黄秋园活了65岁,他死于1979年:死后七八年间,他的创作成就被中国画界承认和推崇。死前十年间,他以一个银行退休职工之身,倾心竭力投入创作。我估计他没有得过什么稿费。他创作最旺盛的那些岁月正是文化专制最蛮横的时期。在山水画也必须为阶级斗争服务的年代里,他的画里居然多见衣冠简朴的古代人物。有人称黄秋原为“盛世遗贤”,盛世是不应该有遗贤的。但这只不过是李林甫制造的神话,盛世而毕竟有遗贤,这就不免使“显贤”们扪心反瞰或刮目相看。 黄秋园去世后不久,便在中国画界骤享大名,被称为大师级人物。同他情形仿佛的还有陈子庄,他们被认为是八十年代中国画界的两大奇迹。都是生前不闻于市,死后受人膜拜。在如今这个“推销自己”成为人生成功正途的世 Huang Qiuyuan lived at 65 years old, he died in 1979: seven or eight years after his death, his creative achievements are recognized and respected by Chinese painting circles. Ten years before his death, he relied on his retirement from a bank as a contributor to his creation. I guess he did not have any royalties. The years he created the most flourishing are the most brutal periods of cultural tyranny. In the years when the landscape paintings must also serve for the class struggle, the simple ancient figures in his paintings are actually seen in his paintings. Some people say that Huang Qiu Yuan was “the legacy of the heyday,” prosperity should not have a legacy. However, this is only a myth made by Li Linfu, but after all, there is a legacy of prosperity, which inevitably causes the “Xian Yin” to look down upon each other or to look each other upside down. Not long after Huang Qiuyuan died, he took a big name in the Chinese painting circle and was called a master figure. Chen Zizhuang, as if with his situation, is regarded as the two wonders of the Chinese painting circles in the 1980s. They all did not smell in the city before their death and were worshiped by the dead. In this day and age, “selling yourself” has become a real success in life