He Ren Wei
one
At that time, it was at the turn of spring and summer after the Cultural Revolution 1967, and the enthusiasm of "revolution" had begun to "reduce the fever" for college students studying art, just in response to Chairman Mao's great call to "resume classes and engage in revolution". So, I plunged into the school library with several classmates who have not completely lost interest in art. From a secluded bookcase, we actually dug up more than a dozen imported impressionist picture books. Judging from the library card, it is blank, that is to say, under the circumstances at that time, it was a "poisonous weed" that even college professors could not borrow. However, relying on the "Cultural Revolution" trend. The teachers in the library dare not offend the students' psychology. We chose Monet, Renoir and Manet ... and went back to the dormitory with half understanding. In this way, the "Cultural Revolution" was going on vigorously in the society, but I spread out patchwork oil painting tools and openly "restored" capitalism: when copying Manet's "Terrace", I was amazed at the beauty of Bert Mo Lisuo and the green on the balcony railing that I never imagined; Van Gogh's Self-portrait, half yellow and half green, was used by me to paint my brother. Later, a gentleman saw it and shook his head again and again and said, "too much, too much"; Degas's Dance Class and Bathing Girl are like the misty light and subtle transition of indoor space, which let me enter another world completely different from Russian oil painting and know what is exquisite and noble. The black, brown and rose symphonies and broad brushstrokes in Monet's Frog Pond made me involuntarily transfer this feeling to the school's sketches at the South Lake. Renoir's "Swing" character's light spots and highly rough shapes make me feel confused. I also imitated the "Flood" in Sisley. When the real flood flooded into the dormitory, I squatted on the floating bedstead to draw sketches ... Later, these precious albums were regarded as treasures by me, and I lived together day and night for two years and savored them carefully. Try to copy your favorite works. Up to now, I still have the whole manuscript of the History of Impressionist Painting, word for word. Think about it, in such a closed and "revolutionary" era, nothing can be seen, and society and the vast majority of people are in an extremely crazy and absurd situation. And I'm in a humble dormitory, eating rough food. In this way, I started my own oil painting study, and the first "milk" I ate was actually the impressionism who was regarded as a "scourge" by China art circles 49 years later. In an incredible age, such an incredible thing happened, which is really the arrangement and care of fate.
In order to learn oil painting, we also "found" Mr. Sun Jianguang, who is also "far away" from sports and loves art, to draw sketches together and see how Mr. Sun handled the shapes and colors. An extremely intuitive learning method that picture books can't replace makes us particularly close to Teacher Sun. So, I asked my classmates to be models, and Teacher Sun drew in front. I'll follow. What color he adjusted, I adjusted what color, and I was very confused when I adjusted it. So I was so anxious that I was sweating. Because of the Cultural Revolution, teachers are not like teachers and students are not like students. Mr. Sun is more like a friend who paints. At that time, Mr. Sun was single, so we could go to his room to look through Soviet picture books at any time, ask him for advice and give us suggestions on rough painting. I admire Mr. Sun's oil paintings that rely on memory, imagination and sketch. His oil paintings are so vivid, so meticulous in observation and so well summarized, both in practice and creation. His paintings are based on ethnic minorities in Guangxi and military and civilian families on the Korean battlefield. They are really sincere and interesting, and often make us laugh while watching them. Mr. Sun's innate grassroots habits and peasant humor have left a deep impression on me so far. When painting, Mr. Sun has a unique understanding and confidence in modeling, and his colors are extremely keen. Teacher Sun also likes to scrape or erase the painted colors repeatedly with an oil painting knife to form a very rich, transparent and solid color layer. I don't know whether it is his own creation or the teacher's inheritance. But from the appearance, Mr. Sun, who has absolutely no artistic demeanor, likes to say, "mine is oil painting of the earth." However, it was this kind of "oil painting of the earth" that was highly praised by the theorist Wang Chaowen before the Cultural Revolution. This is great.
Hoo hoo! Forty years later, my oil painting started with Impressionist Album and Mr. Sun Jianguang, two foreign and local teachers, and has stumbled intermittently to this day. Among them, ups and downs, self-knowledge in idealism.
After sighing, I can't help asking: Have I really lived like this? Have you ever had such karma?
two
In fact, I have been painting Chinese paintings since I was a child. Later, I studied Chinese painting at the university (although I didn't attend classes for a few days) and also at the Central Academy of Fine Arts.
However, in retrospect, my understanding of Chinese painting should be in my teens.
