Zhang Jiangzhou (Vice President of China National Painting Academy)
Ben was my childhood friend, a typical southerner, smart, persistent and chivalrous. Because of this, we always have a group of friends with similar interests around us, not for profit or income, but for the pleasure of being friends. For more than 20 years, Weng Ruidi has traveled in Xinjiang, Guangdong and Henan with his wife and a group of children for many years. Asking about his motivation is only for the call of friends. Nearly 50 years old, I have returned to my hometown of Chongqing. I don't know whether I have followed the old saying of confessing my ancestors to my ancestors. Maybe this is just another stop on the road of life. Ben's anxiety is well known.
Because of his agitation, Weng Ruidi's artistic path has also added many extraordinary colors.
Adhering to the family heirloom skills, I first learned the ancient methods, visited famous paintings of past dynasties, studied the skills of various factions, and studied the materials and mounting techniques of past dynasties. The ancient paintings I made are almost authentic, which laid a solid foundation for Weng Ruidi's traditional Chinese painting techniques and exercised the hard work of distinguishing the authenticity of ancient paintings. In this way, Weng Ruidi traveled all over the country, and read all the masterpieces of the past dynasties collected by the people, silently accumulating strength for investigation, study and an artist's dream as a child. Sure enough, in the past 20 years, Weng Ruidi no longer took antique as his own ability, but relied on solid and rich traditional accumulation, immersed in the condensation of personal painting style. Therefore, groups of vivid, contemporary and personal paintings often appear in various national exhibitions and newspapers.
Ben's paintings are bright and luxurious. Zhang was pasted on the wall, full of brilliance, charm and gorgeous air. Its techniques come from the double hook of flowers and birds in Song and Yuan Dynasties, the spirit of pen and ink of a scholar, the brightness of the beautiful landscape, and the meticulous brushwork of the college. Obviously, Weng Ruidi has the extraordinary ability to integrate traditional painting language and cultural consciousness and pursue the modernity of painting language, and has formed his own language style with distinctive characteristics of the times and personal style. In his eyes, the purpose of studying traditional techniques is not to adhere to the traditional language norms, but to create on the basis of inheritance, which is a contemporary expression based on the diversified aesthetic needs of contemporary people and integrated into personal aesthetic judgment. The purpose of language is to express and pursue the contemporary characteristics of painting language, which is the demand of contemporary people's emotional expression. Therefore, we can see that Weng Ruidi's paintings, regardless of landscapes, flowers and birds, swaying bamboos, peonies and wild chrysanthemums all over the mountains, all show the prosperous feelings and happy ideals of contemporary people. Different from traditional literati paintings, Weng Ruidi's paintings mobilize all the elements and skills of painting language, with large and wide layout, great tension, free and easy momentum, in line with statutes, colorful and elegant. What is projected behind this skillful and exquisite technique is the painter's rich spiritual feelings and passionate desire for expression.
Obviously, Weng Ruidi's paintings provide us with a different aesthetic emotion-enthusiasm, happiness, happiness and sunshine, just like his carefree life. No matter how much effort Weng Ruidi has made behind his back, the paintings of Weng Ruidi and Weng Ruidi will always be a cool breeze in summer and a warm sun in winter.
Liu-a tireless cultivator from tradition to innovation
Zhong Genglve (a famous American artist and art critic)
The transformation of China traditional painting, which has puzzled China artists for nearly a century, is still full of fog. Artists who are interested in this can be described as one after another, working hard, trying to find a creative path that can not only retain the traditional advantages of China, but also conform to the appreciation habits of modern society. At the beginning of the 20th century, Lingnan School of Painting, represented by Gao, Liu, Chen, advocated sketching, trying to save the decline of literati painting with vivid real life resources. In the 1920s and 1930s, a group of aspiring art pioneers, represented by Xu Beihong, flocked to Europe and America to seek art. After returning to China, they devoted themselves to promoting art education in the western system and correcting the so-called "weakness" of Chinese painting in perspective and proportion with the precise rules of western painting. Later, in the 1950s, the establishment of the domestic Academy of Fine Arts system further brought the development of Chinese painting into a standardized track. Undoubtedly, this guided navigation has further brought China's traditional painting into real life; However, the overemphasis on the social practical function of art hinders the artist from exploring the space of personal image. Although art colleges all over the world have their own development characteristics, it is inevitable to become a single creative concept on the whole.
