和而不同 仁泽天下——记艺术国际联合会主席 徐建君
"Every age needs its own great men, and if there are no such men, history will produce such men." (Karl Marx)
Anyone who writes for the world must first have a heart that can be handed down to the world. 【 Canon 】 Qing · Li Yu · "Idle Love I Mail"
Mr. Xu Jianjun, as a leading figure of the contemporary Xuanyuan Zongshi Fu School, inherits the aspiration of the Chinese context, has the heart of creating the handed down literature and painting, pursues the sage, follows The Times, and establishes the Zongkai School.
Ode to the Yellow Emperor is his representative poem:
Ode to the Yellow Emperor
The Chinese Yuan ancestor honored the Yellow Emperor
He Haoyue lofty commendation
Five thousand years of virtue
The land stretches for 90,000 miles
Celebrate this dream country flourishing
Ancient first home Wangchang
Moving ground bridge mountain three dedication
Civilization caused this deficiency
Create and invent eternal achievements
Agricultural medical weapons and transportation
Calculate the calendar within the study of longitude
A spear and arrow bow
Conquering the east and chasing the deer
Cause the letter of contract to reunite the army
Chiyou pacifies nine Li Ding
Regulate the law and act in harmony
Chinese painting with a long history is not only the artistic treasure of China and even the East, but also a bright pearl in the treasure house of world art. It is not only deeply loved by Chinese and Orientals, but also deeply favored by people from all walks of life in the West. Compared with the western painting that the West is proud of, Chinese painting also has its extensive and profound cultural connotation and unique national style.
Traditional Chinese painters require multi-disciplinary knowledge, profound cultural cultivation and noble moral sentiments. Chinese paintings not only reflect the significance of literature, the depth and mystery of philosophy, the solid accumulation of history, the rich and colorful nature and the ever-changing weather, but also reveal the wisdom and true temperament of the painters. Picasso once praised Chinese painting enthusiastically: "When it comes to art in this world, the first is China." The magic of Chinese painting is that it looks like nothing, but it is everything."
In the long history of Chinese painting for thousands of years, the peak is repeated, and the masters come forth in large numbers. After the founding of the People's Republic of China, especially since the reform and opening up, Chinese painting has ushered in another spring. Many courageous and talented painters have gone deep into life, extensively absorbing the nutrition of Eastern and Western painting, inheriting ancient methods and daring to innovate, which has greatly promoted the development of Chinese painting. On the occasion of the celebration of the United Nations Chinese Language Day at UNESCO Headquarters, we would like to present to the world and abroad the outstanding and talented Chinese brushwork painter Xu Jianjun.
Xu Jianjun, descendants of Emperor Xuanyuan, genealogy ranking (poem generation) founder of Xuanyuan painting school, word Dao Tuo, number Beidou inkstone master. He is now Deputy Secretary-General of the United Nations World Cultural Diversity Organization, President of the International Federation of Art, non-genetic inheritor of the Ministry of Culture, member of the Chinese Artists Association, Academician of the Russian Royal Academy of Arts, President of the Institute of Oriental Chinese Painting, visiting professor of the University of Oxford.
Xu Jianjun was born in Zhuji, Zhejiang Province in the 1960s into a family of painters. His father, Mr. Xu Haibin, was the founder of Huansha Calligraphy and Painting Society. When he was young, he was influenced by the older artists of the painting and calligraphy society. After being accepted as a disciple by Mr. Zhu Baoqing, he founded the Xuanyuan School, whose works of poetry, books, painting and printing are integrated into each other, and is the leader of the current Chinese literati painting. He specializes in calligraphy and painting, the poetry is simple and elegant, sustenance high, calligraphy advocates the integration of calligraphy and gold and stone, good at ink and brushwork, its seal cutting from the north and south schools, the printing style is strong and wild, very modern. He synthesized poetry, calligraphy, painting and printing, and made use of the essence in theoretical research and creative practice, forming his own unique artistic style. From the traditional freehand painting point of view, literati painting pursuit of artistic conception, not for the lattice method, ink is not much, but rich in changes, most of the poetry, calligraphy and printing appear, pay attention to the interest of calligraphy.
Xu Jianjun's calligraphy and painting takes the bone method and the brush as the inner quality and the writing as the law. His teacher, Mr. Zhu Baoqing, said after seeing Xu Jianjun's huge works of "Carefree Travel" : Xu Jianjun's paintings are vigorous and open, with the momentum of Pan Lao. And for the "Xu Jiejun stone calligraphy and painting collection" respectively wrote "the great responsibility of heaven to Si Ren also" and "North Hebei empty group", predicting that it will become the mainstay of the painting world. Xu Jianjun proposed that the essence of Chinese painting art is that point, line and block are the basic constituent units, and everything is composed of point, line and block, and the inner quality of point, line and block determines the level of artistic realm. It is called "use the essence and macro". In this regard, the traditional literati paintings of Wang Wei's landscape, Su and Wen's bamboo stone, Mi Fu's Yunshan, Liang Kai and Shi Ke's brushstroke, Huang Gongwang, Ni Yunlin and other Yuan people's dry wood and bamboo stone, as well as the literati paintings of the Ming and Qing dynasties all have the above characteristics.