The southern city where I live is very small. However, there are a group of old gentlemen who are the legacy of the Republic of China. They are the literati of this city. They are related to Xu Beihong, Zhang Daqian and Yang Tai Yang. Although most of them are not professional painters (like most ancient painters in this respect), they have a special liking for brushwork, calligraphy, poetry and seal cutting. Long-term immersion in traditional culture, pure taste and inheritance. In my impression, Mr. Deng Junqun, who has a long beard, is a quiet man and never married. Teaching, painting and growing flowers on weekdays. Poetry and calligraphy are all traditional. Mei Lan and Zhu Ju are proficient in everything, and they are very particular about using ink and water with their pens. The petals and branches he painted are very moist and full of bone strength, while the branches and stones painted in the middle and side of weeds are even more moist and light, and the wind is born at the bottom of the wrist. Mr. Long Mingong is a bank clerk, half deaf, and speaks with a pen. Fellow colleagues highly praised his skill of imitating Shi Tao's landscape, his pen and ink were light and moist, and his skill of rendering and cleaning was perfect. Ochre and cyanine are very beautiful and quaint in color setting. With inscriptions, Xiao Zhuan prefers boys to girls, with Wei and Jin demeanor. Even those of us who are not beginners will be surprised. Unfortunately, I wanted to learn figure painting at first, so I couldn't go deep into the temple. Every time I think about it, I cherish it. There is also a Chinese teacher, Mr. Hu, who described the rare scenery of Xia Guibei School for us. One tree and one stone are clever, and the use of big and small axes is very skilled. It's just that we young people feel too rigid and don't like it very much. In addition, the small freehand flowers and birds painted by Mr. Li Hetao are also the epitome of dignified modeling and literati play. They write good calligraphy and can also print. There are quite a few gentlemen with stunts like this.
I remember that every Saturday night, gentlemen named "Liuzhou Chinese Painting Troupe" came to a cultural relic shop with the signboard of Siliuxuan, rain or shine. The boss is a wine collector. Prepare tea. So the blank wall was immediately covered with countless landscapes, flowers and birds, and calligraphy. Therefore, young people who like Chinese painting as much as I do are as happy as children on holidays. Pour tea and chairs for the old gentleman, polish the pen, ink, paper and inkstone. Then squeeze behind Mr. Wang and listen to them tell their own painting process. Sometimes the old gentleman will say which painting is the best and which one is the most proud. Other gentlemen may have different opinions, so there will be serious discussions and well-meaning jokes. Sometimes, the boss will take out the calligraphy and painting antiques he has received for everyone to appreciate, including ancient ones, contemporary masters and even misplaced fakes. After everyone feasted their eyes, there was another discussion. After the excitement, the most important moment came. The boss laid out the rice paper and the pen meeting began. At this moment, gentlemen are humble to each other. In the end, it is often the oldest Mr. Deng Lao who draws with a long beard, so everyone holds their breath and looks at the end, sometimes nodding, sometimes marveling, sometimes knowing, and sometimes whispering. In this way, you can see three or four gentlemen painting in one night. It's late at night, gentlemen. Roll up your paintings. See you next week. Take good care to say goodbye under the dim street lamp in the dark.
This should be regarded as my Chinese painting enlightenment, but unfortunately, because I am young and energetic. I can't believe I didn't learn from these gentlemen. But when I was young, I did have an unforgettable elegant collection with these gentlemen with China cultural orthodoxy for several years. In fact, Chinese painting, China calligraphy, and even China culture have all been handed down from generation to generation. When I was in college, there were several really capable old gentlemen, but in such a jittery age, who dared to teach? Who dares to learn?
The time was in Ran Ran, at the end of 2002, at the national treasure exhibition of Shanghai Museum, which was crowded with people, when I met the traditional master face to face. It suddenly occurred to me that these obscure painters in my hometown have long passed away in suffering, and their level is undoubtedly not as good as that of the masters. However, a feeling that the fragrance is dead and the blood is connected arises spontaneously. This feeling of being familiar and too old once again touched me personally.
Yes, there is no need for more theories about China's art and culture. All we need is reading, writing, drawing, writing poems, doing homework, studying, walking, eating and sleeping every day, just like our ancestors. Isn't that how China's 5,000-year culture came about?
In June 2005, he went to Shixiantang in Li Shang.
In 2006, he was published in Guangxi Fine Arts Publishing House.
Pen and ink record-random thoughts on father and daughter talking about art
□ He, Vice President of Guangxi Painting and Calligraphy Institute
○ He Lecturer of Fine Arts Department of Guangxi Normal University
systems modelling
○ In your works, modeling is always the subject of tireless research. Why?
