Throughout Yu's life, China's painting can be roughly divided into three stages. After the age of 60, the style is outstanding. But the eye disease deepened, and the realistic landscape was weak all the way, so calligraphy had to go from right to grass. Fortunately, during the ten years of the Cultural Revolution, this humble piece of cloth was not greatly impacted, and the pen in hand basically continued. "Painting for 60 years is the last moment of advance and retreat, and I often can't grasp it. As for those ruined, I will not continue to enrich my imagination. " In this final dilemma, I groped in secret, determined to innovate, and after more than ten years of writing and cultivation, I got married. Its style characteristics can be summarized as four: First, it is new. It can be seen from the aspects of style, artistic conception and theme. New style-inheriting Zhejiang School, fostering strengths and avoiding weaknesses, seeking innovation in inheritance, and containing graceful spirit in rigidity. New Artistic Conception —— Write the poems of President Mao Zedong, such as "The Castle Peak is Never Old" and "Thinking of the Source". , is poetic and has a lofty realm. New theme-Among many landscape flowers and birds, painting the West Lake is the most innovative. With the West Lake for decades, the four seasons on the lake change, and the wind, smoke, rain and snow, scenery and love are clear to the chest. Good at writing peach and willow green spring colors, the mountains are empty and hazy, and the pen and ink are dense, which has made a new look for the landscape of the West Lake. Second, the pen and ink are turbid. Hun, it is also called vigorous. "Rich mountains and rivers, lush vegetation" (Shi Shuo Xin Yu). "Returning to emptiness, accumulating health to be a hero" (Tu Shi Pin) is the aesthetic avenue of China landscape painting that Yu pursued all his life. After reading what I did in my later years, his writing style is broad and open. You have to support yourself both inside and outside the tradition. Pay attention to the momentum, not to the appearance and quality. Pen and ink depend on each other, like nature itself, and inadvertently see the realm of meaning. Third, cursive script into the painting. China's paintings and calligraphy have a lot in common, because they use the same tools and materials as brush, rice paper and ink, and the brush lines are the main forms of expression. From cursive to cursive, the picture is more flexible and dynamic; The seal script painting is thick and full of ancient meaning. Most of Yu's landscape paintings in his later years were cursive. It is intended to be unrestrained and happy, open in style, and smooth in calmness. The trees, rocks, mountains and rivers and waterfalls represented by his brushstrokes and strokes can be summarized by the words "writing" and "moving". The fourth is the harmonious beauty of poetry, calligraphy and painting. In the landscape painting, poetry, calligraphy and painting can not only be appreciated as an independent art style, but also have more charm, and the four arts have been integrated. Poetry enters the painting, the book changes in spirit, and the ancient interest is printed. On the occasion of the meeting, there is a harmonious beauty that stirs the mind of the viewer. Mr. Pan Tianshou once praised in Southeast Daily: "Besides painting, he is good at seal cutting, calligraphy and intonation. According to teacher Yuan Yun,' art is not unique, but universal, not limited to three unique poems, and stones should be added as four rings'. Painting is connected with books and poems, and stone is its backbone. You are persevering, and you are both. " It's for evaluation.
Yu spent the most time in his seal cutting career, that is, nearly 20 years from 40 to 60. 59-year-old, almost blind, stopped for a moment and lamented that "the sky hurts more than the ground." In his early years, he studied under the Indian countryman Zhong for a period of time. Later, I came from Wu Zike, and occasionally dabbled in Hanyin and Xiling Eight Schools, without delving into them. Around the age of 40, I changed many teachers. I was lucky enough to know Mr. Ying Jun of Yongkang, and was inspired by his "I write my own words, and the seal also engraves myself", and I saw the kung fu of carving hard rocks on the rural beach. At the age of 39, there was a seal of "Hui Han", and its edge said: "Bing Xu's calligraphy in Jinshi in October belongs to the Han Dynasty, because it is engraved as a seal, showing specialization." Determined to control his temperament, change his arrogance, enter the room and explore the true meaning of China and India. The following year, I met Mr. Deng Sanmu again. He wrote many letters back and forth between Shanghai and Hangzhou, where he got his guidance and approval, and his printing technology was improved. During this period, Yu's relationship with Long Yuan printing press can not be ignored. Long Yuan Printing Society was established in Longquan during the War of Resistance against Japanese Aggression period, with Jin, Yu and Bi Maolin as its presidents. When it flourished, it had more than 100 members. The printing society existed for four years before and after, exchanging printing art with friends and venting patriotic feelings with stones. As the executive director, it goes without saying that on the one hand, Yu is committed to printing affairs, and on the other hand, the printing society has to deal with all social affairs such as compilation, editing, engraving and distribution of Long Yuan Printing Society Monthly. As the second largest printing factory in China, Long Yuan Printing Factory founded the first printing periodical in China, and its significance goes beyond the printing machine itself.