Reporter: How should we treat Shi Lu's relationship between painting and calligraphy? How can I appreciate Shi Lu's paintings and calligraphy?
Stan: Shilu's calligraphy didn't form its own style in the early days, so most of the paintings in that period were poor. But by the 1970s, his unique font style had been formed, so many long paragraphs appeared on the picture, and many long questions on the painting became an indispensable part of the picture, adding a lot of color to the picture.
In art, Shi Lu deliberately strives for novelty. He despises any success and is unwilling to follow others. Even Shi Tao, whom he admired most in his life, only followed his charm instead of imitating his brushwork. None of the landscapes in his works are imitated by Shi Tao's brushwork, but there are many places with Shi Tao's graceful charm. Shi Lu created many animal paintings in 1970s, including donkeys, cats, ducks and tigers. The most valuable thing is that they all have only the golden stone flavor of calligraphy, but no lasting appeal. Animal painting is "written", which is different from the style of any animal painter in China. These are all his maverick. Shi Lu once said: "It is possible to learn from the past and observe its changes, and learn from its creative heart. As for Chen Fa, we should realize that it is a tool. As for technology, ancient and modern, Chinese and foreign, all factions know everything. " This view, and monk Shi Tao's "ignorant of the past, also detained." The view that "it is impossible to learn from the law, but it is the supreme law" is mutually confirmed. Shi Lu thinks: "The structure of painting is abstract and concrete, such as observing the authenticity of calligraphy, grass, official script and seal script to understand the painting, and observing its leakage, wall cracks, skull marks, random wood grains, cirrus lines, untied lines, axe marks, hemp lines, bullet holes, alum, etc., thus creating various brushwork."
Art is the product of the times, and different times have very different contents and forms. In artistic practice, Shi Lu does not attach great importance to the elements of literati painting in national tradition, but prefers to oppose rigid and conservative ideas, explore the cultural connotation and aesthetic form of our times, pursue emotional images and image modeling, and explore new contents and new forms of expression on the basis of inheriting pen and ink with independent aesthetic value.
Yin Shuangxi, a famous critic, said: "Shilu longed for freedom all his life, and art was the form and expression of his freedom. In his later works, there is a high tension, and a point, a line and a surface are not in harmony with reality. His ups and downs, thirst for strange pen and ink, rough and resolute calligraphy reflect his lack of freedom in reality. He hopes to use the great changes and freedom in art to resist the persecution given to him by reality. The greatness and tragedy of Shi Lu lies in that no matter how many difficulties and setbacks he encountered in his life, he never changed his ambition, his persistent pursuit of truth and truth, and his ideal realm of feelings. " Liu Xilin, a famous art critic, said in the book "Shi Lu's Life Journey and Artistic Fengshen": "Shi Lu is a genius and a generalist. In the contemporary art world, few people are as keen as him in both image thinking and theoretical thinking, and at the same time reach such a high level in the comprehensive achievements of poetry, calligraphy, painting and printing. "