Yu Jianshi, also known as Wu Zhu, 1959, was born in Tianjin. Member of the Teaching Steering Committee of Fine Arts Specialty of the Ministry of Education; Member of China Artists Association and director of Tianjin Artists Association; Member of China Calligraphers Association, member of Education Committee of China Calligraphers Association, and vice chairman of Tianjin Calligraphers Association; Professor of Chinese Painting Department of Tianjin Academy of Fine Arts, tutor of master students, visiting professor of Tianjin University of Commerce. Yu Jianshi studied calligraphy and painting with his grandfather and professor Wang Songyu of Tianjin Academy of Fine Arts. Yu Jianshi's paintings, accumulation and sprinkling are clear, clean and thick, such as water, frost and lofty, all from the heart. He is the author of Wang Songyu's Teaching Mode, Famous Painters Say Famous Paintings-Yu Jian Say Huang Shen, Appreciation of Chinese Paintings-Five Hundred Arhats, Calligraphy Art, Yu Jianshi, a Collection of China's Famous Landscape Paintings, etc.
Chinese name: Yu Jianshi
Nationality: China.
Ethnic group: Han nationality
Place of birth: Tianjin
Date of birth: 1959
Occupation: artist
Main achievements: engaged in traditional painting teaching and traditional cultural communication.
Representative works: Wan Li piled glass on the waves, a picture of a happy and peaceful life, secluded in the mountains, floating in the sky on the high waves.
Title: Professor
outline
Yu Jianshi, male,/kloc-0 was born in Tianjin in February, 1959.
Member of the Teaching Steering Committee of Fine Arts Specialty of the Ministry of Education.
Member of China Artists Association, director of Tianjin Artists Association.
Member of China Calligraphers Association, member of Education Committee of China Calligraphers Association,
Vice Chairman of Tianjin Calligraphers Association.
Professor and master tutor of Chinese painting department of Tianjin Academy of Fine Arts,
Distinguished professor Cui Ying of Lanzhou University, visiting professor of Tianjin Business School.
Yu Jianshi studied calligraphy and painting with his grandfather and professor Wang Songyu of Tianjin Academy of Fine Arts.
1985 graduated from the Painting Department of Tianjin Academy of Fine Arts, majoring in Chinese painting, and stayed on as a teacher.
1993 sent to study in Japan.
1996 graduated from Japanese National osaka kyoiku university Graduate School with a master's degree.
Later, he taught at Minghai University in Japan and returned to China to teach at the end of 2003.
Since 2004, he has served as deputy director of the Department of Chinese Painting of Tianjin Academy of Fine Arts.
Director of Academic Affairs Office of Tianjin Academy of Fine Arts since 2007.
Bonus; prize
1979: Second Prize of Papers of Tianjin Academic Conference on Cultural Relics and Natural History.
1982: 1 the third prize of the national calligraphy exhibition for college students.
1986: 1 First Prize of Tianjin Youth Art Festival (Fine Arts).
199 1 year: awarded the honorary title of Tianjin' 90 literary star.
2000: Excellent Works Award of the 36th Asian International Modern Art Exhibition in Japan;
Overseas Selection Award of Asian International Peace Modern Art Exhibition.
2009: Research and Practice of Constructing Experimental Teaching System in Fine Arts Colleges
(The second finisher) won the first prize of the sixth teaching achievement in Tianjin.
2009: Key Research Project of Tianjin Education Commission
Research on Optimizing Discipline Construction, Highlighting Specialty Characteristics and Exploring Innovative Talents Training Mode in Tianjin Academy of Fine Arts (Sub-project Leader)
Research on the Construction of Creative Industry Base —— A Major Research Project to Accelerate the Urgent Need of Talents Training in Tianjin Universities
20 10: giant landscape painting in VIP reception room of Davos international forum (10.57× 3.5m).
Giant landscape painting (6.45x2.10m) in the VIP room of Tianjin Guest House.