After the implementation of the economic reform policy in the 1980s, the door of western culture and art was opened, and the shocking impact of the new trend of thought of modern art in Europe and America once again prompted people to reflect on traditional painting art. The rise of "abstract ink painting" and the advocacy of "New literati paintings" are ways to seek innovation from two different directions. Abstract ink painting mainly originates from the idea of overseas new ink painting movement and is based on the form of western contemporary art; On the other hand, New literati paintings is rooted in tradition and tries to expand an ethereal and simple decorative interest. We don't deny the hard attempts of different artistic ideas and forms on the road of Chinese painting innovation. After all, art is diverse, and multi-party practice can provide all kinds of valuable experience. However, we should note that the prospect of China's ink painting, which is only based on western modern artistic concepts, is like an illusory duckweed, with wandering characteristics and no advantage of taking root and sprouting. What's more, western abstract expressionism mostly draws nourishment from the lines of oriental art and Mo Yun. If we simply imitate the abstract form of the west, we will lose the pursuit of the end point. However, New literati paintings's advocacy is still mired in the mud and has not completely surpassed the realm of predecessors; Deliberately playing with some decorative interests and pursuing minimalist images that echo western art are not convincing enough.
In this historical period when old and new conflicts alternate, there are bound to be flag-waving cultivators. I think the development of art must be related to the historical environment, one is related to the needs of the society, and the other is related to the sensitivity of the artist's personal vision. No matter how to formulate a unified line and policy, or blindly rebel, it will not achieve the ideal effect. Only by down-to-earth hard practice, constantly refreshing creative ideas, taking the essence of traditional culture as the warp and contemporary art trends as the weft, can we construct a novel and rich artistic prospect. Liu is one of these silent cultivators. He has a deep foundation in traditional painting. Due to his family background, his ancestors' unique achievements in calligraphy, epigraphy, folk crafts, copying ancient paintings, etc., made Liu have a lot of experience in the selection of painting materials and techniques since he was a child. Before the era of weak crown, it has shown agile thinking and bold courage. After that, I experienced the migration from Bashu, Northwest China and South Guangdong, studied hard and accumulated rich experience, forming a rough and bold painting style. In particular, the creation and application of the techniques of "ink painting" and "color washing" embodies Liu's inheritance and transformation of China's traditional painting aesthetic concept, and its advantages have already appeared. However, he is not satisfied with his achievements. On the one hand, he works hard, on the other hand, he explores the road of innovation with his artistic sense.
Liu's innovation is based on the patterns of China's traditional paintings, giving full play to the functions of lines and ink painting, creating a novel visual image with the help of the visual effects of light and color of western art, surpassing the vision of traditional literati painting, and opening up a magnificent painting scene with his unique ink and wash techniques and frequent black-and-white contrast techniques. Liu tried to explore the fields that literati painting had never set foot in from a "complex" and "intensive" perspective, and constructed the space that literati painting had never entered on the level of blending with the texture of western sketch art. The abstract symbol constructed by the magical technique of ink painting, the concept of inversion of reality and reality, and the unexpected effect of water stains and ink marks is a kind of muscle special effect that western watercolor and China's techniques such as "breaking ink" and "rushing water" can't achieve. In the traditional layout of stacked bedsteads, Liu Hua constructed a sense of commemorative composition, while the washed bamboo was densely covered with dense forests, and the bamboo stems rushed to the top of the painting from the lower edge, which not only showed the commemorative macro, but also explored a mysterious and profound modern image of Luo Zhi texture. Obviously, it broke the school of traditional literati painting and gave new life to the withered traditional "Four Gentlemen" art. Needless to say, although Liu's ink plum and ink orchid have surpassed the traditional framework, they have not yet reached the special realm of ink bamboo.
