"Feng Jie: Poet, Cook and Painter"
Gray Bamboo/Feng Jie.
Feng Jie was an honorary poet more than ten years ago. At that time, he wore a pair of round retro glasses and looked like a modest gentleman in the Republic of China. He stood out among a group of writers. At first glance, There is a shadow of the poet Xu Zhimo in the trance. But Feng Jie is not a passionate romantic poet at heart. Even if his eyes are drunk, he scans the road in front of him soberly and never gets lost in the wind and moon. In his own art world, if he wants a mountain, he brings a mountain, if he wants a rain, he calls for rain. Of course, it is all under his control. Specific to life, artists can be divided into two categories. One category is those who extend the boundaries of art into life and have strong vitality or ability to love, such as Zhang Daqian and Qi Baishi. There is another type of artist who is not like this. He is so detached that he cannot eat the fireworks of the world, and everything in the world becomes a burden to art. For example, Lin Hejing, such a great artist, aloof and tranquil, with a pure heart and few desires, actually lived the life of a plum wife and a crane child. He only felt that the green mountains and green waters were suitable for him, and he transferred his emotions to all the scenery he liked.
Feng Jie should belong to the third category. He clearly distinguishes between life and art. Looking through his paintings, there is no trace of Fengyue, so he is not of the Mandarin Duck and Butterfly School. Reading his book, I found that a kind of rural plant was popularized. He unexpectedly knew so many names of weeds. From the names of weeds, he inspired the imagination of a talented man and a good son. Those weeds in his childhood reminded him of them, and they had light and shadow in his writings. , with legends, became an elf that can walk, talk and tell stories. One by one, they were all friends who had been separated for a long time and could comfort Han Liang. He wrote about Rehmannia glutinosa and said it was a kind of Zema grass. I checked online and found out that Rehmannia glutinosa is the kind I used to suck when I was growing grass in the fields. It has little peach-purple morning glory on its head. When we are thirsty, Xiaoqing and Xiaohong and I will pull it out. The blossoming flowers with thin tubes smack their flower cores like bees, which are sweet and comfort the taste buds of lonely and monotonous childhood.
I still remember his prose "Moonlight Turns Away". It seems that one night, the moonlight in the countryside, the stained wooden tables of the country wine shop came to him one after another. The atmosphere of the country and the people in the country came to him along the memory. Although he came to the city with a halo as a professional writer, the vast and indifferent city also made him feel a little at a loss. Therefore, behind the prosperity, his soul often sneaks into the countryside to gather quietly with everything he is familiar with and close to.
Grass and trees are humble yet tough. Feng Jie uses his own words to search for them one by one, get to know them, explore and have conversations with them. How do you remember the names of so many plants and trees so clearly? It's so jealous. It must have been taught by his grandparents. They accompanied Feng Jie in his childhood and adolescence. Many of his understanding and experience of life and the world were originally obtained from them. When he writes about the vegetation of the North Central Plains, he is also writing about his memory of his deceased relatives, and the pain of caregiving can be gently touched in the narrative.
Feng Jie likes the writings of Liang Shiqiu and Zhou Zuoren. Their leisurely style and elegant brushwork present the customs and customs of their hometown one by one. From the writing of nature to the analysis of culture, his tentacles extend to those reclusive and talented scholars in history who are out of date and out of tune with the world. When he wrote about Nepeta, he thought of Zhang Dai, Bada Shanren, Fu Shan, etc. as smelling of Nepeta. He loves these plants and trees so much, and makes these characters his companions, that even the taste penetrates into his soul and flesh. In fact, humans are just another kind of grass and trees. "Life is as long as grass and trees." Grass and trees are the mirror of oneself and the final incarnation of oneself.
His "Food Paintings" are his own private dishes, collecting ingredients and cooking methods from the North Central Plains, making people feel that he is a cook who has known how to cook since he was a child. And as he is, he is not an ordinary cook. He uses poetry and color to cook Henan dishes from the North Central Plains. Readers have seen his recipes and tasted the unforgettable taste of a difficult life.
In modern society, reading Feng Jie’s book feels like we are still living in the rural countryside, living in the warmth of hand-made products. During the period of material scarcity, grandma and mother took some edible food that others had discarded. Whatever falls out, we try to make it into something chewable and filling for our belly. This image of a family living in harmony despite being poor and simple remains deeply embedded in the memories of their loved ones. But now in the online world, life is very different.
Many young people do not know how to cook and refuse to learn cooking skills, so they spend their days taking out food. Even if they sit at home and do nothing, even if the refrigerator is full, they are still too lazy to do anything. A home with a cold kitchen is a home without warmth, and the love that comes from the family will be greatly reduced. Eating commercially produced food in restaurants does not taste like home at all. Modern man has lost this blessing.
Feng Jie’s painting has been in full swing in the past two years. Every day on WeChat you can see his new works rising with the morning sun. He incorporated so many vegetation, livestock, small beasts, and birds that are familiar to the people of the Central Plains into his brushwork and colors.