20 12: Second Prize of Tianjin Art Exhibition in Commemoration of the 70th Anniversary of Mao Zedong's Speech at Yan 'an Forum on Literature and Art.
painting and calligraphy exhibition
1979: The Second Youth Art Exhibition in Tianjin
1982: The 1st 1 National Calligraphy Exhibition for College Students.
1983: The Third Youth Art Exhibition in Tianjin
1986: 1 Tianjin Youth Art Festival Art Exhibition
1987: National Art Exhibition (50th anniversary of the founding of the army);
Tianjin Calligraphy Art Festival Exhibition
1989: The 7th National Art Exhibition
1990: Exhibition of Chinese Painting Teachers of Tianjin Academy of Fine Arts, Chinese Painting Art Research Institute of Ministry of Culture.
199 1 year: the first exhibition of Tianjin Mohai;
Tianjin painter calligraphy exhibition
1992: 1 National Landscape Painting Invitational Exhibition;
Hong Kong New China Art Exhibition;
Taiwan Province Province Art Works Research Exhibition
1995: Three-person Painting and Calligraphy Exhibition (Osaka Orange Gallery)
1997: solo exhibition (Nara Gallery, Tokyo);
Solo exhibition (Ishikawa Gallery);
Four-person Painting and Calligraphy Exhibition (Tiaobu Culture Club)
1998: solo exhibition (MD Center Gallery, Tokyo);
Three-person Ink Painting Exhibition (Tokyo Nikki Gallery)
2000: The 36th Asian International Modern Art Exhibition (Tokyo Art Museum);
Asia International Peace Modern Art Exhibition (Nanjing Museum)
200 1: 14 Japan Depicting Nature Exhibition (Ueno Sen Art Museum, Tokyo);
The 37th Asian International Modern Art Exhibition (Tokyo Art Museum);
16 sino-Japanese ink painting contract exhibition (Tokyo art museum)
2002: The 38th Asian International Modern Art Exhibition (Tokyo Art Museum);
Selected works of Asian modern art (Tokyo Communications Hall)
2003: solo exhibition (Sawada Gallery, Kawasaki City)
In 2004:
10 Tianjin Exhibition Area of National Art Exhibition
2005: Academic Exchange Exhibition of Scenery, Poetry and Traditional Chinese Painting (Exhibition Hall of Tianjin Daily Building);
New Context and Exploration of Chinese Painting Academic Exchange Exhibition (Dagang District Cultural Bureau Exhibition Hall)
2006: China, Japan and France International Contemporary Art Exhibition (Tianjin Academy of Fine Arts)
2007: Tianjin Fine Exhibition of Famous Chinese Paintings (Tianjin Jingwei Art Museum);
Pursuit of Aestheticism-Exhibition of Works by Yu Jianshi and Chen Fuchun (Tianjin Jingwei Art Museum);
High-end Fine Art Exhibition (sponsored by Tianjin Federation of Literary and Art Circles and Artists Association)
2008: Original Ink and Wash —— China Contemporary Painting Masters Academic Invitational Exhibition (China National Painting Academy)
2009: Tianjin 1 1 Art Exhibition;
Tianjin 6th Calligraphy and Seal Cutting Exhibition;
Yu Jianshi, joint exhibition of Liu Wensheng's works (sponsored by Hengshui Federation of Literary and Art Circles);
Exhibition of New Horizon Art Works around Bohai Sea (Tianjin Municipal Committee Propaganda Department);
Art Exhibition Celebrating the 60th Anniversary of People's Republic of China (PRC) (Tianjin Municipal Committee Propaganda Department);
Observation (Tianjin Sixth Courtyard Creative Industry Park);
Macao Reunification 10 Anniversary International Art Exhibition (Macau)
20 10: Tianjin Summer Davos Forum Art Exhibition.
20 12: in memory of Mao Zedong's "70th anniversary of his speech at Yan 'an Forum on Literature and Art".