Throughout Liu's recent works, it can be summarized as a trilogy. Appreciating Liu's art with the characteristics of the trilogy, it is not difficult to find his uniqueness in the development of modern ink painting. The first song is "Wash Ink Bamboo", as mentioned above, which indicates that he broke through the inherent characteristics of traditional literati painting and opened up a new field of ink bamboo art with brand-new visual effects. The second part is "Ink and Wash Banana". The author thinks that Liu's ink plantain is a modern visual art, which has gone beyond the level of depicting plants, and the picture seems to show the audience a magnificent and dense landscape. The rich sense of hierarchy and the bright and dark texture formed by ink stains, like a modern sketch, completely subverted the feeling of the literati banana. The third part is "Ink Landscape". Liu's ink landscape is dominated by bluegrass and pebbles, and bluegrass is described in ink, which is not special to the author; Its attraction lies in pebbles soaked in streams. Liu described the infiltration of pebbles at the bottom of Qingxi with delicate brushwork and patient coloring. The clear bottom flow without lines is dyed into pure color, giving the audience a cool and refreshing feeling and giving people an innate joy. This almost surreal depiction reminds people of the art of Italian painter Lang Shining in Qing Dynasty. Seeing his paintings depicting vase flowers, they are no less realistic than the ultra-realistic paintings in the west today, but the elegant lines and verve are even worse. Lang's contribution not only opened the eyes of China people at that time, but also his art was actually a fusion of Chinese and Western arts. Liu's Qing Shi Qing Xi Tu is the beginning of his ink and wash landscape painting, but as the focus of the third trilogy, it does have important pioneering significance. Liu is not interested in describing the local pebble texture, but consciously uses pebbles to build mountains and rivers. Therefore, his next plan must be to integrate his ink painting skills into the mountains and rivers built by pebbles with a broad mind to explore a painting scene that no one has ever set foot in. Of course, there are still many problems in his pebble series, such as the integration of Chinese and western techniques and the artistic treatment of pictures, which need to be further explored and solved. But in general, this is a necessary stage. I believe that with his intelligence, tolerance and positive artistic mentality, he will certainly find an effective way to push his art to a new height through his hard work in silence.
China needs more down-to-earth artists like Liu. Only by constantly challenging ourselves can we constantly surpass ourselves. There is no distinction between the old and the new in art, and today's new is tomorrow's old; However, art must keep pace with the times in order to show the characteristics of the times. The innovation of China's ink painting must be based on tradition, and then open up the space of modern vision. Form is nothing more than appearance, trend is nothing more than business opportunities, and art that can truly coexist with history and always exude charm is the treasure of mankind. Liu is in such an era of change, and it is really commendable that he can grasp his own direction and explore tirelessly. Although the road ahead is still full of thorns, facing hardships directly is the pleasure of real artists. May Abe encourage him.
Later generations learn from others-Liu's paintings
Li Zuozhi (Researcher, National Museum of China)
/kloc-in the autumn of 0/980, I went to Sichuan on business and attended a seminar on hanging coffin burial. After the meeting, I stopped by Yongchuan to visit my aunt, brother and sisters whom I hadn't seen for many years. During this period, I heard from a friend that there was a folk artist named Liu Shengdao in Yongchuan. He is not only proficient in poetry, calligraphy, painting and printing, but also has a lot of research on history, especially the micro-carving technology, which can engrave words on his hair. He also runs a Yongchuan antique handicraft factory at home. Out of personal interests and hobbies, I visited Mr. Liu Daodao, the 11th descendant of Lu Yi, in Sanjiao Township, Yongchuan County.
On a dam in Sanjiao town, there is a row of ordinary houses, which are very quiet and peaceful. As soon as we entered the door, we were greeted by a simple and amiable old man and a handsome young man with short hair and a smile. This is the first time I saw Dao and Liu, which left a good impression on me.
