Xiao Ping
Fang Kun's landscape painting creation was famous in the painting world many years ago. His vast and vigorous landscape paintings have left a deep impression on many critics and appreciators. When talking about the development and change of art, some theorists once said: every step forward in the history of art is actually the result of the exploration and efforts of that generation of artists. A detailed study of the characteristics of Fang Kun's landscape painting creation may provide some reference for the current landscape painting industry.
One of the characteristics of Chinese painting is its high degree of perfection and developed stylization, and landscape painting is particularly representative. Nevertheless, this stylization will not be a constraint to artistic development and innovation in front of artists with extraordinary creativity, but can be used as the original condition for the formation and emergence of new styles. At this point, the expressive force of Fang Kun's paintings vividly explains everything for us.
Scenery and mist, trees and stone pavilions are the most basic elements of landscape painting creation, and Fang Kun's landscape painting is no exception. But how to use these elements to organize their own pictures shows the aesthetic pursuit of different artists. In Fang Kun's creation, we find that all the objects and shapes in the picture are unified in his frank and vigorous, casual and spicy pen and ink lines. However, this is only the first level. When we go deeper, we find that behind this rich and spicy, his works do not lose the humanistic flavor of China traditional painting. In his works, the brush strokes, the shades of ink color, and the dryness and wetness everywhere in the lines and blocks of pen and ink endowed with some spiritual power by him reflect the painter's profound understanding and grasp of artistic laws and noumenon. No matter from the overall picture or the details, we can clearly feel these, and the painstaking efforts of Fang Kun's landscape painting are also here.
The creation of landscape painting attaches great importance to the creation of artistic conception of the picture, and there have been discussions about "writing scenery" and "creating scenery" in theory. Fang Kun has his own unique expression of the picture atmosphere. That kind of spontaneous control, which seems to be random, is actually carefully managed. It is the result of his hard study and training, and it is also the performance of his continuous innovation and proficiency in art. Fang Kun was once obsessed with the traditions of the ancients and forgot to eat and sleep, especially his research on Huang Helu, which made his works have a richer experience and performance in the artistic conception of landscape painting. On the other hand, the art of Chinese painting has always been closely related to calligraphy, and the mastery and expression of brushwork has always been regarded as an important factor to measure an artist's level. Huang Helu once had an incisive exposition on this. Fang Kun knows this very well. Calligraphy elements or writing meanings can be seen everywhere in his works. The understanding of calligraphy that he injected into his works eventually became a kind of nourishment, which influenced his landscape painting creation from another side.
As far as the overall style is concerned, Fang Kun's works are full of vigorous spirit from the inside out, from pen and ink to artistic conception, which is not only a style pursuit of painting aesthetics, but also the spirit advocated by traditional painting, that is, the spirit of great beauty of mountains and rivers pursued by traditional landscape painting. This kind of temperament and spirit is not born, nor can it be learned by hard work, but must be born from the artist's own cultivation and wisdom, which may be the biggest difference between Fang Kun and other painters.
Xiao Ping is a first-class artist of Jiangsu Academy of Traditional Chinese Painting, a researcher of Jiangsu Academy of Culture and Art, and a famous connoisseur of painting and calligraphy.
The atmosphere is lively, casual and frank.
-Talk about Fang Kun's landscape painting "Chen Chuanxi"
Fang Kun went to Nanjing to hold an exhibition, and I went to see it. The general impression is masculine, full of vitality, excellent pen and ink skills and profound traditional skills. At that time, I wrote an article for him, which meant JASON ZHANG's masculine creative style. Eight years later, Fang Kun came to Beijing Chinese Painting Research Institute to hold an exhibition with his paintings. I didn't know until I came back from Shaoxing. Going to the art gallery to see his paintings at noon really surprised me. It was much better than I expected. It's different from the paintings that came to Nanjing that year. The whole exhibition is magnificent and exciting. Looking closely at each painting, it is really eye-catching, simple and honest, casual and frank, and there is no lack of elegance in the vigorous and old pen and ink, which is really commendable. Watching him use a pen is a good kung fu. What he used was a lot of twists and turns, with heavy pen power. He is obsessed with writing, and his brushwork is changeable, steady or fast, and there is no change. Ink is heavy, light and burnt, and then it is natural, rich and colorful. In the current painting world, it is really rare.