National Art Exhibition Celebrating the 70th Anniversary of Yan 'an Forum on Literature and Art
Tianjin Summer Davos Forum Art Exhibition
13 Japan International Modern Art Exhibition
National exhibition of famous calligraphers' works.
The 7th Calligraphy Exhibition in Tianjin
20 13: the 9th mount tai ink painting-nomination exhibition of Chinese painting.
14 Japan International Modern Art Exhibition
Yu Jianshi Painting and Calligraphy Exhibition
The 5th China Famous Artists Painting and Calligraphy Exhibition
publish a book
Calligraphy Composition Guidance 1990 Tianjin Yangliuqing Publishing House
China Calligraphy Appreciation Dictionary (edited) Beijing Dida Publishing House.
How to write a running script (co-author) 1992 Tianjin People's Fine Arts Publishing House
Appreciation of Chinese Painting -500 Lohan +0994 Tianjin Yangliuqing Publishing House
Basic calligraphy training for the elderly (co-author) 1995 Tianjin People's Fine Arts Publishing House
Wang Songyu's Teaching Model, Tianjin People's Fine Arts Publishing House, 2005.
Famous artists say famous paintings-Yu Jian said Huang Shen. Hebei People's Fine Arts Publishing House 2006.
The Art of Calligraphy (translated) Sichuan People's Publishing House, 2008.
China contemporary famous landscape painter Yu Jianshi's paintings, Hebei Fine Arts Publishing House.
Collection of Works of Famous Landscape Paintings by China-Yujianshi Sichuan Fine Arts Publishing House
Cheng Huai Guan Dao-Yu Jianshi's Collection of Paintings and Calligraphy 20 12 Hebei Education Press.
Basic calligraphy training 20 13 Tianjin Fine Arts Publishing House
Holding Candles Collection —— Yu Jianshi's Landscape Paintings Collection —— Asian Cultural Exchange Association
art exhibition
On the Homology of Calligraphy and Painting was published at 1979 Tianjin Academic Conference on Cultural Relics and Natural History.
Analysis of the Form Composition of Ni Zan's Paintings 1984 Art Series 27 (Shanghai Fine Arts Publishing House)
Reflection and Prospect of Traditional Calligraphy was published in 1986 Calligraphy Conference in Bohai Rim Region.
Autumn Journal of Art Research (Tianjin Academy of Social Sciences Press)
Review and Prospect of Calligraphy 1987 Calligraphy Art 5 (Liaoning People's Fine Arts Publishing House)
Form Composition of Calligraphy 1992 production designerNo. 1 (Beijing People's Fine Arts Publishing House)
Rhythm of Calligraphy, Art Guide, No.2
Sense of movement and space in calligraphy, Art Guide No.4.
Balance and Contrast of Calligraphy, Art Guide No.6.
Wang Xiang and His Calligraphy: A Box with thousands of books Hidden+300 Years of Tianjin Calligraphy (Tianjin Yangliuqing Painting Society)
Modern Japanese Calligraphy Fetal Movement (Translation) 1994 Northern Art No.5 (Journal of Tianjin Academy of Fine Arts)
Yu Jianshi Ink World ('98 Calendar) 1997 Gu Lin Paper Co., Ltd.
Preface to the Complete Works of Baishi (Japanese) 1998 Shu Dao Quarterly No.53 (Shu Dao Institute, Tokyo, Japan)
On the Japanese Painting Market, Northern Art No.20 (Journal of Tianjin Academy of Fine Arts)
"The elephant shrinks the dragon into an inch", February 2000 15, Japan's Foreign Student News.
Ten people talk about Japanese ink painting-1Qing _ gan Sesshū Tōyō, International Student News No.65438+August 2005.
Ten people talk about Japanese ink painting -2. Don't let the former sages set high standards again. International Student News No.65438+10/month.
Before the New Century (Japanese) Journal of Nephrology Overseas Exchange Association No.3
Ten people talk about Japanese ink painting-3 unique writing styles of Bingshuo Lianhua. Overseas Students' Daily No.65438+February 1.
