This is also the psychological feeling that most modern Chinese paintings bring to us. The heavy tradition and the contrasting real life have made a large number of painters enter the self-realm of "hiding in a small building for unity, regardless of spring, summer, autumn and winter", and the personalized closed world can be regarded as facing their hearts. This kind of painting is certainly a way to break through the tradition and move towards self-improvement today. However, if we analyze it in depth, it also implies the fear and abandonment of the too heavy tradition, and implies a tearful farewell to the cultural ideal of "pursuing morality and relying on benevolence and entertaining education".
In such an atmosphere, Chu Yun's persistence and progress also illustrate the significance of existence. Chu Yun was born in an orthodox Jiangnan intellectual family. Thousands of years of farming and reading traditions have injected a profound and lasting Confucian spirit into their gentle and peaceful temperament. Under the guidance of this spirit, intellectuals in the south of the Yangtze River, from party member in Lindong to Fushe, and then to Nanshe, stood up and defended not only the country with their blood and lives, but also the road of "sacrificing their lives for justice" and people's lives. Today, with the acceleration of global integration, Jiangnan intellectuals like Chu Yun urgently need the lifeblood and dignity of national culture. Li Zehou most clearly expressed the significance of defending existence: "The social activities of world integration promoted by economic forces urgently need diversified spiritual life with national cultural characteristics to make necessary supplements, otherwise the world will be too monotonous and poor, and it will completely become a terrible world of alienation of commodity and technology rule."
This kind of defense is hard and heavy. Needless to say, such a lofty tradition, even modernism carrying the passion of ice and fire, has become a passer-by. Chu Yun is not surprised by the arrival of such a post-modern era. Such calmness and self-confidence originally came from a thorough understanding of Huang art and a thorough fan. The core of his study in Huang lies in pen and ink. If the road of Huang is the only one among modern masters, it starts with pen and ink. Then, among many followers in the contemporary era, Chu Yun is the only successor who continues along this road. He wrote in an essay: "Huang delved into the bronze inscription and got its essence." His lines are like mountains, and his strength can carry the tripod ... "Here, Chu Yun clearly expresses the characteristics of yellow pen and ink, which can be regarded as the ideal realm of pen and ink in his mind:" Mountain hidden ". The so-called "mountain stealth", seemingly peaceful, is actually rich in internal forces, to the extreme. If we combine the cultural psychology of Jiangnan intellectuals for thousands of years, we can find that such a state of pen and ink is the materialization and completion of the personality of "pursuing morality and entertaining benevolence"
Chu Yun's inheritance of the yellow pen and ink system first lies in the thickness of the pen and ink. Among Mr. Hong Bin's many followers, his paintings are not complicated, and the methods of dyeing are not diverse. But the deep accumulation of pen and ink is the most in place. The dotted line and the accompanying pen and ink in the picture give people the greatest feeling of being round. In such a round strength close to Tai Chi, the power can be released and gathered, so the dissipated pen and ink can be restrained and controlled in the process of continuous liberation and growth. Such germinal growth and control are complementary. On the one hand, it can highlight the overall sense of the picture, keep the overall sense and core existence of the picture in seemingly fragmented and rambling pen and ink, and stimulate creative vitality in such internal conflicts. In essence, this pursuit is the pursuit of the inherent quality of pen and ink. Only such a painting can be said to be written, and it has the meaning of literati painting.