In the conversation with Mr. Liu, I realized that this is an artistic family. As early as the Qianlong period of the Qing Dynasty, Mr. Liu's ancestors established the Lu Yi, specializing in the creation of folk arts and crafts such as epigraphy, calligraphy and painting, seal cutting and micro-carving, which has been passed down from generation to generation. Liu is the twelfth generation. Moreover, Mr. Liu's wife takes time to carve seals every day besides taking care of housework, while his daughter is busy mounting calligraphy and painting. Ben was the director at that time, painting and carving everything. The family seems to live in the art palace of Xanadu, working and creating tirelessly every day. Seeing that Mr. Liu's family life is so industrious and simple, I can't help but think of this couplet, which is loyal and has been circulating for a long time. I believe that Lu Yi will be handed down from generation to generation and will last forever. So I suggested to Mr. Liu, hoping to let the outside world know about their antique skills and better sum up some experiences. Mr. Liu readily agreed.
Before leaving, Ben drew a picture of a panda playing with bamboo and gave it to me. This is the first time I have seen him draw very carefully, carefully and quickly, which is shocking. I immediately told Mr. Liu that Ben should be allowed to take risks outside. If he stays in this ravine, he will really ruin a good boy like Ben. Mr. Wang smiled knowingly, nodded and sent me away. Since then, Liu and his son have formed an indissoluble bond and become friends who will never look back.
198 1 year, Liu Sheng and his son were invited to Beijing to hold an exhibition of antiques, calligraphy and paintings and folk arts and crafts at the National Museum of China (now China). Because Mr. Liu had contributed to the establishment of the wounded and sick hospital for the underground party before liberation, at the beginning of the exhibition, Chu Tunan, Zhang Aiping, Wei Chuantong,, etc. Some Bashu generals from the old Red Army came one after another to meet him and catch up. At that time, there were even fewer people like Liu Channel in the hearts of these old generals who were literate, martial arts and could write and draw. To this end, General Wei Chuantong gave Liu Channel a nickname-Bashu Wizards.
During the exhibition, Liu painted on the spot every day, most of which were bamboo. He could also copy calligraphy and write inscriptions on the paintings. Therefore, there is an endless stream of people asking for and buying paintings from him. Mr. Qi Gong likes painting bamboo very much. When he visited the museum that day, he was very happy and admired Weng Ruidi's paintings, and immediately gave him a high evaluation-contemporary Koitabashi.
Weng Ruidi was only 2 1 year old that year, with two bright eyes and a head of black curly hair. When painting, he is arrogant and handy. Onlookers will be surprised to think that this young man is a genius in painting. In fact, Edison once said that genius is 2% inspiration and 98% sweat. Murakami Kuiyi also said: The so-called talented people refer to those who are persistent, diligent, selfless and selfless. Liu is such a person.
Influenced by his family, Weng Ruidi loved painting, calligraphy and sculpture since childhood. From the age of five, he began to inherit his family studies and learn from his teachers. However, during the Cultural Revolution, his father Liu Shengdao was put in the bullpen and his home was copied. What he learned in the past has also become the object of breaking capitalism. In order to make a living, young Ben had to go to the countryside with his mother and brother to carve some stamps. On one occasion, he was severely beaten by others for spelling mistakes. Later, he learned to print waistcoats and earned some money to support his family. Under such difficult living conditions, Weng Ruidi still does not forget his persistent pursuit of art and takes time out every day to be obsessed with calligraphy and painting. His genius was also tempered in this environment.
For Liu, the biggest achievement of this exhibition is to get to know many famous Chinese and foreign old painters in Beijing, such as Liu, Liu, Liu, and Liu, who studied under the old gentleman and specialized in Chinese painting. This is also the turning point of Weng Ruidi's artistic career. Because Weng Ruidi is studious and highly savvy, he is deeply loved by these old painters and is willing to teach him his unique skills. So that he not only inherited the skills of family studies, but also embraced everything, learning from others, which laid a solid foundation for his future painting innovation.