Ten people talk about Japanese ink painting-four things seeking truth from facts. 200 1 International Students Daily, February 1.
Ten people talk about Japanese ink painting-five major events later became invisible elephants. Foreign Students News March 15.
Ten people talk about Japanese ink painting-six kinds of foreign flavor, Han bone and Yamato soul, Overseas Students Daily, May, issue 1.
Ten people talk about Japanese ink painting-one of the seven wonders of art, News for International Students, June 15.
Ten people talk about Japanese ink painting-Hengshan exercise that died young. International Student NewsNo. 15 September.
On "Overcorrection" of Komatsu Jun's Ink Painting "International Student News" April 2002 1
"Beauty is between twists and turns —— On the evolution of Yang's painting style" and "Northern Art No.37"
ぎまされたとぅぅ ととぅぅ とぅとぅぅぅぅぅぅぅぅぅぅ
ゆったりしたをしてぃるきのしぃぃぃ𞊣きのし 123
"Take off your hat before you do it."
"It means magnificent, spectacular and solid."
ののとにこだわらなぃののぃのののののののののののの 12
"A quiet, supernatural and borderless poetic world"
"People like to" pursue "_ paint" seek the heart "_ wave" take a break "works"
"What's new, what's right, what's wrong, what's wonderful, what's bold, what's wrong and what's wrong?"
からみた _ すべきとらなぃぃぃとぃぃ ぃ ぃ
"It is difficult for a person to win a battle before his wrist."
"The significance of Human, Human, Today and Duan Liyang Kurita."
Great, Great, Cool, Situational and Feeling Book
から _われたしぃなSimple Personality
のびやかなのメロディでしたセレナナでィででで.
"All-round literacy, holding books to show materials"
ととのの〷 したなななのののななしなななななななの
の の の さ ま で ぃ た の の さ さ の の さ さ さ の の の の さ 1
"Sublimation _ transformation されたのなのななのなななののなななの"
"Huang Tingjian's running script is full of charm."
"Warm ink lines are beyond words and touching."
"Heart, pulse, emotion, thinking, sharpness and linearity"
をってをつくるをくる ををるををををををををををを 124
"Thousands of beautiful lines, overflow lines and beautiful ink lines"
"Dance like a phoenix, and ten thousand rise like a dragon" —— Xiao Yanyan's 《
《Ming"-"これこそそのののだ》
"Integrity, integrity, integrity, integrity, integrity, integrity."
にを に し た に し た た し た た た し た た た し た た た た た た た 12
からぇるのれたとととるのれたとととととるのれれとと 12
Dance, dance, posture.
のの の な か の の の の か の の の の の の の の の の の の の の の 12
から _られるのの の "
たゆったりとしたでしたたたのメロディィ
White _ World にぁるににするのPhilosopher-type Calligrapher
のから See のザィィぇるれたデザィンンン.
"こだわりがぁるからこそがになる"
からの の か か の の か か か の の の か か か か の の の の 123
ののぁる のぁる と にる と にる と にる る る る る る る る る る 12
しなやかでななののののででなのののののののの ののの 1
"_ かなをしてぇたたとととととととととととととととと 12392
Refresh my Mind and AttucksNo. 19.
The fountain of ancient pens
"Yamato and Zhou Xiao's Calligraphy and Divination"
"New well green sail" _ "
The Book of Good Wind in Kimura
"The work of Buddha's mind and soul"
"Out of the Cloud, Heart-Eight Banners _ Cloud _"
の の の の の の の の の の の の の の の の の
"Leisure _ knot Taoist _"
"Long Valley Kawawada の Mid-Autumn Festival Moon Appreciation" _ ARTEX _ No.20
Falling in love is not easy.
ののののひかりにつぃて て て て
の の の の の の の の の の の の の の の の の の の の
"The flowing book line forms a three-dimensional space."