Fang Kun lived in the middle of Guizhou and was born in a scholarly family. His family style advocates gentleness and he has received a good family education since he was a child. Have a deep foundation of traditional culture. Good at reading, especially history. He likes painting since he was a child, but he started to learn painting late. The reason is well known. He also experienced many ups and downs when he was young. It was not until the end of the Cultural Revolution that he resumed the college entrance examination that he was lucky enough to enter the university and changed his life track. Strictly speaking, he didn't learn to draw until he joined the work. Strangely, he studied painting differently from other painters. He studied history first, then painting. First of all, he became interested in the history of painting. He read many monographs on the history of art in China, the history of painting in China and the history of painting aesthetics. Because of his understanding of tradition, he took the initiative to choose tradition. Among many traditional masters, he chose Huang Hongbin and plunged into it for more than ten years. In recent ten years, his research on Huang is all-round. He said that Huang's greatness lies not only in his paintings, but also in his academic spirit, academic thought, aesthetic concept and attitude towards life. In the early 1980s, China's painting circle had not yet formed yellow fever, which shows that his starting point was very high. Huang's road is difficult to choose, so he has been walking for more than ten years. Moreover, unlike ordinary painters, his study of Huang is only in form, but in spirit, which is very valuable.
In recent years, Fang Kun is unique in learning from hundreds of teachers. Ancient people, modern people and nature, he took them all and used them all. Never just copy. He spoke highly of Lu, and his painting style also had a certain influence on him. However, he thinks that Lu Shuai is more important than others, so he can only learn from each other's strengths. He thinks that creation should have its own bottom line. Fang Kun's aesthetic view is the pursuit of metaphysics. He has passed the age of knowing his destiny and has certain experience and education. He should have his own things or personal style, and no one can change him. Just like a poet, he can pour a lump in his chest with the wine in his glass. Fang Kun expressed his lofty sentiments through the advantages of ancient and modern times. He represents himself and belongs to his own artistic mode or style-vigorous atmosphere.
I have always advocated masculinity, which is a spirit, a spirit to stimulate the national will. Therefore, reading masculine works can inspire people and stimulate people's will. Atmosphere is the product of a painter's style and tolerance, not learned. Although Fang Kun was born in the south, he is tall. Like northerners, southerners are bold, simple and informal. Painting is like a man, and his painting is of course masculine.
Fang Kun's paintings advocate free will. Some critics say that Fang Kun's paintings are casual and frank, and when he looks at his own paintings, he feels relaxed and happy. I quite agree. His paintings seem careless, but they pursue perfection everywhere. Although he has nothing in his heart, there are hills and valleys in his heart. It seems impossible, but there are laws to follow everywhere; The so-called impossibility and regularity are the reasons for regularity. Although casual, it is not casual. He thinks randomness is the expression of creative freedom. It is extremely valuable to be able to draw Chinese paintings freely, especially freehand brushwork. Freedom is the result of human nature and an artistic creation. Only in this state can human nature be brought into full play. It can be said that it is the heart, the heart and the hand are one, the hair is born freely, the mind is expressed freely, and it does not serve the creation. His paintings will have a vivid feeling. Many painters don't understand this truth and have a heavy burden before painting. If they are facing the enemy, they are careful and deliberate everywhere. "Their technology is also close to suffering." Such a mentality and how his paintings are can be imagined. He also often goes deep into the mountains to sketch, but he doesn't use a pen. He observed a lot, remembered it attentively, and turned the scenery in his eyes into the scenery in his chest. If he sees more, he will achieve mastery. When you create, you are very active and you can feel free. Blindly care about the true mountains and waters, you can't get rid of it, you can't be spontaneous, you can't be vivid. ?
