Calligraphy and painting emphasize character first, so since the Ivy League and the Eighth National Congress, although it has evolved from generation to generation, it is unique and has been advocated by scholars. The banner of Zhang Weng's painting style, with the spirit of painting without drawing shapes and extending freehand brushwork, is like a wordless gobbledygook with far-reaching influence. The students were fascinated by it, and those who reached it realized it. Cun has just traveled from Yu for more than ten years, learning quickly and understanding highly, and has the realm of today. Preserve the importance of calligraphy learning, trace back to the source, write personality, use a pen like cutting gold and breaking jade, fast and clear, sharp and super-capable. Pointing is urgent, graceful and decisive, and self-expanding, so his book has its own atmosphere. Cun Gang's paintings are purely self-written, and calligraphy and painting are integrated, natural and wonderful. His landscapes, flowers, birds and figures are all involved, and they are all exquisite. This is the so-called spiritual follow-up. Every painter has a theory of reason and interest, a theory of verve and a theory of bone law. Only by understanding it deeply can we not confuse it. When you wave, you should come out, seemingly inadvertently, but you gain the interest of nature. In this way, you just got it. It can be seen that the merits of appreciation are also very beneficial to painting and calligraphy. Anyone who examines paintings is also a scholar, and painters only pay attention to visual identification. Only when the book exhibition is published can we know the authenticity, and only then can we learn the real talent and knowledge, and there can be no falsehood. It is the root of more than 20 years' experience, and it is the root of the success of calligraphy and painting. It is not easy for China's paintings and calligraphy to grow up. There are only a few people in a hundred years, and the reason is as mentioned above.
B Chen Chuanxi in early summer.
Yuan Zhongdao, the leader of the public security school in the Ming Dynasty, talked about "knowledge, talent, learning, courage and interest", in which he said "courage": "Say what you want, know your friends, and discredit right and wrong, but don't expect anything, anger ghosts and anger people, open up the world, and dare not." It can be seen that "courage" is important in creation. Ye Xie, a great scholar in Qing Dynasty, talked about "talent, courage, knowledge and strength" and put "courage" before "knowledge". He said, "A great man can't think without talent, can't retreat without courage, can't choose without knowledge, and can't get married without strength." Talent is of course important, but "courage is the only way to show your talent" and "courage is the only way to achieve something". "If you don't have the courage, how can you last forever?" "Only courage makes talents." Bile is important. Li Keran's success repeatedly emphasized that "valuable people have courage". After reading Fan Cungang's paintings, I first felt that his talent and courage were extraordinary. In particular, what Li Keran called "those who are valuable have courage" is vividly reflected in his paintings. A timid painter with a pen will never get married. Talent and courage are innate, and courage is innate. Without talent, courage is useless. Without courage, there is nothing to see. The relationship between them is fully reflected in Fan Cungang's paintings.
Fan Cungang's boldness is by no means unreasonable. Artists are bold. He likes painting since he was a child, out of nature. Later, he was admitted to the fine arts department of the university and received strict training. After graduation, I will continue to learn, create and learn from my predecessors in Shandong. He went to Tianjin, studied under Sun Qifeng, composition and traditional brush and ink, and then went to the capital from Wu Yueshi. Under the guidance of predecessors such as Shandong, Tianjin and Beijing, Fan Cungang learned more from tradition. He learned from Badashanren and Xu Qingteng, but more from Wu Changshuo and Qi Baishi. First, because Wu Changshuo and Qi Baishi's paintings are very beautiful, they can see their original works; Second, Wu and Qi's freehand brushwork is profound, magnificent, bold and tragic, which conforms to Fan Cungang's temperament. Fan Cungang, a native of Shandong, is straightforward and simple, which is most suitable for freehand brushwork. "Wen Xin Diao Long Style" has a saying: "Only a husband is talented, and learning to be excellent is an official." There is another cloud: "It is appropriate to imitate the body and practice according to sex." Therefore, Fan Cungang, because of his nature, is suitable for freehand brushwork, so it is perceptual and rational to imitate Wu Changshuo and Qi Baishi. The right path is half the battle. On this correct road, Fan Cungang keeps developing.