"reproduce the original scene"
"Now _ にぁらわれた" Penglai Wonderland ""
らかぃ〡から _ したしぃぃり り
Burning Heart _ Fire
ののののにりげたのぁる Books ののぁる
"A prelude to the revival of the new era of rupture, rupture, rupture, rupture"
"Between points and lines, elegance and gentleness, top grade, feminine posture"
Li 385, a freehand brushwork in "a glance"; がったから ""
"Peach Blossom Garden-Maozhi outside Chou He in Matsukawa."
サミット Ginza 200 1 _ artex _ no.2 1
Xia Hong and Color Ink Painting (Bach-Art Museum of Famous Songs and Paintings) were published in Spring Society.
The good times won't last long, so it's hard to have a feast —— Apocalypse of Japanese avant-garde calligraphy art —— Art Observation 04/6, 2004.
Evolution and Puzzlement of Modern Japanese Painting, Northern Fine Arts 04/4.
Fame is always boring, but musk comes naturally-in memory of Mr. Wang Songyu. 05 North Art 05/ 1.
Harmony between Art and Economy (1) Northern Fine Arts 05/ 1
Harmony between Art and Economy (Ⅱ) Northern Fine Arts 05/2
"Don't stick to one pattern, learn from others" and "China painter"
How can a word "beauty" win —— Thoughts on reading Yang's new work "China Calligraphy and Painting Newspaper"
Wandering aimlessly in Wan Ren —— In memory of my grandfather Mr. Wang Songyu, China Pictorial, 05/5/2.
Research on Wang Songyu's Landscape Painting Techniques (Serial) China Calligraphy and Painting Newspaper 05/06***74.
Yu Jianshi's Works 2007 Window of Art (ISBN)
Art Collection 1 (Sichuan Ren Aesthetics Society)
My opinion on modern Japanese art exhibition.
Friends of Ink and Wash (Winter Issue 25)
Yu Jianshi's Works, Oriental Art Fair, 2007/ 12/ No.6 (Beautiful Hebei People)
Yu Jianshi's Works and China Art 2008/4 (China Art Magazine)
Yu Jianshi's Works and Art China
Shanghai People's Fine Arts Publishing House, a collection of works by famous contemporary China artists.
Contemporary Art History-China Scroll (Landscape Volume) Tianjin People's Fine Arts Publishing House.
Brief introduction of Yu Jianshi's works, far-sighted, from the heart (Zhang Chi), China painter.
Ten People Leading Japanese Ink Painting-Plain, Lonely, Simple and Bright
(-Japanese ink painting, ancestor Zhou Xue and other reading notes. Yang) Serialized 1 China Calligraphy and Painting Newspaper 09-7-20.
Classic of Contemporary China Masters (14) Shandong Fine Arts Publishing House
Momo's Works (20 pieces) China Federation of Literary and Art Circles Press 09/ 1 1
On the Composition and Aesthetics of Calligraphy, Northern Art 09/3.
China-China Contemporary Artists' Works (14) Rong Baozhai Publishing House 09, 1 1.
Ode to the Century-Selected Works of China Contemporary Masters 2 Guangxi Fine Arts Publishing House
Research and Practice on the Construction of Experimental Teaching System in Fine Arts Colleges
Innovation and Practice —— Proceedings of the National Symposium on Practical Teaching of Art Design Specialty Shandong Fine Arts Publishing House
Wandering in Wan Ren with nothing to ask for —— Yu Jianshi's talk about Wang Songyu's artistic achievements 10 year.
Art Watch 20 10/3 (the same below) China Academy of Art
Monument, Form, Rhyme, Accumulation and Strength —— On Mr. Wang Songyu's Calligraphy Art, Northern Art 20 10/ 1
Outstanding Works of Contemporary Chinese Painting Masters-Spring in Spring, Zhejiang People's Fine Arts Publishing House
Appreciation of Calligraphy and Painting (12P cover 1.2.3.4) Shandong Fine Arts Publishing House
China Fine Arts Festival Hebei Fine Arts Publishing House
Picturesque —— National Exhibition Series of Famous Chinese Paintings, Hunan Fine Arts Publishing House
artistic style
On the Style of Landscape Painting (Wang Ping)
Clear as water, clear as frost and dew.