In art, Fang Kun advocated a late bloomer. As a painter in China, it is not a good thing to become famous prematurely. Qi Baishi and Huang became famous before they were 60 years old. Mr. Wang Kangle, an old painter, once said, "When people get old, paintings will get old." . If your experience and education have reached a certain level, it will look good naturally and you can't worry. There are still some shortcomings in Fang Kun's paintings, which need us to continue to work hard, explore and temper. He is in the prime of life, willing to study hard, diligently study, and make progress in art and Taoism. Over time, he will become a great musical instrument. ?
The first draft was written in Nanjing Normal University in July 1997.
Reprinted in China Renmin University Park from October to October, 2005.
Chen Chuanxi: (Professor of China Renmin University, famous art historian, doctoral supervisor)
Fang Kun's landscape paintings are very imposing, and every painting is solid, casual and frank; There is no lack of elegance in vigorous and spicy pen and ink, which is really commendable. Look at his pen. It's excellent kung fu. What he used was a lot of twists and turns, and his brushwork was heavy. He is crazy with his pen, and his brushwork is changeable, steady or fast, and there is always change. Using ink is dull, anxious, natural and colorful. In today's painting world, it is rare.
Some critics say that Fang Kun's paintings make people feel relaxed and happy, and I quite agree with him. His paintings seem careless, but they pursue perfection everywhere. Although he has nothing in his heart and mountains and valleys in his heart, it seems that he can't follow the law everywhere. The so-called failure to follow the law is the law of achievement.
Cheng Dali (former president of People's Fine Arts Publishing House)
Mr. Fang Kun doesn't work in the art academy, but works in the Federation of Literary and Art Circles, mainly engaged in organizational work. He undertakes a lot of administrative work, but he insists on painting every day. His paintings are very atmospheric, frank and promising.
John young (Vice President of Chinese Painting Academy of China National Painting Academy)
Brother Fang Kun and I have been old friends for many years, and we have a lot to talk about in terms of scenery. Our creative ideas, aesthetic orientation, etc. You can exchange and discuss at ordinary times. The best thing about his landscape painting is that he is bold, bold, true and simple; For so many years, he has been doing his own landscape painting seriously, and it is not easy to create this piece of pure land of his own. Guizhou is a land full of magic, with mountains and valleys, valleys and streams, bridges and running water. Although the ground is uneven and the road is difficult to walk, sometimes it is interesting to see a bright future coming into the picture. Brother Fang Kun just blends this magical and steep landscape in central Guizhou into his paintings, which will naturally give us a sense of heroic atmosphere.
Jiang Baolin (famous painter and doctoral supervisor)
Seeing Fang Kun's landscape paintings makes people refreshed, energetic and positive. The works are masculine and frank, and have everyone's demeanor. He transformed the landscape of Guizhou into pen and ink, and absorbed the yellow things, which is a prominent feature of his paintings. If Mr. Fang Kun can continue on the basis of his advantages, his paintings are really great.
Gu Sen (researcher and doctoral supervisor of China Academy of Fine Arts)
Fang Kun's landscape painting is very thick, light and moist, and the pen and ink are old, tight and loose, and it feels very atmospheric. He painted landscapes in Guizhou, influenced by karst landforms in northwest Guizhou, and formed his own style. He came slowly step by step, which is the result of long-term accumulation.
Zhao Lizhong (researcher of China National Painting Academy)
Mr. Fang's paintings are very open, wide and imposing. Although I'm past my destiny, I'm still very young as a painter in China. Mr. Kelan often said, "Eighty is not old, seventy is not rare, and sixty is a young man." Mr. Fang's paintings are so good that they will be limitless in the future.