It seems that he has less and less conversations with people and more and more conversations with his kingdom of colors. Artists are free in their own world. His paintings increasingly convey a sense of confidence and momentum. Even though it is a sketch painting, Zhong Kui and Li Kui in Brother Feng Jie's paintings are both aggressive and extravagant. When wielding an ax, they have a fierceness and bravery that sweeps away all harmful insects in the world. Feng Jie painted Su Dongpo. Next to the character is green bamboo, which symbolizes integrity and character. The inscription is Su Zi's poem "Ding Fengbo", "A coop of mist and rain allows one to live his whole life", "There is neither wind or rain nor sunshine", which has a Taoist feel. The freedom and elegance. Although Feng Jie said that he did not believe in Buddhism or Taoism. I see that he draws these on rice paper every day, which is already the "Five Mysteries and Three Ways".
Looking at his calligraphy, both in connotation and form, he is very Su-style. He writes in beautiful Su style. At first glance, it seems to be consistent with Su Zi's words "Don't listen to the sound of rain falling through the forest." "related. His tilted Su body was blown over from the upper right direction due to the wind and rain. The poet's words always carry traces of imagination and the breath of natural scenery. Bathing in them, a hint of coolness will pass through your hair.
It is said that Gu Cheng is a fairy tale poet. He regards the beach under the sun as bread being grilled. But I think Brother Feng Jie is a fairy tale painter, or a fable painter. He understands the language of vegetation and animals and is their spokesperson. He wrote about big trees, tiles, and various delicacies in the Northern and Central Plains, giving them a sense of wind. When he drew a gourd, he could hear "the sound of the gourd". When he drew a cabbage, he thought, "My heart is like this." Even when he painted a watermelon with two teeth, he regarded them as two red mountains, so childlike and clear, and the words seemed to be rimmed with the light of the sun.
Are you a fish? /Feng Jie.
Occasionally new poems/Feng Jie.
Calligraphy and Duck/Feng Jie.
Who says that his writing does not involve politics? His "Water Margin" series of character paintings take him from left to right, shooting one or two arrows at reality from time to time, and then summed it up in one sentence: The Song Dynasty was only a year away For more than a thousand years, it remains the same today.
Feng Jie’s poems and essays are well-known in the Chinese circle. Time and time again, his books crossed the shallow strait and aroused considerable enthusiasm on the other side, receiving numerous accolades and awards. Taiwanese poet Yan Xian said at a meeting with Henan poets at the Henan Literary College that Feng Jie had won so many awards in Taiwan that his house must have been built with bonuses. This statement must be true. In the painting world, he increasingly has his own status as a literati painter. On the street, you will occasionally encounter the Feng's owl hanging in a tea shop, perched a bit lonely in the concrete jungle of the city. His ink-drenched hibiscus becomes more and more unbridled as he draws, and the figure of the lotus strives to express its bright integrity and character from the heavy ink leaves.
I always felt that it was a bit inappropriate for Feng Jie to be the editor-in-chief of "The Storyteller". A scholar who recited poetry and ink got mixed up in the excitement and legend of strange book monsters, driving cars and selling wine, and was a bit out of place. After every visit to him, his bag would always be filled with colorful copies of the newly published "Storyteller". Fortunately, during his tenure, he still poetically described the scenery of the North Central Plains in his own way. What is deep in his heart cannot be changed, and he still stands out from the times in his own way.
It has been more than ten years since he lived in Zhengzhou. Once at Sun Gong's farm, everyone went for a walk after dinner. He told me that I wouldn't go because my legs hurt. You see Byron is like that. He is really elegant, and every problem in his body should be connected with poetry. This is the spirit of poetry and the dignity of poetry that cannot be erased from him.
"I am afraid that the stars will fall and I will wake up from my dream. I dare not hold up the night light alone. How much sorrow can it burn? There are empty branches outside the door and the wind is blowing." Feng Jie has been a Zhengzhou native for more than ten years. I don't think of this place as my real home, but call it a "guest residence". Several times during weekend calls, he told me in Changyuan accent, "I'm in Changyuan."
There is his Tinghe Thatched Cottage, where he has the country food he is familiar with. Presumably he went back to working as a cook for his family.
While writing this topic, someone suddenly reminded me that the ancient Japanese monk and calligrapher Yoshikansu disliked "the calligrapher's calligraphy, the chef's dishes and the poet's poems" the most in his life. Could there be a reversal? Only by delving deeper into his Zen philosophy and calligraphy can we realize that Liang Kuan means advocating nature, hating craftsmanship, and advocating for one's own nature. He is indifferent to material things and begs for a living. He lives in a thatched hermitage and is happy to play with children, keeping his childlike innocence. After thinking about it for a while, Liang Kuan's wise words actually fit well with the object of my writing. Hey, that's right. wy
Art editor Minzi jiminzi512@163 editor Rao Danhua
Vivid wooden chicken/Feng Jie.
The Story of Mid-Autumn Festival/Feng Jie.
Afraid of him/Feng Jie.
Poetry expresses ambition and persimmon also expresses ambition/Feng Jie.