Since then, in order to go deep into life, accumulate materials, travel around and sketch everywhere, he has created many excellent works and become one of the outstanding painters of the contemporary Chinese painting strength school. His works created by the original ink and wash coloring method have won the Achievement Award and Bronze Award of China Artists Association for many times. In June 2004, 1 1, the State Post Bureau made Liu's works 17 into a personalized stamp of "Selected Works of Famous Painters in China in 2 1 Century", which was distributed in limited quantities at home and abroad. In August 2005, 17 works were permanently collected by the National Museum of China. His works include Gentleman's Macro on the Prosperous Age of China, Snow and Spring Flowers on the Cold Forest, Misty Rain of Gentleman, Spitting Red Alone, and Teaching Children's Picture. It is also the largest collection of personal paintings and calligraphy in China National Museum.
Finally, I want to emphasize that reading this painting is the greatest pleasure and enjoyment in life!
Future generations are far-sighted and innovative in ink color —— Appreciation of Liu's ink painting.
Li Haojun (famous painter)
Flower-and-bird painting has a strong artistic expression and occupies an important position in the art history of China. Especially from the Five Dynasties and the Song Dynasty to the Ming and Qing Dynasties, it has gone through a long and brilliant road and many outstanding great painters have appeared. They followed the ancient religion created from the outside, gained their heart from the inside, expanded different artistic realms and formed their own distinctive artistic schools, and their influence has never weakened so far.
Since the founding of New China, especially since the reform and opening up, Chinese painting has ushered in an unprecedented period of prosperity. Dare to explore and innovate, famous artists emerge one after another, and talented people come forth in large numbers. As far as flower-and-bird painting is concerned, there are not a few painters who have made outstanding achievements, and the famous painter Mr. Liu is one of them. As soon as his unique ink and color paintings appeared, they attracted the attention and appreciation of the society and experts. This is the inevitable result of Mr. Liu's hard work and bold innovation in art for 40 years, and it is beyond himself.
The success of ink color painting benefits from the solid foundation of traditional pen and ink. Liu, 1960, born in Yongchuan, Chongqing. His ancestors founded Lu Yi in Qianlong period of Qing Dynasty, specializing in antique handicrafts. Up to now, he is the twelfth generation. Weng Ruidi has been studying at home since she was five years old. During the Cultural Revolution, my father was kept in a cowshed, and there was no one to support him at home. So he followed his mother to the rural market to print vests and stamps for others in exchange for money. The rough experience of childhood made him suffer a lot, but it sharpened his fearless mind. In order to lay a good foundation for Weng Ruidi's painting, he worshipped famous Chongqing painters Wang Xianying, Zeng Defu and Zhao Bingkui as teachers and invited him to teach at home. After several years of hard work, Ben, who is gifted and intelligent, has an outstanding performance in the art of painting and calligraphy. At the age of fourteen, he won the first prize of painting in Yongchuan Painting and Calligraphy Exhibition. 198 1 At the beginning of China's reform and opening up, when his father, Mr. Liu Sheng Dao, was invited to Beijing to hold an exhibition of antique handicrafts, he took Weng Ruidi with him in order to show the world and increase his knowledge. Their exhibition caused quite a stir in Beijing. Political and military leaders attend from time to time. , Jiang,,, etc. Have become their friends and teachers. When Mr. Qi Gong saw the ink bamboo painted by A Ben, he was very happy and greatly appreciated it, and wrote an inscription on his work, which was applauded by many onlookers. Liu also learns from Hehe. Under the guidance of famous teachers, Weng Ruidi's calligraphy and painting skills are by going up one flight of stairs. Liu's fame left a deep impression on the calligraphy and painting circles in Beijing twenty years ago.
Copying is a compulsory course and basic skill for painters to improve their entry. Weng Ruidi's traditional brush and ink stick to this road, and he will copy all the famous paintings he can see, especially flower-and-bird paintings, more than once until he is satisfied. The ancient paintings he copied belong to antique handicrafts circulating in society. However, some works bought by international friends when they left the country were mistaken for genuine works by the customs, which shows that his traditional pen and ink skills are average.