Huang said: "Dong Beiyuan's paintings are just close-range pens. They are uneven and jumbled. I don't know what they are, but they are vigorous and interesting. From a distance, they are orderly, yin and yang are virtual and real, which is no different from a very detailed work. If you don't know, you should be careless. You don't know that its beauty is hidden in the pen, but its charm is outside the pen. " This evaluation of Dong Beiyuan is also suitable for the overall interpretation of Chu Yun's pen and ink. A close look at pen and ink and a distant view of mountains and rivers are not only the classical existence with its own origin, but also the characteristics of modern western painting. The mastery of objects and the experience of pen and ink make Chu Yun's paintings cut into such a state. In a large number of his concise and clear pictures, the accurate grasp of the texture of mountains and rivers and land seems to gradually abandon the traditional method of literati painting, but it is close to strict academic characteristics, but the insistence on the humanistic spirit of pen and ink has kept the pictures from falling into the mud of formalization. In Chu Yun's pen and ink, there are always several pairs of things close to contradiction pulling each other to form a dynamic pen and ink way. From pen and ink, from pen and ink, such a relatively pure way of marching with pen and ink as the core has brought not only successful cases, but also the more important significance is to rebuild confidence in facing tradition and opening up tradition today.
Compared with the complete literati flavor of Huang calligraphy and painting, Chu Yun's works are more simple and lively. With the advancement of the times, Chu Yun is more in an illiterate atmosphere. His open-minded and cheerful personality and the basic mentality of "opening the door to welcome guests" based on Huang determined his concern and absorption of folk art and natural things. This feeling is more obvious in his calligraphy orientation. Compared with the Wen Ya, introversion and implication of literati calligraphy, Chu Yun absorbed a broad and open object. In the Three Dynasties and the Han Dynasty, Jin Yun, Tang Fa and Yi Song were of course the objects of understanding, while the scraps of paper in Dunhuang and the scriptures written by the Tang people made Chu Yun feel free and simple, frank and honest without being bound by statutes. Under the guidance of Huang, his gentle and rigorous brushwork began to be unfamiliar and open, with short lines, long lines, gentle lines and childish lines as the mainstay. However, the conclusion of the word is unexpected, losing the inorganic heart, thus achieving the great beauty of natural carving. Comparing the calligraphy of Chu Yun with that of Huang, we can find that Chu Yun is not as good as Bin Gong in quietness and pen use, while Chu Yun is better than Bin Gong in vitality, richness and visual impact. This is the general trend. When the guest art is mature, the human art is old and lifeless, and Chu Yun stands on the shoulders of giants, it is the prime of life, so the anger of life is naturally revealed at the bottom of the pen. China art used to be the art of young people, but Wang Ximeng was only eighteen when he wrote Thousands of Rivers and Mountains. However, since the Ming and Qing dynasties, the tradition has become more and more profound, and art has gradually faded into the art of the elderly. Of course, the old people can be harmonious and calm, but the vitality and vitality in art are getting farther and farther! In today's fierce competition, people's spirit is bound to be more high-spirited, and the diluted emptiness of agricultural society will be eliminated and full of vitality. At the same time, quiet and broad-minded creation will also bring comfort and recognition to tired hearts. Chu Yun's paintings followed the pace of the times and reached such a state.
His paintings are exquisite, but from the overall feeling, the first thing I noticed was not the tension of pen and ink, but the lush vitality of mountains, rivers, trees and cottages in the paintings, which came from the vitality and vitality in real life. The complete technique allows Chu Yun to enter the creative state at any time without crossing the line. Love of life and love of life constitute the main theme of Chu Yun's mentality. He has a painting in which all the images are shrouded in the bright sunshine in the morning. This is a symbolic work, which guides the viewer's thinking-it seems quite appropriate to name today's Chu Yun landscape "Sunshine Landscape". Mr. Huang prefers the night mountain, likes the charm of the moon shadow over the wall, and seeks the home of pen and ink in it. What Chu Yun loves is that the trees are swaying and the houses are vaguely safe. Xue Longchun said that there is a kind of transpiration and anger in Chu Yun's paintings, which is a very appropriate evaluation. It is in this kind of pen and ink that Chu Yun constructed an ideal pure world. Today, when local art has become the mainstream to express the gloomy pain in the chest, such creation seems to be out of date. However, it is precisely because of this personal expression that it broadens the creative horizon and makes participants realize that the original pursuit of idealism can have such a touching effect as long as it is thorough and complete. At the same time, the comfort provided to the soul seems to have more humanistic care and guidance. Chu Yun's landscape does not pursue trivial interests or make specific metaphysical declarations, but his idealized description of the landscape reveals his deep and broad love for China's mountains and rivers. Pen and ink should follow the times, not the pace of objects, but explain the mainstream spirit of this era.
