Zhao was born in an ordinary class. In l986, he was admitted to the Department of Chinese Painting of China Academy of Fine Arts, and in l998, he was admitted to the postgraduate class of flower-and-bird painting. I participated in several large-scale domestic art exhibitions in the early stage, and then I devoted myself to academics, and my works rarely appeared.
Over the years, Peng Yue has been devoted to the exploration and creative practice of flower-and-bird painting, and studied Ivy, Shi Tao and Ba Da in his early days. Influenced by Zen painting consciousness, Peng Yue's freehand brushwork mostly shows the changes of the four seasons in nature, fleeting moments, cold cliffs and Qiu Shu, floating clouds and flowing water. In Peng Yue's works, the agility of insects and fish and the swiftness of animals walking and birds flying are all ethereal and silent. The literary meaning of muxi and Liang Kai, the resentment of everyone in Song and Yuan Dynasties, and the meaning and rhyme of poems and songs are integrated into one in his paintings, which is natural. Its landscape is clean, cool and dreamy, with empty mountains and no one. Water and flowers are just what you want, leading to a quiet scene. Peng Yue's ability to observe and refine objects is very high, and he is good at accurately grasping the characteristics of objects. He can vividly outline the mental outlook of objects with a few strokes and create a delicate and subtle artistic conception. Peng Yue's writing style is also eclectic, depending on what he wants. The pen moves at will, because there is feeling, it makes the momentum.
Peng Yue also devoted himself to the study of meticulous flower-and-bird painting. He deeply felt that the essence of traditional painting, such as coastal smoke waves, had become like millet. Therefore, he always observes attentively, pursues the jurisprudence of poor predecessors, and knows the magic of law well, so as to get its essence. Peng Yue's intention is a breakthrough. He regards inheritance as a transition between exploration and development. In the interpretation of previous works, he can go deep into his spiritual core to explore schema and pursue the transformation and development of the inner spirit of schema. In his study, Peng Yue had a spiritual dialogue, collision and communication with teachers of past dynasties, and he covered a wide range, which was in sharp contrast with many young and middle-aged painters who were too eager for their own face and didn't think about their universal development potential. His meticulous works, such as flowers, branches, feathers, insects, etc., are written first and then hooked, with the idea of being the best, the skill of being the best, rigorous and random, subtle and vivid, with the method and spirit of predecessors. After Wang Duo became famous, he still "copied one day and asked for one day." Its purpose is to seek breakthrough space through replication. On the other hand, Peng Yue is also diligent in life, learning from things, observing and pondering the details of fish, birds and flowers, and absorbing their essence.
Peng Yue has a wide range of interests, likes learning and is versatile. His works are few in number, short in sentences and numerous in laws and regulations, all written by himself. For example, he wrote a rabbit essay entitled: "I'm tired of cold dew, as quiet as a good woman. When I see a prairie fire, I know how to escape." I chose a beautiful hill with three caves. " Love is like a thing, like a lesson. Look at its temperament.
Besides flowers and birds, Peng Yue occasionally paints landscapes and people. For him, changing a painting form is only for different performance needs, and he has no intention of limiting himself to a flower-and-bird painter. Peng Yue is a painter in China, a painter in China who advocates tradition and tries to continue and develop it.
Nowadays, the west wind is spreading eastward, advocating "individuality" and "innovation". As we all know, the value of art lies not in the old and new forms, but in the quality. It is really misleading to be a person in the next month with "new" as the standard. If "new" is taken as the balance, though the landscape flowers and birds of Huang and Qi Baishi are not as good as Xu Beihong's Yishan and Baishi, Xu naturally is not as good as Bin Weng and Baishi in terms of achievements. By the same token, Pan Tianshou's Flowers on Yandang Mountain and Iron Casting in Qian Shan after Rain are obviously not as good as his works such as Fighting for Agricultural Tax, Harvest figure and Literary Workers Visiting Poor Farm Workers in the early 1950s, and their achievements are also self-evident. In my opinion, many painters in contemporary painting circles achieve "distinct personality" through excessive deformation and exaggeration or blindly doing texture, and their real personality is not as good as that of Peng Yue. Because Peng Yue's paintings are real, we can read his personality, his thoughts, his thoughts and his exploration from his paintings. As for his similarities with the ancients or modern people, to paraphrase Master Shi Tao, "Even if I meet a certain family sometimes, it will be me, and it will be a certain family if it is not me."