The success of ink painting and color painting is due to the persistence of sketch outside the teacher. Life is the source of art, inexhaustible. Art comes from life and is higher than life. Art without life is like water without a source and wood without a root. Therefore, painters of all ages have placed great emphasis on going deep into life. A generation of master Wen is the originator of bamboo painting. He not only painted well, but also put forward a well-thought-out classic theory. It fully shows that the ancients paid attention to deep life very early. When Wen and Ke were in Yangzhou, Shaanxi Province, in order to observe the growth law and species of bamboo in nature, they built a pavilion in the bamboo valley and often observed the real things here. He loves bamboo, grows bamboo, sings bamboo and draws bamboo to express his ambition and feelings. Fu Baoshi and Li Keran, contemporary masters, are even more examples of insisting on the externality of sketchers. Under the guidance and influence of the masters, China painters have stepped out of the studio one after another, and it has become a common practice to draw nutrition from nature. Liu is an active follower. In order to draw a good landscape painting, he sketched from the famous mountains and rivers and the East China Sea in the western regions. When he saw the beautiful desert scenery and snowy plateau in Xinjiang, he danced with ecstasy and even moved his family from the land of abundance to Xinjiang. In eight years, I traveled all over the Gobi Desert in the north and south of Tianshan Mountain, collected a lot of painting materials, created a number of paintings, held exhibitions and albums, and was active in Xinjiang painting circles.
Liu's paintings have a wide range of subjects, including landscapes, figures, flowers and birds, animals and so on. Due to the limited energy and time, he made a breakthrough innovation in his works early. He locked the breakthrough point in flower-and-bird painting, but the material of flower-and-bird painting outside the Great Wall is far less abundant than that in the mainland. At that time, peony was competing for the national flower. In order to paint peony well, Weng Ruidi took his family to Luoyang, the ancient capital. From the sketch, the growth law of peony was carefully observed, and the colorful changes of wind, rain and snow were repeatedly copied and studied. Seek advice from contemporary peony painters in order to find a new pen and ink language. In five years, he changed the composition of thousands of paintings into a panoramic composition; Combine peony with small mountains and rivers to make the picture rich and the artistic conception far-reaching; Combine freehand brushwork with meticulous brushwork to make the picture have both the taste of freehand brushwork and the feeling of meticulous brushwork; Adding ink splashing and color splashing in color application will make the effect bright and heavy. It was at this time that he happened to find that after ink collided with water and infiltrated each other, the picture changed magically, which was the prototype of his later ink painting. This discovery kept Liu awake for several nights.
The success of ink painting benefits from the author's hard study, hard thinking and bold exploration. Failure is the mother of success, and exploration allows failure. The reason why Chinese painting can stand in the world art forest and be cared for by the world is the result of unremitting efforts and bold exploration by people with lofty ideals throughout the ages. Today's invention is tomorrow's tradition. Mr. Liu knows the truth. Therefore, he took the path of ink painting and summarized it while experimenting. After hundreds of attempts, from the beginning, I can only wash a 30-cm painting into a four-foot square, and now I can ink and color it on 6-foot-8-foot paper. Using traditional pen and ink, and then ink and wash color, the picture presents a light or shadow, or clouds or fog, hazy, looming illusion and wonderful reverie. There are many things to grind, and the technology of ink and wash coloring has finally succeeded. His 17 ink and wash paintings were made into personalized stamps of "Selected Works of Famous Painters in China in 2 1 century" by the National Postal Headquarters, which were distributed in limited quantities in China, and all his works were collected by the National Museum, which is the largest collection of one painter's works since the establishment of the National Museum. In 2009, more than 40 of his ink-and-wash colorful paintings were published by Tianjin People's Fine Arts Publishing House, becoming a unique Liu ink-and-wash colorful bamboo album. Lingnan Fine Arts Publishing House invited him to participate in twenty Chinese paintings. This year, Ren Mei invited him to publish "Innovative Schools of Chinese Painting". Friends all think that Mr. Wang's ink and wash paintings are both traditional and modern. His new techniques have positive implications for the prosperity and development of China's painting in the information society in the new era.
