Chen Yupu
The growing prosperity of social economy seems to have brought infinite vitality to today's painting world, but the commercialization of painting art has also brought unprecedented impact on the sacredness and purity of painting art. Numerous auctions, grand prix, TV publicity and online hype have opened the door for some fame and fortune. Therefore, they are actually chasing each other and catering to the city. Or attack the west wind to make it fashionable, or copy the Song and Yuan Dynasties to make it quaint, or cut posters, or paint horizontally and vertically to deceive the world ... For a time, the painting world was bustling and the pure land was a few feet! He Jia 'an, who is as clever as a fool, is like a spotless lotus in the mud, weaving a pure land of landscape painting garden with his pure mind.
A closer look at Jia An's paintings shows that although they are magnificent, they are not afraid of fighting, but they take advantage of creating a changeable environment. With Park Mao's naive description of the mountains and rivers, the machine is in hand, the vitality is in chaos, and the wind and rain come in and out. The so-called "Yueze Shenfeng, Tao Zhu Sex Organ" can also be used.
Every fool thinks that painting is a plastic art, and skill is important, but the accomplishment of the painter is particularly important. The world "books are like people" and paintings are like people. However, cultivation is not limited to knowledge, but the expression of the artist's comprehensive artistic quality such as knowledge and life experience, and it is the artist's extraordinary perception of mountains, rivers, nature and even the life of the universe. From this point of view, He Jiaan is one of the painters with great artistic accomplishment.
He Jia 'an was young, and the hard life experience and tortuous road of self-taught examination in Dabie Mountain area not only cultivated his perseverance, but also endowed him with deep and thoughtful personality traits. Because of his tolerance, he was able to live in the cold winter and hot summer for decades and never gave up his ambition of Dan Qing. In the end, the pen improved in Mo Miao and gradually became superior; Because of his deep thinking, he can seek lessons from Tao, instead of drifting with the tide, he has a unique way and established his own style. Jia An studied under painters Zhang Bu and Luo Mingzhu in his early years, but now it is hard to find Zhang Bu and Luo Ming in He Jia 'an's paintings. Sometimes there is a bit of Shi Tao and Gong Xian's personality, but it is not a "clone imitation", but a traditional cultural atmosphere. This is He Jiaan and He Jiaan's landscape painting art, which is a rough, strong, unpretentious and almost naive artistic feature.
In 1950s and 1960s, the beautiful Dabie Mountain countryside was once a hungry and poor area. He Jia 'an has a fresh memory of his "cold and hunger" childhood. In He Jiaan's view, it is an extravagant hope to have enough to eat and wear warm clothes in life, so He Jiaan's requirements for material desires are very limited. This attitude of downplaying material desires made He Jia 'an far away from worldly disputes and fame, and freely galloped in the wilderness of his own painting art, thus laying the foundation for He Jia 'an. Nothing to carve, simple, old and healthy, leisurely and spontaneous. "Mustard Boat Painting Collection" thinks: "Innocence cannot be painted, admiration for China cannot be painted, greed for sound and profit cannot be painted, and catering to the world cannot be painted. These characters are immersed in vulgarity and never intend to be elegant. " He also said: "painting should be eccentric and eccentric, contrary to the secular, so as not to be elegant;" Painting should be stupid, and stupidity should forget vulgarity without hurting its elegance; Painting should be poor, painting should be elegant every time, and painting should be pedantic, so that elegance can break away from the secular ... "Zhuangzi said," It is simple to be close to the vulgar. "
To prove that He Jiaan and his paintings are in harmony! Standing in front of He Jiaan's paintings, we are often attracted by the sense of order in the paintings. A painter, like a pen, can resist the tripod. But he is confident in his hand, easy to lift weights, natural and comfortable, and he is harmless. This is quite different from the "painting" style of pursuing a sense of form in today's painting world. At present, when people appreciate this kind of painting, they often praise it. It's like commenting on the exquisite carvings on a set of furniture. Critics are from the heart, but painters find it unsatisfactory. It can be seen that the alienation of pure artistic aesthetics caused by commodity consciousness has been far away from the original intention of art as cultivating temperament and subliming soul.
Of course, art is inseparable from form, sculpture and decoration. However, the spirit of China traditional culture advocates the artistic realm of "returning to simplicity with one carving", especially "simplicity without carving", while China traditional culture emphasizes connotation, thinness, essence and thinness, such as Laozi's concept of "good words don't believe".
There is a day in Liu Xie's Wen Xin: "Clothes are full of luxury, bad words are too obvious, books are poor and white, and books are expensive." Why do you want to cover the brocade with linen? That's because the patterns on the clothes are too bright! Why does the divination "mountain fire book" in the Book of Changes take "white book" as the supreme? That's because "hundred copies" means "returning to the original"! " "Ben" means decoration. From "Ben's beard" at the beginning to five "Yuan Qiu's Ben" are decorated with words according to the quality of the world, and the last six say "white Ben". The white book is plain and colorless without any embellishment, so the words in the world will eventually return to quality. This is the difference between the aesthetics and commodity consciousness of traditional oriental culture, and it is a promotion from material desire to spiritual realm. He Jia 'an proved the aesthetic principle of China's traditional landscape painting art with his real artistic practice, just as Mr. Li Keran's artistic pursuit of "not carving" is not only the height of artistic creation. At the same time, it is also the height of personality cultivation.
Mr. Sun Ke thinks: "The beauty of Mr. He Jia 'an's paintings lies in his familiarity with nature. The mountains, rivers, trees and houses he painted are the scenery of his hometown. "I agree with this view. The so-called "flowers and birds attach importance to interest, landscapes attach importance to artistic conception" and "the creation of artistic conception cannot be separated from the in-depth understanding of real mountains and forests. Beauty lies in that it cannot be separated from things and does not serve them. It is the result of the painter's "clear mind and knowing Tao, things are invisible to me", which turns my true nature into true mountains and rivers. As Shi Tao said: "If you know the reason, you will change your strength. Knowing its merits, "The mountains and rivers are detached from Ofuse, detached from the mountains and rivers, and seek their peaks and drafts. "
Jia An grew up in Dabie Mountain when he was young. He was fascinated by mountains and rivers. Since then, he has traveled all over the world and learned from other famous mountains. Naturally, he can "carry the spirit of mountains and rivers and penetrate the shape and spirit of mountains and rivers".
In addition, in terms of artistic conception creation, every colleague praised He Jia 'an for his heavy painting style, and I also praised Jia An for his heavy painting style. The so-called pier is calm, and the so-called thick is implicit. Nowadays, people who seek peace are even more depressed. He who seeks depth is turbid. Although the pen used at home is stable, it is as bad as electricity. The layout is smart and vivid everywhere, but there is no room for a needle in the dense places. Deep mountains and rivers, orderly trees and houses, changeable brushwork, clear and transparent brushwork and no polluted air are also the beauty of home painting.
Of course, He Jia 'an's paintings still need further consideration and improvement, just as friends pointed out his shortcomings in calligraphy and printing. It is true that calligraphy literacy and the wonderful use of printing can supplement the cultural atmosphere in paintings, but these shortcomings can't cover up their flaws, which has a great influence on Jia An's landscape painting art. Moreover, He Jia 'an, who is 57 years old, is still very young as a painter. If time goes by, he will be exhausted and complete, or he can be cast into me.