Peng Yue doesn't intend to finalize the design prematurely. He knows that Chinese painting has a long history, extensive and profound, and needs the accumulation of life, the increase of learning and the improvement of skills. The so-called "personal style" formed by premature crust is often short-lived because of the lack of the above factors. He has broken through the door and found the right path for the development of Chinese painting. What Peng Yue has done is the pursuit and perfection of gradually broadening his belt. Text/Chen Chuanxi
When I first saw Zhao's flower-and-bird paintings, I was quite surprised. "Is this the ancients?" Today? "People with pictures let me see for myself. What kind of family is it? I know almost all modern flower-and-bird paintings. Generally, it is the gateway to Wu Changshuo and Qi Baishi, occasionally adding a little Mountain Man and Yangzhou Eight eccentrics. But there are three kinds of inheritance, positive inheritance, horizontal inheritance and reverse inheritance, most of which are positive inheritance. From the original masters of Wu Changshuo and Qi Baishi to the present, the overall appearance is still between Wu and Qi. In addition to Wu Heqi, the horizontal younger generation adds a little fashion. The good ones are acceptable, but most of them are not good-looking. It takes some brains for the successors in reverse order, because Wu and Qi use big pens and are magnificent. They learned, but they couldn't jump out. They want to be self-reliant and create their own tricks. They want to think about it. Wow, you used a big pen, and I used a small pen. You use thick thread, I use thin thread, so I change it into thin thread and dye some colors carefully. This is completely different from Wu and Qi, and finally jumped out. But I really can't hide it from me. I can see at a glance the secret of this flagpole standing behind the temple, which is the reverse inheritance of Wu and Qi.
Zhao's paintings I saw were neither upside down from Qi Baishi or Wu Changshuo, nor were they horizontal, and none of them entered the Eight Monsters. He ignored Wu Heqi, bypassed Badashan people, and even bypassed taking a look at Yunnan Day. He leaped over Shen Zhou, Tang Yin and other Ming painters, took the Song Dynasty directly, and devoted himself to and excavated in the Song painting, thus achieving the Song painting.
As we all know, painting began in the Song Dynasty with a solid foundation, but no one did it. Starting from Zhao Ziang in the early Yuan Dynasty, he put forward the "ancient meaning" and urged him to leap over the Southern Song Dynasty, learn from the Northern Song Dynasty and catch up with the Tang Dynasty, the Five Dynasties and even the Six Dynasties. He did it himself and became a great generation. Most descendants have learned something from Zhao Ziang. In the Ming Dynasty, Zhejiang School studied under the Southern Song Academy, while Wumen School and Songjiang School studied under Yuan Sijia. In the Qing Dynasty, this was true except for Dong Qichang's "Four Heavenly Kings". The painting of "Eight Eccentrics in Yangzhou" is even more indecent. At that time, Wang Junjin said that they: "... another deviant teacher, Eight Eccentrics, failed to draw a complete picture and ingratiated (desecrated) Xu's legacy. The elimination rate of three strokes and five strokes is too strong to cover the sauce ... different interests, it is appropriate to take different roads. It is brand-new for a while and only prevails for a hundred miles. " (See Record of Yangzhou Painting Academy) It is said that their paintings are too rough to cover the sauce jar. Of course, the painting "Eight Eccentrics in Yangzhou" is not without its merits. However, few people studied Song painting at that time, because it was too hard to learn Song painting. As the saying goes, Xu Xi and Huang Quan's paintings are rigorous and neat, and they are not sloppy at all, ranging from a few months to many years. During the Ming and Qing Dynasties, people who lived by selling paintings didn't want to learn. They want to sell the paintings cheaply, so they have to eliminate three strokes and five strokes to make a living. Wu Changshuo and Qi Baishi also took this road. Some people say that Qi Baishi just learned Jin Dongxin as much as possible, but in fact Wu Changshuo just learned the "Eight Eccentrics of Yangzhou". At that time, they could only see the paintings of "Eight Eccentrics in Yangzhou", which limited them, but both of them knew something about the Bashan people, which was considered as catching up with the early Qing Dynasty, but they saw too few paintings of the Bashan people. So I can only draw according to the situation at that time. After Wu and Qi, painters followed the trend of Wu and Qi, but they were not as good as Wu and Qi. Therefore, contemporary flower-and-bird painting is getting weaker and weaker, and no new signs can be seen. As soon as Zhao Pengyue came out, he started with the Song people and saved 800 years. So his paintings are unique and never belong to a modernist school.
I saw his paintings and exclaimed, "Is this an ancient man?" Today? "In fact, he is a modern man, but his paintings are in Guge. The ancients often said that "high ancient" is quaint, high ancient and elegant. When it comes to time, it is a cliche, vulgar, and "vulgar change" without entering the ancient times. Although the form changes, the vulgarity remains unchanged.