He is bold and bold, magnificent, mainly flowers and birds, followed by figures, all magnificent and stirring. Qi and Fan Cungang's paintings are especially famous for their vivid charm. Whether a painting has "Qi" is a sign to measure "dead painting" and "living painting", true art and false art. Many people have correct brush strokes, good composition, accurate modeling and harmonious colors, but it is still unsatisfactory because there is no "Qi" in the painting. There are also some painters who paint very well when they are young, but they are poor when they are old. It is precisely because they are full of vigor when they are young, and they are full of vitality when they are old. When they are old, their vitality disappears, they are faint, old and uneducated. Therefore, painting is not enough. Therefore, the quality of painting, life and death, "qi" is the most important. There is a cloud in Volume II of "Records of Famous Paintings in Zhang Tangyan Garden": "Dead paintings are all over the wall, like dirt. If you really draw a stroke, you can see that they are angry. " Paintings without "Qi" are particularly dirty, so they are called "dead paintings", while paintings with "Qi" are called "living paintings" because of "seeing their Qi", and Sheikh's "Six Principles" also puts "Vivid Charm" in the first place. Wu Laoyou also said, "Old-you write angry but don't draw shapes", and Fan Cungang's paintings are not drawing shapes or colors, but also drawing gas. His paintings are full of vitality and the space between heaven and earth, which is unmatched by today's dead painters. The qi in Fan Cungang's paintings is full and full, and it is also a natural bravery. If there is no goodness in the painting, it is insufficient; If there is goodness in the painting, it is under discussion. In Fan Cungang's paintings, courage and anger are outstanding. I hope he will continue to take courage to get angry with him, continue to work hard, read more books, learn more theories and study more traditions to enrich himself, and his paintings will make greater breakthroughs. The so-called "breakthrough" means entering the door of the ancients, then breaking the door of the ancients and suddenly coming out, so is an independent family.
2065438+May 2004 in Hong Kong and Nanjing
Chen Chuanxi (Deputy Director of Theory Committee of China Artists Association, Professor of China Renmin University, Doctoral Supervisor) Text/Shao Dazhen
The artistic conception of Chinese painting is often accompanied by poetry, which is carried in the aesthetic feeling conveyed by the painter's thoughts, feelings and aesthetic interests after being transformed into works of art, either rich, light, quiet or elegant. Poetic beauty in painting can not be easily obtained, but re-created by the artist through observation, understanding and imagination. It is an expression of subjective feelings, which contains association and inspiration caused by objective nature. This kind of aesthetic feeling is a subjective expression of self, focusing on the high generalization and abstraction of things. It is the sublimation of visual experience and the development of spiritual world. It expresses a philosophical attitude towards life, and it is also the ideal realm that China's paintings admire.
Fan Cungang's flower-and-bird paintings inherited the composition and brushwork of the sages, reaching as far as Chen Chun, Xu Wei, Bada, Wu Changshuo and Qi Baishi, and as close as Wang Zhujiu and Wu Yueshi. They have different personalities and styles, but they all have a profound understanding of the principles of traditional literati painting and distinctive personality, which also deeply affects Fan Cungang's personality and painting style. Fan Cungang was influenced by Wu Yueshi's freehand brushwork. Wu Yueshi's paintings have a wide range of subjects, and he has his own ideas and thoughts in many fields, such as flowers and birds, landscapes and figures. He dabbled in Taoism, Buddhism, Confucianism, and ladies, and especially liked to paint Zhong Kui and chivalrous men, especially the lofty spirit and lofty taste reflected in his paintings, which were peaceful and subtle. Wu Yueshi believes that quietness is a part of China culture, not only painting, but also books, poems and being a man. Although the eight great paintings are good at being bold and unrestrained, there are still stillness in them. Through long-term understanding and practice, Fan Cungang is determined to improve himself and art with fresh and quiet temperature, and strive for this realm, which is clearly reflected in his works.