The importance of modeling in works of art is self-evident. We used to say that this painter has strong modeling ability, which often refers to his realistic skill and ability to control the picture. However, many painters lack imagination, generalization and appeal of modeling taste, which is of course related to the painter's talent and talent. But it also has a lot to do with the artist's conscious pursuit and efforts the day after tomorrow.
In fact, the west and the ancients did much better than us in this regard, not to mention the classic works of the masters. Even the folk shapes are so unique that they can stand the test of time.
Therefore, the main idea of my modeling these years is still the problem of concept. What kind of ideas have what kind of modeling, of course, there is a complicated and painful process of thinking, transformation and practice between ideas and styles. It takes time and failure.
I think your advantage is your imagination in modeling. Free structure, arbitrary image processing. It seems that you can draw anything. Outstanding in your previous works and ink records.
Maybe so, but it needs long-term purposeful training. I remember when I was studying in the Central Academy of Fine Arts, I copied a lot of western masters' shapes. Study their modeling rules. For example, I like Picasso's sketches and prints in his later years, and I like the way of dealing with modeling at will. I also noticed that the works of ancient masters in China, such as Zhao Gan's The First Snow in the River, Guan Xiu's Deformed Ocean's Sea and Zhao Mengfu and Shi Tao's Landscape Figures, are so vivid, accurate and summarized. It's amazing. Of course, I am also bound by the object, and I can't draw well at this time. It's not my nature. Therefore, it is very important for an artist to know himself. Whether the concept is good or the shape is good, in fact, it is still the artist himself. With this understanding, there will be no confusion when writing, and a sense of modeling will be formed. Of course, you still have to deny your courage and confidence.
○ In addition, I feel that the modeling and expression techniques in your works are constantly changing. Is it a good thing for your age?
For better or worse, I do draw. I like drawing with my temper. The former is always different from the latter. It seems that I can always find some new ideas in the process of painting. Besides, I don't like to lose my temper repeatedly. In a work, the things painted before and after are often very different, and it takes a lot of effort to unify them. But I still like this state, although it tastes a bit like asking for it. However, it is better to have new discoveries and feelings in the process of painting than to repeat your so-called "style" numbly. In fact, the fundamental pursuit of oneself has not changed, that is, the yearning and efforts for the metaphysical spiritual level and the perfect art form as far as possible are consistent.
Pen and ink-writing
○ People who paint Chinese paintings cannot do without the most controversial word today, that is "pen and ink". I think your works more than ten years ago have a good foundation of calligraphy and pen and ink. Later, I have been copying posts and it took me three years to write Preface to Lanting Collection. But you are still thinking hard on pen and ink, as if it will never end.
-Speaking of "pen and ink" is a long story. During the Eighth Five-Year Plan of last century, I studied in the Academy of Fine Arts, and my thoughts were very radical. Very disrespectful of tradition. The turning point appeared around 1990, and what impressed me was the book style of Two Kings. Those open-minded and calm souls, as well as the noble character of "a trip around is enough to talk about your bosom" and the immortal temperament of "wandering around the world" There is no doubt that I am completely convinced. This "clean, moist and elegant" ancient method has become my dream and pursuit for more than ten years.
○ From my experience of learning calligraphy from the teacher of "Liushuying Calligraphy" in Guangxi, breath comes first. Then, the ancient law posts are classified, analyzed and studied. Emphasis on statutes, emphasizing subtle changes in research ideas and routes, such as: strengthening and reducing strength; Fast and slow; Wrist rotation; The change of pen tip; Positive potential and negative potential; Appearance and internal shape; Friction between pen and paper; Air connection and so on. Kung fu is very fine. In fact, these are the most basic things in ancient brushwork. It is also the essence of Chinese painting.
□ This requirement is actually the same as when you were studying in China Academy of Fine Arts. Therefore, I always think that China painters of our generation generally lack calligraphy literacy. Not being able to write or not writing well is an important reason for the decline of the internal quality of Chinese painting at present. The simplification of pen and ink, the spirit of rivers and lakes, the dryness of the mind, and the drive of commercialization. It is self-evident that it has caused the dilemma of Chinese painting today. Think about the national treasure exhibition we saw in Shanghai Museum. We were deeply shocked by the original works of so many masters in the past dynasties, and we realized that Chinese painting should be like this. Very touching. Pen and ink alone can reach such a wonderful and subtle height, which can transcend time and space and last forever. Such good things left by our ancestors really shouldn't be wasted and abandoned in our generation.