Zhang Zhimin (Chairman of Shandong Artists Association, Dean of Shandong Art Institute)
Fang Kun is a famous painter in China and a good friend of our Shandong art circle. The grand opening of his exhibition in Shandong Art Museum will definitely bring great influence and positive impetus to our art education and creation in Shandong. At first glance, Fang Kun's landscape paintings show that he has a deep study of tradition, especially Huang, Wang Meng and later Huang in Yuan Dynasty. The layout of the whole picture is open and closed, which is very atmospheric; It's really good. Fang Kun is a man of temperament, and he is very kind, just like us Shandong people. Drawing a good picture is first related to personality, which is sometimes more important than other aspects. At the same time, Mr. Fang Kun also holds an administrative position and is the leader of the Federation of Literary and Art Circles. It is commendable that he can draw such a good picture after work. When Mr. Fang Kun came to Shandong, so many people liked his paintings, which was related to his character, personality and cultural accomplishment. I have always liked his paintings. It can be said that his picture book is basically a must for my desk. I can look at them at any time, just like drinking tea, it will also enter a realm. Mr. Fang's paintings are of high standard, and the whole picture feels very heavy, giving people a refreshing pleasure and impact. I get a lot of inspiration from his paintings.
Kong Weike (Deputy Chairman of Shandong Provincial Committee of the Chinese Revolutionary Committee and President of Shandong Painting Academy)
Mr Fang Kun is an influential painter in the history of landscape painting in China. His landscape paintings have a very profound traditional connotation. His pen is bold and rough. This bold style of painting is believed to have certain influence and enlightenment on our Shandong writers. All his paintings come from the mountains and rivers in Guizhou. His paintings of bamboo sheds, stones, houses and mountains all have a deep local flavor and life background, and can communicate with us emotionally.
Man Weiqi (Dean of Art Creation Institute of China Academy of Fine Arts)
Mr Fang Kun's paintings are masculine and his pens are exquisite. His pen and ink are very good and have great personality.
Mei Mosheng (Director of Theoretical Research Department of China National Academy of Painting)
I agree with everyone that the paintings of the other Kun are very atmospheric, frank, traditional and open. The main problem is that the form of the picture has a sense of similarity. Of course, some problems are easier to talk about than to act.
Zhang Fuxing (President of Guangxi Painting Academy)
Mr. Fang Kun's paintings are very frank, and I am glad to see his paintings. I want to learn from him. Emphasizing pen and ink is helpless, but it loses a lot.
Ceng Laide (Vice President of China National Painting Academy)
Mr. Fang Kun's paintings are distinctive in style, distinctive in regional characteristics and magnificent. It is good to use a pen, but there is no variable in using ink. Pay attention to the formation of ink images.
Li Naizhou (Professor, Communication University of China)
Teacher Fang's paintings feel good as a whole, and the pen and ink are in place. He paints landscapes in Guizhou, which is different from other painters in Guizhou.
Army (Director, Editorial Department of Art Observation, China Academy of Fine Arts)
Painting is a cultural class, not a technical class. It should be people-oriented and embody human nature. Mr. Fang Kun is very heavy, and his paintings are also very heavy; His painting has something to do with his name. I wonder if it's a coincidence. Other paintings are very different from other painters in Guizhou.
Yang Bin (Director of Research Department of China Academy of Fine Arts)
Mr. Fang Kun's paintings are magnificent, magnificent, and the color of pen and ink is very good, especially in the use of color, which can surprise people and achieve good results. The relationship between pen and ink is also unique. As a painter, Mr. Fang has taken a strange and dangerous road, but it is also a road that can make him successful.
Liu Yuquan (Dean, School of Fine Arts, Shandong University of Arts)
Mr. Fang is an old friend of the art world and often sees his works in magazines. His paintings of Guizhou landscape can make the magical and ancient landscape paintings of Guizhou so exquisite and full of humanistic atmosphere. I think it's original by teacher Fang. It's very good. Mr. Fang's brushwork is good and his realm is high. His landscape paintings have a sense of atmosphere in the exquisite beauty, and the brushwork, modeling and charm in the whole picture are well coordinated, integrated and very attractive.
Xu Peijun (researcher, China Art Museum)
Mr. Fang Kun can write with dry pen and soft with hard pen. The success of his painting lies in turning mountains and rivers into pen and ink language, and using pen and ink to describe the natural scenery he is familiar with. The beautiful mountains and rivers in his works are arranged at will, which is not only the reappearance of reality, but also like an idealized paradise, which is as real as fantasy and poetic enough to make people linger.