Literati painting tradition pays attention to poetry and painting, and advocates comprehensive cultivation of poetry and painting. There must be a reason and rationality for putting poetry first. Su Shi advocated "the unity of poetry and painting, naturalness and freshness" in the book "Folding Branches of Painting in the Master Book of King Yanling", and praised Wang Wei's "poetry in painting" and the realm of scene blending, which is the standard of aesthetic orientation of literati painting and has always had a far-reaching influence on later ink painting. Mr. Zong Baihua said that the realm of poetry should be "extremely gorgeous and plain", that is, it should not stay at the level of skill, but should rise to the realm of expressing thoughts and feelings. On the one hand, "there is a poem in the painting, and there is a picture in the poem" means that this painting has profound connotation and distant image, which makes people think deeply. Writing poems directly on the picture frame, sending feelings to the painting, awakening the theme and artistic conception of the work and recording the author's feelings are not only the objective reproduction of the image in the painting, but the painter's subjective feelings. On the other hand, painting poetry, using books to show the artistic meaning, expressing emotions and making the finishing point, adds artistic meaning to poetry and brings out the best in each other, which further enhances the expressive force of the lines used in painting. This is what Mo Miao called the essence of using a pen. The brushwork of calligraphy style is valued by painters. Only by attaching great importance to pen and ink techniques, paying more attention to the artistic conception of poetry, attaching importance to the unity of poetry and painting, and attaching importance to the application of poetry in painting, can we fundamentally continue the context of China's traditional cultural spirit. Wu Changshuo, Qi Baishi, Huang and Lu, masters of modern Chinese painting, have all read poetry books. They study both poetry and painting and pay attention to the creation of poetic artistic conception in painting.
Fan Cungang is a painter who attaches great importance to expressing poetry in his works. His works are reserved and intriguing. The poetry they contain is "green and quiet, the red skirt is shallow and deep", "the pearl at the bottom of the pen is nowhere to sell, and the idle lotus blossoms are everywhere" ... The loss of China's traditional cultural spirit is largely poetic, in a society where commodity fetishism prevails. In this situation, Fan Cungang's talent as a great freehand brushwork in poetry and painting is even more commendable. On the other hand, in modern society, modern people are becoming more and more materialized, and poetry is drifting away. They no longer look at themselves, observe things and treat life with philosophical eyes. Therefore, it is also an attitude that modern people should advocate how to "live poetically" in their spiritual home while enjoying material life.
In the Qing Dynasty, Tang Dai thought that "the charm was born from pen and ink", while in the Ming Dynasty, Chen Jiru said in the Book of Painting and Calligraphy in Shengjing Palace that "literati painting is not in other ways, but in pen and ink". When explaining literati painting, Zheng Banqiao said that "it is not necessary to pay attention to art in painting, but to see the feelings of many literati outside painting", and he talked about the relationship between form and quality in painting. Fan Cungang's flower-and-bird paintings are light and relaxed, without any deliberate artificiality, and have a leisurely atmosphere of seeing Nanshan. These light and ethereal freehand flowers and birds can really be described as "writing silent poems in light ink". His works are not overwhelming, but just the right size, which also reflects his method and attitude of observing and savoring life. In front of his paintings, there is a fresh and soft tone, a vivid and harmonious breath of nature, which attracts people to walk into wisteria, daffodils, peony, bananas, lotus flowers, loofah, plum blossoms, starlings and so on. These are all life and creatures in nature and have meaningful connotations. Imagine the scene of "drinking by the river", look at the "think twice" of loofah, and the eggplant with a purple robe in the basket. Free brushwork and bleak and peaceful weather subtly reflect the organic connection between nature and human spiritual world, and implicitly express the ubiquitous meaning of Zen machine. Therefore, the flowers and birds he described have shades, reds and greens, and all have artistic beauty.
Fan Cungang, rooted in tradition, pays attention to the relationship between painting and the living conditions of contemporary people, and has devoted himself to studying freehand flower-and-bird painting for more than 20 years. His works have both traditional cultural spirit and modern flavor. It is comprehensive and comprehensive by adopting various methods and expressing opinions. Pure pen and ink are not kitsch, avoiding the glitz of the times and full of poetry in the light. I wish this artist, who is good at painting and will be a man, take more solid steps in the exploration and development of freehand flower-and-bird painting.