○ Use pen and ink to talk about the ideas and pursuits of these works.
"Calligraphy" Why talk about "A Record of Ink and Wash" in 2003, which involves the inheritance of tradition and the present life.
Performance issues. As far as pen and ink cultivation is concerned, it is an essential lesson to work hard on calligraphy. I think the most important thing is the purity of ancient meaning and the arrival of ancient law. As you mentioned earlier, calligraphy experience should be understood and hand in hand. It is said that Mr. Li Kuchan insisted on sticking to the monument and his post in his later years, which is very reasonable. People like Dong Qichang and Wang Duo are still copying cabinet posts at different times, and there will never be more than one. It can be seen that pen and ink cultivation is accumulated. Secondly, the sense of order in pen and ink is also very important. This can be clearly seen from the paintings of the ancients. Orders, forms, ink mixing, water transportation, etc. There are rules to follow when using a pen, and you will never mess around. As for the expression of pen and ink on the present life, with good pen and ink, it is not difficult to express it. The main problem of ink and wash recording is how to change the ancient meaning of pen and ink with the form and concept of contemporary art, and use the pen to closely tie the appropriate boundaries between the feeling and action, strength and speed of calligraphy. Pay attention to "the pen is inseparable from the paper", "one point three points", "the front is in the line" and "the front is out in all directions", and the pen is loose and tight, hairy and moist. Only in this way can the lines be rich and calm. As the old saying goes, "dry autumn wind moistens spring rain", "colorful ink" and "cherishing ink as gold" are the highest pursuits of ink painting. Among them, it is also an important idea to use light ink as the tone of the picture. Light ink is also divided into five colors, making the ink as light as white. Scenery of He Anxin South Road 200 1.
Nihility and pure color. So I think the pen and ink form of Chinese painting is very mature. However, there are still many aspects that China painters can explore and try for the expression of present life. This does not affect the respect for ancient masters and the inheritance of traditional pen and ink spirit.
○2006 54 38+0 You also drew many modern sketches, but the treatment of pen and ink is very traditional. Very interesting.
-so, the schema of pen and ink is not static. Old-fashioned and fashionable. The essence of China traditional culture needs to penetrate into the blood and bone marrow of contemporary artists, which is exactly what we need to practice. Qi Baishi is a good example. Many things that the ancients did not draw have become immortal masterpieces in his works. Imagine if the old man Baishi lived to this day, he would spend his pen and ink on cars and houses. Isn't it equally wonderful?
record
○ What did the ink painting record?
When I started painting these works, there was no prior design. I just don't want to draw any more China paintings that have little to do with my life. Pay attention to the people around you and daily life itself, and pay attention to the fine demands of contemporary people. It's emotional and a bit like random selection. The content of the record is miscellaneous, and it is not deliberately drawn into a series with a clear direction. So the first picture shows a woman walking her dog, and then the second picture shows four people sitting on motorcycles and returning to their parents on a country road. The third picture shows a group of people following the little yellow flag for sightseeing ... and so on. In today's highly information-based picture reading era, life is changing like a kaleidoscope. Order and disorder, no one can predict what will happen tomorrow, that's all. This is our life today. This random choice only masks my unwillingness to be bound. Create a relaxed atmosphere and state of life with a relaxed artistic attitude. Or use a brush to sigh and inquire about life and life. Probably the content of the record.
I don't think these six-foot paintings are traditional creations, nor are they so-called essays. Like a painting in the middle, have you thought about it in advance?
Although these works are large in size, they never draw sketches, nor do they make any scrutiny on composition and modeling. Make a good cup of tea, pick up a brush according to some interesting desk materials, and start with a part or an eye. The ancients called it "pen and pen are born together", which is divided into several qi. Take it out every few days. Dyeing; Decide whether it's good or bad. Just like doing homework, a diary-like record is formed over time. I often call these paintings "masterpieces".
○ The treatment of these works in time and space is unique. The other is blank space, which is often used in landscape painting. But it is rarely used in figure painting. These works have an ethereal feeling. As Lao Tzu said, I was in a daze and had images in it.
The treatment of time and space is greatly influenced by western surrealism. In fact, there are some similarities with the temporal and spatial processing of ancient Chinese painting. I think it seems easier to express my thoughts this way. As for the blank figure painting, the first is to make the relationship between the density of the picture appear new possibilities. Secondly, the emergence of large and small blanks has caused local visual abstraction. This is also a kind of enrichment and supplement to the image schema on the screen. Because the light ink is rich and thick, plus white space. So it gives people a cage and trance effect, which is also a pursuit I hope to achieve.