The Six Dynasties was the heyday of landscape painting, which is based on Zong Bing's Preface to Landscape Painting. "Sages contain Tao _ things, and sages are ignorant. As for the landscape, it's interesting. Based on Xuanyuan, Yao, Kong, Guangcheng, Dawei, Duzhu, there must be a trip to Kongtong, Jishou and Dameng. Also known as the joy of benevolence. The sage teaches by himself, and the sage knows it. Mountains and rivers charm Taoism in shape, and benevolent people enjoy it. Isn't it? " Therefore, "painting colors" and painting landscapes are the needs of "governing qi at leisure" under the condition that "you can't condense qi but enjoy yourself". Even in the Song Dynasty, Guo's "Lin Gao Quan Zhi" even said: "The ambition of Lin Quan, the companion of smoke and clouds, lies in dreams. My eyes and ears have been cut off, and now I have a wonderful hand, I am relieved. Instead of going to dinner, sit in the valley of poor springs. Apes sing birds and hear them. The mountains and rivers are dazzling. This is not satisfactory. It really won my heart. The reason why your husband painted landscapes in this world is also the original intention. " Throughout ancient and modern times, the style of painting has changed, excellent works have emerged one after another, and schools have emerged one after another. Although the shape changes from generation to generation, people who look at it or take pictures are not confused by the shape. The direction of the shape is an object, but they don't know what it looks like because of the achievements of the environment. Or you don't show off your luck, you want a hook, but you don't know what pen and ink are, so you can guide it according to the situation; In other words, you create an unyielding environment for sex, turn it into a secluded environment, and make it full of ambition and feelings. Li Chengzhi's smoke forest is clear and spacious, which makes the viewer look at it from afar, and Shi Chuanqi's people are detached from things. Ni Zan's secluded trees and rocks make tourists clean and muddy, and are refined because they are far away from dust. Although the paintings of the four kings in the Qing Dynasty are far from vitality, the best ones are quiet and peaceful. This is all because they are ambitious and happy. Therefore, the pen is free to move, and the environment is born of emotion. Heart is right, true feelings are deep; A calm mind is a steady pen, and honesty is a thick border. It is the reason why feelings are flying, thoughts are mighty, paintings are out of account, and water is sinking that makes this show come true.
Yu Jianshi is a landscape painter. When I was young, I studied under the famous painter and grandfather Wang Songyu, and then went to Tianjin Academy of Fine Arts for further study. After more than ten years, he learned from others, mastered painting, literature and history, and made great achievements. However, his temperament is sloppy, and he enjoys himself in calligraphy. Creating the inner world with a normal mind, although the scale is simple, can find wonderful things, create truth, and solve it by yourself when you see it.