I would also like to add that Wu Changshuo and Qi Baishi are also great men, and they have a high position in painting. Why are their paintings vulgar and elegant? Huang proposed "Daoxian revival", and he wrote a painting cloud: "Before the Qing Dynasty, salty epigraphy flourished and the painting name was revived." There is another cloud: "It is the revival of the virtuous, and Mohism has passed." After Daoxian and Eight Eccentrics of Yangzhou, epigraphy rose, and painters painted with epigraphy. Wu Changshuo did little research on Shi Guwen, and calligraphy was once popular. He painted with more ancient calligraphy, so his paintings changed. Qi Baishi holds the imperial edict of the Qin Dynasty, and seal cutting is a great master. Although their paintings follow the trend, calligraphy and seal cutting follow the ancient method of 2000 years ago. The lines of Chinese painting are bones, and the lines come from calligraphy, which is ancient, so their paintings go with the flow, but they are not vulgar (of course, they are not absolutely vulgar).
Peng Yue's calligraphy adopted the method of Wei and Jin Dynasties. Although it was not as elegant as its ancient style, Wei and Jin calligraphy was also a peak, which avoided entering the Wu and Qi schools from the bone method, while his paintings went against the trend and surpassed hundreds of years. In the Wu and Qi dynasties, Song paintings were hard to see, but when it came to Song paintings, there were original works of Song people in the museum, which were always visible. I have a picture book of the National People's Congress of the Song Dynasty in my hand, which is convenient to flip through from time to time. But the average painter doesn't think much and is afraid of hard work. They didn't study painting in the Song Dynasty, but they still followed the trend of Wu Qi, but they didn't have Wu Qi's epigraphy skill, so they went from bad to worse.
Zhao's paintings are not fashionable, and his paintings are not copied from the Song Dynasty. His paintings were in the Song Dynasty, while his charm was in the Wei and Jin Dynasties. Strong as gold, smart as gold. Therefore, it has the meaning of ancient times, so I won't repeat it in ancient times.
Later, after watching more of Zhao's paintings, I realized that his rigorous study of Song paintings was just one of his painting styles. And I also know the clear connotation of his paintings, which is the result of his accumulated wealth.
Peng Yue was born in 1966. His ancestral home was in Luoyang, Henan, and he grew up in Fujian. 1986 was admitted to the Chinese Painting Department of China Academy of Fine Arts. After graduation, while displaying his talents, he lived in seclusion in southern Anhui, devoted himself to studying architecture and furniture in the Qing Dynasty, and engaged in the study and research of ancient poetry. The poems and sentences he painted were basically created by himself, not copied. The cultural connotation of architecture and furniture in Ming and Qing dynasties can also be analogized to painting. Therefore, his paintings are durable, rigorous and simple, and rich in connotation. Shen Zongqian said: "Anyone who can endure for a long time must have a tangible body, not a gorgeous view." Zhao's paintings are tangible. The so-called "taste beyond taste, rhyme beyond rhyme" can only be achieved on the basis of "physical beauty" There are many painters who only have "formal beauty" in their paintings, but not "formal beauty". So they can only trick some amateurs who don't know China's art, but they lose their position in the eyes of experts who really know China's art.
With the rigorous foundation of Song painting, it is easy to learn other paintings. Zhao's freehand brushwork, although sketching or sketching, is also different from the current customs. There is no rough pen and ink, and there is no messy style, but it gives people elegant and quiet enjoyment, which makes people feel "memorable".
Peng Yue also has a painting between freehand brushwork and meticulous painting, and it has a special flavor. His writing style has the bones of Song people, so he gets his qi first, and his qi is calm and solid; Drop ink and set colors to regain the charm of Yuan people, which is fresh and elegant, or complex and boundless, or a few strokes, without arrogance, but with the essence of leisurely and carefree. Those who are not shallow and unprincipled can look back. . His landscape figures are still out of tune with the times in the Song and Yuan Dynasties. Any painting that does not conform to the secular trend is impressive. Nowadays, most people's paintings are vulgar, echoing others' opinions, describing the death of things without the truth of temperament. Their body, rhyme, brushwork, spirit and painting are all vulgar, and their people don't understand the ancient (tradition) or the present; Don't know pen, don't know ink; I know neither poetry nor spirituality; Therefore, we can only imitate the vulgar pen. Frankly speaking, it is the same and not impressive. Peng Yue knew that books can be poetic, explore the past and study the present, and write temperament with the help of the strange atmosphere in the southeast and northwest, so it is absolutely different from vulgar feelings. So his paintings are impressive and intriguing.
Peng Yue has always been committed to the revival of art. I said that he "saved 800 years with his gesture" and the title was "saved 300 years with his gesture", so be polite on the topic. In fact, when a generation of painters are immersed in the painting styles of Wu Changshuo and Qi Baishi, and a few people just do some supplementary work, if Peng Yue continues to work hard and deepen, his works will definitely change the style of the times. This is also what our times need most. Let's wipe our eyes and look forward to it.
In September 2005 in Nanjing Longfeng Garden.