Shao Dazhen (the author is a professor and doctoral supervisor of the Central Academy of Fine Arts and honorary director of the theoretical committee of China Artists Association) Xue Yongnian.
My paintings in China are mainly freehand brushwork. Freehand brushwork, advocating meaning is still unfinished. Meaning, interest, interest, environment, mind, spirit and emotion. The author calls this book a painting. Calligraphy stippling is not painting, not doing, not painting, not wiping, but the pulse of gesture movement that requires following the essay. Not only literati painters, but also experts, so Ren said, "My paintings are not enough to write." However, few people get the true meaning of freehand brushwork, especially young talents, and some of them, such as Fan Cungang in Longkou. Fan's freehand brushwork is spread all over flowers and birds, figures and landscapes, especially freehand brushwork.
There are three beautiful women in inchang's painting. One is peace. Painted themes, or traditional plum, bamboo, peony and four-season flowers, such as wisteria in spring, banana in summer, gourd in autumn and Tianzhu in winter, will all show great vitality in tranquility. Or the flowers, birds, fruits and vegetables around you, such as roosters in Chen Si, sunflowers in the sun, magpies, strawberries in fruit bowls, warm potted lotus, newly donated bamboo shoots, watermelons to quench thirst, crystal clear grapes, and "year-round supply" of my husband's lanterns, firecrackers and peony tea sets, will surely be auspicious and interesting. The cynicism of those who have no complaints is not the coldness and detachment of hermits, but the warmth of life and the glory of the times, just like their true feelings and "sunshine".
Second, the atmosphere. There is an old saying that "heaven and earth are beautiful without saying anything" and "nature is beautiful". His paintings, whether sketches or masterpieces, are natural. Inspired by spirit, pen and situation, they preserved their elephants and retained their essence, enriched their business with white cloth and painted You Ran as a big chicken. Therefore, the spirit is full, the pen is cool and smooth, full of vitality, simple and fresh. The vitality of all things, the heroic spirit in the chest, is integrated by pen and ink, and flows by pen gesture, making things forget themselves. This is one of them. Second, it is big but not empty, and sometimes it is implicit. Draw a chicken and write a bird, or cran your neck to concentrate, or tilt your head and meditate. Composition arrangement, hidden but not exposed. The color of pen and ink is to set off the beauty of change. Fiona Fang, reality, shade, dryness, density, disjointed, cold and warm, outline, dot, horizontal swing, vertical sweep, try our best to change and unify, such as the beauty of nature.
The third is purity. After beauty, freehand brushwork is the most important. Pure freehand brushwork originated from literati, cultivated poetry and books, based on oriental philosophy, galloped overall thinking, lyrically wrote the heart and cultivated character. However, in the past century, western learning has spread to the east, the tradition has been covered with dust, Chinese painting has been transformed, and the context has almost been cut off. On painting, it is still eye-catching rather than tempting, and the painter is distracted by material services. Realism combines popularity and freehand brushwork. And if you are lucky enough, you will meet a famous teacher; Fine reward, pure method. He is smart and eager to learn, so his works and the tradition of combining poetry and books give full play to the wonderful ideas of the soul of poetry. Although I don't write poems, the poems written by my predecessors are enough to give full play to the "image meaning". His own sentences, or ambitious, such as the title "Wisteria": "Blooming at the top of the flower", or implicitly thoughtful. Such as the title "Mushroom": turning decay into magic. Here you can see the wonderful idea of migration.
Know life, a rookie, has made great achievements: not only freehand brushwork of flowers and birds, but also the landscape of figures is quite good, and his calligraphy is even more upright and ups and downs, making him a family of his own. His books and paintings do not have the disadvantages of seeking novelty blindly, but have the knowledge of accumulating culture and emphasizing quality I have great hopes for my success.
Wu Jia Mid-Autumn Festival is in Fanghu Building, Jinghua.
Xue Yongnian: Professor of Central Academy of Fine Arts, Doctoral Supervisor, Librarian of Central Museum of Literature and History, Vice President of Painting and Calligraphy Institute, Director of China Artists Association and Director of Theoretical Committee.