○ Some traditional schematic symbols often appear in the works, such as Taihu Stone, flowers and birds, mountains and rivers, etc. It's very interesting and harmonious with other modern things in the picture. Looking at the records in part, one stroke and one ink are ancient, but the overall composition is very modern and contemporary.
□ Have a certain aesthetic concept about the use of traditional symbols. But the deeper thinking is that the so-called distinction between tradition and modernity is just a conventional concept. From a macro point of view, the mountains and rivers of heaven and earth, clouds and pale dogs, blink of an eye. Only skin can be changed by human beings. Historians divide human civilization by time. Therefore, different art forms have been formed. Although we are "modern" today, there is no reason to despise those "traditions" that were "modern". Because today is also the tradition of "tomorrow". Therefore, the thinking of tradition and modernity, East and West inevitably runs through the history of contemporary art in China. This is inevitable for any artist. I think what a contemporary artist can do is to calm down as much as possible, face tradition and contemporary, do deeper and deeper research and thinking, and then make our choices and efforts.
Note: This article was published in the 6th issue of Jiangsu Pictorial in 2004 and the 3rd issue of Guangxi Art Exploration in 2003.
"Landscape" in Modern Life
He Ren Wei
Landscape painters in China like sketching and painting in real landscapes. Even if it is not the scenery described by the ancients, it is indispensable to go to famous mountains and rivers. It seems that our ancestors have learned this unique technique from nature for thousands of years, and they will draw this kind of landscape painting that is not divorced from the present life. If you can barely draw some landscapes beyond the pen and ink of the ancients, such as tall buildings and straight roads. I always feel that painting can't taste. What's missing? It is about the kind of pen and ink brought out by the ancients with pens, and the taste of harmony between man and nature is unimpeded. In short, it is the flavor of China's pen and ink spirit. Then, can we ask: Are modern life and scenes really so incompatible with the aesthetic form created by our ancestors? Isn't this set of techniques, formed by the ancients for thousands of years and most in line with China people's aesthetic habits, created from life? The choices left to us today, apart from the overall sublation, can only be made in the shadow of our ancestors?
The masterpieces created by landscape masters in Song and Yuan Dynasties are actually the result of their aesthetic experience in the face of scenery, such as "nature taught by foreign teachers", "silent wandering" and "cage heaven and earth in shape, and frustrate everything in pen". What we see today is a traditional classic masterpiece, which is actually a very "fashionable" contemporary art of that era.
Today, in the eyes of China painters, the mountains and rivers described by the ancients for thousands of years are still beautiful. It is meaningful to describe "new" with the aesthetic experience of modern people countless times. However, people living in the 2 1 century have also seen countless things that the ancients have never seen or heard of. I think, if Master Shi Tao, Master Zhou Yang and other masters live in this world. Their "pen and ink should keep pace with the times" and "exquisite brushwork with flowers" will definitely paint residential buildings, residential villas and road houses with flavor. They will not be satisfied with eating steamed stuffed buns left by the ancients, such as "winding paths leading to secluded places" and "ancient temples in the mountains". Because the artist's bounden duty is to pursue the freedom of mind and the creation of wisdom.
Then, I remembered Mr. Qi Baishi, who painted many things that people are very familiar with in their lives under his wonderful hands. But he also painted ordinary things that the ancients never painted or seldom painted. Such as: tumbler, abacus, loquat, oil lamp … even shrimp, crab, rat and snake. These images may not have universal or classic significance, but it is undeniable because the master has a skill of turning stone into gold. As long as Mr. Baishi is willing, any image in his works can become an immortal masterpiece. This is probably the most important issue that China painters should work hard and seriously consider.
Yes, in the past, the ancients discovered mountains and rivers in nature, and today's China painters have the same reason to discover and describe new "mountains and rivers" in their current lives. Just like the "impressionist" painters in the west, they are facing the vivid scenery they see in the mode of anti-classical landscape painting. This has created a new chapter in the history of western art. So for contemporary landscape painters, this landscape certainly contains more contents, concepts and schemas than other landscapes. If we change the old view of landscape painting pattern, then the landscape painting in modern life should have all the incomparably rich landscapes and emotions in modern social life except trees, rocks, smoke clouds and barren streams. We should also practice the "beautiful pen" like the ancients to describe the present life. Isn't this a matter of course?