,Lin Shu’s painting name is often obscured by the name of "translator",the history of modern art is rarely discussed,to some extent,he is the "missing person" of the history of painting.In the study of Chinese painting history in the twentieth century,theorists often fall into a preset mode of the binary opposition between the main "traditional" and "modern","medium" and "west","new" and "old",and pay too much attention to the field of obvious change,while neglecting the cultural defenders who stand on the other side of the linear narrative of evolution,represented by Lin Shu,and can say that they belong to the "lost language" side of art history.The evolution of history is often caused by the chance of being filled with a great deal of detail,and it is Lin Shu,who is trying to recover it,that is "close to the truth of history" and through the times he describes.This paper tries to place Lin Shu in the ideological background of the traditional interruption and continuation of the early people,the old and the new hybrid,on the basis of a large number of historical details,hook and sink,salvage his history as a painter,and under the overall picture of Lin Shu’s cultural stance,To make a comprehensive and three-dimensional interpretation of his painting career,so as to give the "aphiguous" more say,enrich the geographical characteristics of the Beijing painting scene at the beginning of the people,so that the "backbone has been rough and flesh and blood is still fuzzy" modern art research more "holographic".