Yu Jianshi described his ambition in "Still, Zhai Yu Xu": "I want wonderful poems, and I am inexhaustible and motionless. Silence is the reason for group movement, and emptiness is the reason for accepting all realms. " Yu Youren loves Dongpo's Ci. Although he talks about poetry, he also talks about painting. Throughout the Chinese and foreign classic paintings, we can see that most of them reveal a little religious flavor, which is the so-called quiet, silent and eternal flavor. However, the silent people here are not silent and lifeless. It is also right to listen to the silence of thunder in a silent place. Mr. Dongpo's long-term participation in meditation has deepened samadhi, so he can come up with this language. In fact, looking closely at the fine landscape system in the Five Dynasties and the Northern Song Dynasty, many people already have this realm. However, Mr. Ji Yunlin of the Yuan Dynasty knew this very well. His paintings are quiet and ethereal, and then he opened up a new realm, and finally reached the first realm of literati painting, as clear as water and as clean as frost. Although I am not sensitive, I want to pursue this situation. "Supposedly, he took the method, Yunlin a pulse also. Looking closely at his paintings, those who send people away take a mountain and a half corner of Taihang Mountain and write about the secluded village in a simple and steady style. Or three or five spiny poplars at the cliff head at the foot of the slope, bleak and independent; Or there is fog in the mountains, and the waning moon hangs alone. The Xuan Ji of his creation, clear brushwork and simplicity of taking images make the spirit of tranquility and detachment stand out from the paper. His paintings focus on stillness, but its stillness is not limited to stillness, stillness, nor empty stillness. Empty stillness is also mysterious. Xuanzhe, mysterious and secretive, can be stationed by emotions; Quiet people are ethereal and lonely, and are nuanced by things. Therefore, those mysterious and quiet ones have cleared my illusion and contained eternal images. Most ancient masterpieces are meaningful because of the simplicity of pens and the beauty of ink, which is why this weather is not unique to Yunlin, but unique to it. Looking at Jianshi's paintings, the ink color is clear, clean and thick, such as the blue of water and the net of frost, which can be described as catching up with Yunlin. The audience should take this for granted.
The vastness of the mountains and rivers, though hard to come true, is only an inch. Yu Jianshi's modeling is mainly based on composition, emphasizing the vertical and horizontal opening and closing of the layout. There are only a few stones displayed with a horizontal pen every time, and the momentum environment is all out without seeking changes in shape and quality. Images of trees and grasslands living in houses according to points, lines and areas need to be summarized and poked at will, which adds a different interest to Shan Ye. Its shape is simple and atmospheric, and the scenery is unremarkable. But it was written in calm and clear ink, which became its silent and mysterious dreamland.
Try to look at today's landscape paintings. Macro-structure and giant system are all made for exhibitions, and both scale and inch method are on the market. Or Yamazaki's water is lovely and complicated to dye; Or take the suburbs of Lin Yuan and copy the scene; Or become famous, with a pen as the body; Or show off skills, do evil and waste pen and ink. I don't know anything about landscape painting, so don't downplay it, it will distract people's attention. Therefore, there are very few people who can inherit the fine heritage of ancient sages and sages and are willing to be quiet and lonely. However, painting is inherited and history is continuous. Yu Jianshi is a person who knows calligraphy and painting. He is in his prime and his success is limitless. —— Wang Ping 2007- 10- 12 Guinness Guest House in late autumn.
A Brief Comment on Painting (Zhang Chi)
A noble heart is far-reaching, and all kinds are from the heart.
If words convey the charm of mountains and rivers, landscape painting has its own expression method from the beginning of its establishment, and it is more based on the Five Dynasties and the Northern Song Dynasty, or the momentum shakes people's souls or is beautiful and detached. Landscape painting has both self and self. If it belongs to Mr. Jianshi, it should be said that it is a ego. His words: "Landscape painting is a statue of the country, a self, not the externalization of the author's self. If it is this tangent point, the painting is more serious, and I am not sensitive and willing to practice. " Mr. Shi Jian can be described as modest in words, and his practice can be described as endless writing and a lot of gains. From many of his works, we can see that he likes to draw mountains and rivers, which are all shown in his works, and his integrity is on paper. Mr. Jianshi's landscape is based on the statutes of Hao Jing and Fan Kuan, with the charm of Ni Yunlin and Dong Qichang as the foundation. In this combination, he tried to find the humanistic value belonging to the contemporary social system, and made unremitting efforts to examine contemporary painting and develop personal painting from the perspective of art historians. In Mr. Jianshi's works, we can also see that he benefited a lot from his ancestors such as Jianjiang, but his overall landscape momentum is catching up with the Northern Song Dynasty. In the face of his works, we can simply speculate that the huge, looming rocks or mountain shapes in the picture have changed from clear to fuzzy in his mind, and are no longer limited by concrete reproduction, and can be freely played and created. Calm and spectacular, it makes people sigh. This visual impact is not inferior to the landscape of the Northern Song Dynasty, but it may be worse in emotional excitement. Let's start with the complexity of the table structure. In Mr. Jianshi's paintings, this complexity not only refers to the specific form, but also changes because of brushwork and transformation, which also turns the viewer's attention to the composition of the picture itself. The abrupt structure composed of lines and blocks is not an unchangeable copy of the landscape in the Northern Song Dynasty, but a refreshing creative form. In his picture, there are different stages of movement from shallow to deep, and the whole composition has a clear arrangement. If the beauty lies in the fact that it has achieved the characteristics of modern giant mountains and rivers, it is still quite popular in China.