There are quite a few heads-up structures in the pictures of cloud storage, where the creed of "searching Qifeng and drafting" was abandoned by Penang. Chu Yun observes, thinks and chooses from his own actual feelings. The proximity to Ni Yunlin's living environment determines the choice of composition form. Painted by Huang Wei in Yuan and Song Dynasties, he completed the pen and ink collection in Song Dynasty with literati pen and ink. It should be said that Chu Yun's complete conversion to Huang first moved towards the brush and ink thickness of Song paintings, while the final picture moved towards the simplicity and simplicity of Yuan people. However, due to the different thickness of pen and ink, his works are not as diluted as Yuan people, and his strong feelings are more simple and heavy. In such simplicity and heaviness, his spirit is high and exciting, forming his own model. On the one hand, the simplicity and cheerfulness of the picture of storing clouds lies in the openness and calmness of the heart. At the same time, it lies in the strength of pen and ink. Getting through the pen and ink means that the fullness of the pen and ink itself is enough to support the picture. Too rich ravines will hurt the spirit that the pen and ink itself already has. Therefore, purity and purity, simplicity and simplicity have become the painter's clear pursuit. In the process of subtraction, more and more spiritual tracks flow at the bottom of the pen.
The tradition advocated by Chu Yun is not a fixed concrete number on paper, but a kind of recognition, a feeling that there are no different essential laws in ancient and modern times, and a feeling of finding meaning in it. In an essay about twists and turns, he said: "The ancients used a pen to call it twists and turns. It is actually the law of the growth of all things in nature. Every grass, tree, water and stone is full of twists and turns in the movement. In the final analysis, it is to seek consistency with the growth process of all things, whether hidden or exposed, biased towards the center and reasonable everywhere. Under the guidance of such thinking, his eyes crossed the yellow mountains and rivers, and even the concreteness of all the mountains and rivers since the Song and Yuan Dynasties, and saw the fundamental reason for the rational existence of pen and ink. Such thorough communication makes the existence of art "reasonable everywhere and appropriate step by step". This is where he is calm, calm and confident. The ideology and culture defended by Chu Yun is like a kite, which flies higher and higher with the airflow of the times, but it will never break because of the internal blood relationship. What he has gone through is no longer just the road of mountains and rivers in pen and ink, but the road of mountains and rivers in spirit. The tranquility and joy after access flow in the vivid life of the picture. What should have been a heavy and arduous defense has become relaxed and enjoyable.
In defending this meaning, western learning is no longer a scourge, but an object that can be compared, used for reference and absorbed. Chu Yun painted things, while absorbing the nutrition of literati art and folk culture, he began to selectively pour a glass of water into the home of western artists. In his pictures, abstract factors became more and more clear. Kandinsky said: "This kind of' abstract' art does not exclude the connection with nature. On the contrary, this connection is bigger and denser than in recent times ... abstract painting is broader, freer and richer than painting with objects." The abstraction of storage cloud is developing in this direction. In the colorful picture, a mountain and a tree, a boat and a house are indistinguishable, while the bright color blocks and free brushstrokes are full of the charm of literati's pen and ink, the healthy and lively atmosphere of the people, and the abstract and intuitive factors of modern western painting. In the picture, health and Apollo, as a spirit, stand out from the abstract, and the rich picture language gives it enough support. Such works can not only get visual shock in the shortest time, but also experience the richness of culture and life in leisurely taste. However, none of this is the most important. The core of this kind of creation lies in that the painter excludes the influence of concrete images, expresses the mind more directly with abstraction, and expresses it freely. This kind of creation is close to our cultural ideal, but is this the state that Chu Yun can finally determine? We can't answer such questions. Chu Yun didn't answer, he blushed and strode out of the door. (Wang Baiqiao: a famous art theorist)