Yu Feian's ancestors were all juren in Qing Dynasty, and they all made a living by teaching. When I was a child, I studied painting with my great-grandfather Yu Mingbao, with Zhong Ying as a child, with my father as a teenager, and then went to a private school at home. In his later years, he recalled in the article "My Introduction": "I learned some meticulous flowers when I was seventeen or eighteen. It took me five or six years to learn how to mix colors and how to match them, but at that time I already knew the paintings of Song people very well. " His mother and wife both love Xinjue Roche and are descended from imperial clan. He is a scholarly family, rich in books, and attaches great importance to calligraphy and painting, printing rubbings, pen and ink. Yu Feian was influenced by this since he was a child, and then he studied calligraphy and painting.
1908 entered Manchu-Mongolian higher education school and studied Taixi painting with Japanese teachers. 19 12 entered Beijing Normal University. 19 13 studied painting with the folk painter Wang Runxuan and colored it. 193 1 Learn landscape and seal cutting with Qi Baishi.
In the early days, I collaborated with Zhang Daqian to draw many landscapes. Later, following Daqian's advice, he began to specialize in meticulous flower-and-bird painting from 1935. At this point, Yu Feian is 46 years old. Although he started late, he has made great achievements. His meticulous flower-and-bird paintings, carved with green and embedded with green, are rich and colorful, and his sketch of orchids and daffodils is unparalleled. In the 1940s, its reputation was comparable to that of Zhang Daqian. This is related to being immersed in family collections, hearing and seeing, learning gardening and ornithology since childhood. In the last year of his life, Yu Feian struggled with the disease and wrote an afterword with the title of "The Map of Magpie Willow": "From the Five Dynasties and the Song Dynasty to Chen Laolian, it was the first stage for me to learn the tradition, and the second stage was to learn from Evonne. Since then, I have engaged in sketching with my knowledge of planting flowers and raising birds, and also learned folk painting methods, but the commercial position of literati painting has not been ignored. I worked so hard until today that I deeply realized that life is the source of creation, with thick makeup and light makeup, and all performance skills. "
1936 In May, Yu Feian held the "Painting and Calligraphy Exhibition of Zhang Daqian and Yu Feian" in the townhouse on the southeast side of "Coming from Jinxuan" in Zhongshan Park. Zhang Daqian and Yu Feian cooperated in the exhibition. Yu Feian drew a pink butterfly, Zhang Daqian drew a skirt hairpin, and wrote a poem: "Don't draw a black butterfly, don't lose Ma Jiangxiang." Daqian makes up for ladies. He is crazier than Guo Qing. If Xu Niang saw it, he would brag about the two kings. "In the exhibition hall, someone said to the painter Xu," You look at this painting because you are joking with you. This is you and Xu. " Xu had a big temper and left when he got angry. Soon, I came back for the second time and took this photo with my camera. I hired a lawyer and started a lawsuit. Xu's sensitivity has its own purpose. 1935 In the spring, Zhang Daqian and his brother Zhang Shanmian held the "Zhang Shanmian and Zhang Daqian Kunzhong Joint Exhibition" at the waterside of Zhongshan Park. Because the imitation stone Tao disturbed the collection market, the cultural circles in Peiping were quite disdainful of it. Zhang Daqian, a young man, was filled with indignation: "The old student has something in his stomach, and the ephemera shakes the tree and laughs at Cao. Yu Feian, on the other hand, wrote a supplement for Morning News under the pseudonym "Idle Man", praising Zhang Daqian's pen and ink, and his words were beautiful, which caused an uproar in the art garden. Soon, Xie, a landscape painter, got married and friends sent pictures to congratulate him. Xu also sent a picture of a beautiful woman with the title: "I'm stranger than wings, and I'm late, and I'm urging my brother to pretend." This kind of painting is obvious to me, and so is Zhang. "It's mysterious. When you see it, it's not cold." Contain derogatory meaning, beyond words. The lawsuits of both sides caused a sensation in all walks of life in Beiping. Fu Zengxiang entrusted Wang Senran to mediate, and the two sides took their seats at Zhimeilou Restaurant in Meishi Street outside Qianmen. During the dinner, Qi Baishi and others sat with him, but they broke up in discord, and then they fought. After Yu Youren intervened, the matter was solved. In February of the same year, Yu and Zhang jointly held "Helping the Poor-Zhang Daqian and Cooperation Exhibition", which forged a profound friendship.
1937, Yu Feian was appointed as the judge of the second national art exhibition, and in the same year served as the tutor of Chinese painting research room of the Antiquities Exhibition Center of the Forbidden City until 1945. During his stay in the Antiquities Exhibition Center, he came into contact with a large number of ancient paintings, and often appeared in antique shops to copy and draw nutrition. His paintings advocate learning from the past, not sticking to the rules, paying attention to learning from nature, breaking the routine in composition, combining hardness with softness in pen, seeking gorgeous but not vulgar in color, absorbing calligraphy in line drawing, and advocating the spirit of softness and freshness in color filling and expressing image. He opposes being too skillful and meticulous, losing the high rhyme and overall spirit of pen and ink.
Yu Feian paid attention to learning from nature. Even though he became famous in his later years, he always paid close attention to hundreds of flowers, insects and birds in order to be accurate. Whenever the peony is in full bloom in the park, or I hear that there is a chrysanthemum exhibition somewhere, I must go to have a detailed look and sketch a few sheets of paper. In order to master the characteristics of objects, he is good at raising flowers and birds, observing objects and turning to painting.