The rock surface painted by Mr. Jianshi has his own unique experience and feeling, and the sense of jumping is obvious. However, in some works, he depicts magnificent mountains and rivers with blocks, which makes this painting style have obvious geometric characteristics, but it can still be displayed in harmony with the breadth and materiality of Song-style mountains and rivers. We can regard it as an abstract block composition in landscape works. Similarly, we can also regard it as a pure geometric modeling. Based on the inherent visual experience, Mr. Jian Shi's works can also be said to be an exchange between man-made order and natural order. This natural order may be what China people call "reason". Only when it is reasonable can it reach people's hearts directly. Under the control of "psychology", his artistic form and his ideal landscape image gradually merged into one.
It is obviously inappropriate to say that Mr. Jianshi only captures landscapes in his works. He is clearer than other contemporary landscape painters in expressing spiritual and humanistic values with style elements. If you want to ask whether his works convey the aura and essence of the landscape, you should look for and feel any natural charm that can be captured from his pictures. In the creation of pictures with mountains and water, the description of water is infinitely expanded. Although the mountain is wide and thick, the picture is a little uneasy because of the unfolding of the middle scene, thus creating a feeling of freedom in space. Mr. Jianshi once said that he was guided by the charm of Ni and Dong. Of course, this is his ideal. Ni Yunlin wrote about escaping from his chest, but it was not hasty. Compared with their predecessors, they are also more rigorous and have a quiet and empty heart. Dong Qichang, on the other hand, advocated "retro". He combined the exquisiteness of the Song people with the frankness of the Yuan people, with a strong philosophical meaning. The most impressive thing about Dong Qichang's paintings is "clumsiness". This is an aesthetic refinement and praise. I think some parts of Mr. Jianshi's works are quiet and ethereal in Ni Yunlin, but what is more prominent is that he has a sense of "clumsiness" to some extent, so his brushwork and composition are so straightforward, naive and simple. However, from ancient times to the present, the theory of verve and ci has been vague, which actually guided later painters. We feel that Mr. Jian Shi's landscape works are not so much stepping into the picture as being thoroughly understood physically and mentally. The landscape form and dynamic trend formed by the opening and closing of reality and reality have a kind of self-discipline in his works. Because the concept of mountains and rivers in Mr. Jianshi's mind does not limit the inner space of mountains and rivers, nor does it limit his inner breakthrough. Therefore, in his works, landscape has become a vibrant schema, which is integrated with Dahua, keeps pace with the context and breathes with the national flavor. The landscape weather in Mr. Jane's mind and the majestic charm of his landscape have reached the aesthetic realm of both mind and hand. The so-called ignorance of image, in fact, all kinds of things are from the heart.
Mr. Jianshi once said in "Don't move, Zhai Yu Xu": "The source of everything is poor, and the mountains and rivers are exhausted." Looking at his works, I can feel that this statement is true. However, his exploration on the avenue of art was not delayed by various social problems, and he encouraged himself by the sages of past dynasties to feel that "generals want to do good things, but they can't bow to them reluctantly" and took this as a high standard and pursued endlessly. I believe that the painting history of later generations will eventually have an artistic coordinate belonging to Mr. Shi Jian.
works appreciation