Mr. Liu is generous, modest, passionate about life and studious. He is only fifty years old, and he has a long road to art, great potential and full of confidence in the future. I wish him stride forward on the road of art and create more wonderful works of art.
20 10 March, Beijing
Profound, open-minded and ethereal —— Reading Liu's Ink-and-Wash Colorful Bamboo
Yi Zhi (famous writer and collector)
Green comes first with festivals, branches and leaves are swaying and singing, and the furniture in the building can be made. Green Jiangnan, the wind and rain keep beating the soul.
In today's flower-and-bird painting world, exploration and innovation have become an endless research topic for contemporary China painters. Among the pioneering and innovative young and middle-aged painters, Liu is the best.
Ben's vivid description of bamboo is more important than artistic conception. Painting bamboo and writing poetry are integrated into one, and the composition and artistic conception of ink bamboo are fully mature in your mind before you start painting, which can be said to be well prepared. The ink bamboo in his works has developed from realism to freehand brushwork. Freehand brushwork ink bamboo is not only a symbol of a gentleman, but also a means to express feelings. Drawing ink bamboo with a sense of relief in the chest is more unrestrained, profound and open-minded, which can be said to show freehand brushwork vividly.
In the field of artistic exploration and innovation, Weng Ruidi diligently pursues his unique color washing and ink overlapping, showing colorful painting methods, which makes the charm of ink bamboo appear longer and deeper. It takes ten years to sharpen a sword, and hard work pays off. Fifteen years later, Weng Ruidi finally found his own painting language. In recent years, people can often see his ink bamboo or colorful bamboo works in the exhibitions of China Artists Association, which gives people a refreshing feeling. After painstaking research and hundreds of failures, I learned how to wash and color, and how to stack colors and inks.
Consolidate the truth, use wet painting, cross-filling, photo dyeing and other techniques to make the work better express its rich connotation. If the ink bamboo is washed in the fog, the harmony of its composition and the coloring of light ink will show the charm of bamboo.
Weng Ruidi's paintings are very particular about the use of water, ink and color. Glue, alum, milk and water are used in the same work. In terms of color, it tries to avoid the simplification of traditional coloring such as cyan and ochre, and often uses an ancient blue or antique color to express Mo Yun's composure. Before coloring, the pigment is mixed and washed several times to remove its color residue, so as to achieve uniformity, more natural, bright and clear, so as to achieve uniformity and perfection. Asked why he painted like this, he replied with a smile: different water has different tastes, and techniques serve the meaning of painting. Without good technology, there will be no excellent works. But painting is more than just a skill. His words made me deeply feel that his pursuit of art is persistent, serious and innovative.
Weng Ruidi's ink painting is also manifested in the unique composition, which is more dangerous in tranquility. He is good at depicting the charm of ink and wash colors and skillfully handling light and dark, black and white. Depth and level can better show fantastic visual effects, full of dreams and emotions. Many collectors say that Weng Ruidi's ink-colored bamboo is very attractive. After collecting his paintings for three or two days, he had to turn them out to have a look. There seems to be endless things in the bamboo forest. His mood is always so excited and he has endless enjoyment.
Cut green, light and heavy, light smoke and dense fog evenly. The new method of washing, shadow overflow, how much ink shame. There are countless waste papers, and how many boxes have been damaged, asking for artistic ways; Several times.
Jun is not afraid of being left out. He traveled to the western regions with yellow sand and white grass and ice peaks all over the sky for more than eight years. He knows life and death, but he doesn't forget art? Living in the capital of nine dynasties, dreaming of a foreign land, who knows? Start from the beginning and then go to the south.
(A poem written by Yan Shanting for Weng Ruidi in the Pearl River in the spring of 2006)
This article was published in Hong Kong Ta Kung Pao on June 4th, 2006.