He has observed pigeons and is indifferent to their various postures. On one occasion, You Nai asked for a big picture of a flying pigeon, which puzzled him. On weekdays, I just look up and never look down to see how pigeons fly. So, climb the tower to overlook the rise and fall of pigeons, and then start painting. He had no intention of keeping pigeons, but he became an expert. He has written a monograph and is good at appreciating antiques. His vision is unique, but his name is covered by painting.
He studied calligraphy from an early age, starting from the opening ceremony of the Jin and Tang Dynasties, tracing back to the official seal of the Qin and Han Dynasties, changing to (Shinan) and Chu (Sui Liang) in middle age, and then specializing in thin gold, becoming the leading thin gold master in modern times. The brushwork is gentle and charming, light and heavy, slippery and intriguing. Occasionally, it is a small seal, but also full of strength, round and incomparable, all the way to Li. For meticulous painters, the thin golden body can not only exercise the pen power, but also complement each other in the book and frame.
Besides calligraphy, he is also good at printing. Yin Zhi inherited Qi Baishi, but there is no sign of drastic measures. His style tends to the west. What he did won the Olympic Games, and he was full of interest in the ancient seal, which can be compared with those who are not in charge of the bureau. He once published an article entitled "Treating Seal" in 1927 Morning Post Supplement, in which there was a cloud: "I think that all kinds of records since Ming and Qing Dynasties, such as the seal of Qin and Han Dynasties, combined, are nothing more than the standard of managing seal, and this end is cultivated by learning, which is directly related to managing seal, such as primary schools, calligraphy and inscriptions. Through primary school, I am familiar with calligraphy, learning on the basis, and my heart is on the tablet, which has changed greatly. The principles and methods of painting are also about the management of printing. If we can do this, we can take the seals of Qin and Han dynasties, learn from them and make an appointment. Then all the seals are my seals, not the seals of imitation A and imitation B, and my husband can discard them anyway. The Hui faction in Zhejiang despises it. " Shou Shigong's Miscellanies of Contemporary Indians recorded Yu Feian's poem about printing: "Shi Tao's calligraphy is thin and golden, and the source of the stone is true. Don't worry about the benefits, but you can leave the canal open. "
Wu Guanzhong once said: "The cultural level of most artists in the art world is not high, so their feelings and realm for their works are not up." This phenomenon has become a chronic disease in modern times, which is the main reason why most painters stop making progress. Yu Feian studied painting in middle age, but he stood out because of his extraordinary poetic skills. 1930- 1934 is an editor in the Yiyuan Edition of the Literature and Art Supplement of Morning News. He serialized articles in newspapers and periodicals in Beijing, Tianjin, Shanghai and other places under the pseudonym of "non-factory idlers" and "non-secret ink filling", and was a famous columnist at that time. 1928 In May, Du Men Fishing, Du Men Lan Yi and Du Men Xi Ji were published, the latter in English. Qi Baishi's "Painting Inscription Shi Lan Miscellaneous Copy" says: "Draw a shrimp on the fan for the master: aging is ashamed of knowing the price of coal and rice, and childhood fun is commendable. Fishing is a pity, you made it up. Mr. He Ruo used to fish shrimp. When I was young, I tried to catch prawns with cotton as bait. The prawns caught the bait with their feet and the fishing line was lifted. The shrimp came out with the fishing line, but the pliers were still puzzled and forgot to board the other shore. " The cloud "I cherish your editing" refers to "Dumen fishing". His good poems and postscript are related to his literary skills. He has been immersed in classical literature since childhood and is good at Zuo Zhuan and Historical Records. He has taught in Beijing No.2 Primary School, Municipal Normal School, Fine Arts Department of private North China University, private Jinghua Academy of Fine Arts, and Beiping National Art College, all of which benefited from "extra-poetic kung fu".
Yu Feian is very talented and diligent. He will paint and write every day until he is old. Although I only lived in three huts in my later years, I still didn't feel a little lazy because of the cramped environment, and I didn't spend time on day shift.
1949 After the founding of New China, he served as the executive director and vice president of Beijing New Chinese Painting Research Association. 1954, has served as a deputy to the first, second and third Beijing Municipal People's Congress, a researcher at the Institute of Ethnic Fine Arts of the Central Academy of Fine Arts, an executive director of the Beijing Federation of Literary and Art Circles, and a vice president of the Beijing Academy of Chinese Painting. 1955 Participated in the "Second National Art Exhibition". /kloc-in June, 2004, he and Qi Baishi, Chen Banding, He Xiangning and others 13 collectively created a large-scale work Ode to Peace and presented it to the World Peace Conference. In February, 1957, "Flower and Bird Painting Exhibition by Yu Feian, Zhang, Duan Luqing, Yu Zhizhen" was held. The research on the color of Chinese painting, which I have experienced for decades, was published in 1955, and how to draw beautiful flower-and-bird paintings was published in 1957+00.
The meticulous flower-and-bird painting circle is known as "South Chen is in the north", that is, "South Chen". The establishment of the two masters changed the decline of meticulous flower-and-bird painting. Yu Feian had a great influence on meticulous flower-and-bird painting in the north, and famous painters such as Tian Shiguang, Yu Zhizhen and Jin Hongjun all had influence.
1On July 3rd, 959, Yu Feian died in Beijing and was buried in Fengtai, a suburb of Beijing.
Map of pomfret in Mubi Mountain 1956
Camellia Youqin vertical axis coloring paper 9 1.3×32.5cm 1943
World Youxi vertical axis colored paper 100×33cm
Vertical axis coloring paper of Li Dixue's cold bird map 127.3×59.2cm 1942.
Peach bee
Vertical axis colored paper
100× 34cm
1946
Grassland insect map
Vertical colored paper 92×34cm 1940