Qing Li Chonghua "Zhen Yizhai poem" cloud; Good freehand, meaning to move and its God is eager to come, meaning to do and its God he boundless, this silent into, there is a person. Chinese flower-and-bird painting has been coming since the wind of Qingteng Baiyang, but those who can really achieve have different hearts and emotions. "Meaning movement" from the heart of a thought, this thought must be different from ordinary people's "sense", in order to become this unique "meaning", by "meaning" drive pen line ink, on the paper must not do, stop must not more. This is the real state of freehand painting creation. Therefore, freehand flowers and birds have high requirements for creators, and simple ink is not simple and easy. The full effectiveness of pen and ink for "meaning" is related to the final success of the work, so the skill of pen and ink is a very important requirement and a necessary guarantee for the success of creation. The final requirement of the work is "God", "God" appears on the paper, then the shape of the painted object has been secondary, and the important thing is to be God-shaped object, transcendent form. The "god" of the object and the "God" of the author are one.
In the development of brushwork Chinese painting, there were eight strange families in Yangzhou after Qingteng, Baiyang and Eight Mountain people, there were sea families at the end of the Qing Dynasty and the early Republic of China, and Wu Changshuo, Qi Baishi and Pan Tianshou were famous for brushwork flowers and birds in the 20th century. Later, Wu and Pan influenced the development of Chinese painting in Jiangsu and Zhejiang, while Qi played an extremely important role in the development of northern Chinese painting centered in Beijing.
Influenced by his teacher Zhu Baoqing, Xu Jianjun's freehand Chinese painting is different from those of the three schools in the form of brushwork and aesthetic meaning, showing obvious personal characteristics, characterized by the wind spirit and brushwork simplicity. Among them, the success of Wu, Qi and Pan are related to their respective achievements in using calligraphy. Wu Changshuo took Qin's Stone Drum Writing as a breakthrough, Qi Baishi focused on Wei and Han tablets, Pan Tianshou wrote oracle bone inscriptions and Jin Wen Han tablets. The three are characterized by heavy, resolute and concise brushwork, showing the form and power of large brushwork Chinese painting.
Xu Jianjun's freehand Chinese painting inherited the strict requirements of the former sages for the quality of the brush and ink, but was not limited to the expression of the brush and ink itself, but to match the brush and ink with the mind, and express the bold and heroic feelings of the literati in the simple and simple taste of the brush and ink. Nowadays, many freehand flower and bird painters learn from Wu, Qi and Pan and go into the wrong area, thinking that their brushwork characteristics are exaggerated, thinking that freehand brushwork is the layout of brushwork, and the lack of the inherent meaning of brushwork, and some painters think that freehand brushwork is to freely "free" dance with brushwork, completely ignoring the inherent strict requirements under the simplicity of freehand brushwork.
Xu Jianjun's paintings are high in meaning and are intended to be outside the image, so they will not make too much carving of the image, and at the same time, they will be controlled by meaning and feeling, not wantonly, and have their own depths. Its pen and ink xiao scattered so no stagnation, simple away from complex. No matter flowers, insects and birds, there is a kind of escape, this escape is the inevitable expression of people away from the common place. Looking at his paintings, the dull interest overflows out of the paper. Song Jiang Kui said, "Carving hurts qi, perfunctory and explicit." If it is despicable and not delicate, it is the fault of carving; Foolishness without compromise is perfunctory." Xu Jun's creation pays attention to the direct expression of the mind, and does not seek to cater to others, so he presents an independent personality, which presents a very valuable sentiment of literati painting at present.
Shi Tao said: "The painter, from the heart also." It shows the essence of Chinese painting. Painting expresses the painter's thought and spiritual realm. Xu Junzhi's paintings have the feeling of life, the attitude of observing things, the means of finding beauty and expressing beauty, and the feeling of life. As said by Shi Tao, "painting receives ink, ink receives pen, pen receives wrist, wrist receives heart", heart receives all things, all things receive heaven, heaven receives Tao, Tao is natural, thus, "my Tao is consistent". Xu Jianjun's paintings fully demonstrate the spirit of Chinese painting.
Mr. Xu Jianjun believes that brush and ink is a unique set of formal language system formed in the evolution of Chinese painting tradition, a part of the Chinese cultural system, and a unique Chinese-style visual expression in the world. The reason why it is unique is that form, color and composition are the common elements of painting all over the world, and Chinese painting is the same. However, pen and ink are unique elements in Chinese painting, which are absent in the traditional paintings of other peoples around the world. Therefore, this is a unique Chinese visual aspect of the spirit of expression, the Chinese cultural spirit in the traditional painting has a considerable proportion of this unique visual language to express.
As a Chinese painter who inherits and carries forward the tradition, Xu Jianjun continues to carry forward this unique factor, bringing the cultural cultivation of poetry, books, painting and printing into the process of painting creation, and fully embodies the cultural spirit of Chinese people in the new era in the traditional painting creation.
Xu Jianjun agrees with this paragraph of Mr. Chen Shizeng: "The elements of literati painting: the first character, the second knowledge, the third talent, the fourth thought, with these four, can be perfected." Wu Changshuo's brushwork is "heavy, clumsy, large", "painting qi does not paint shape"; Qi Baishi's brushwork is "straight and vigorous", "generous and simple"; Huang Binhong's pen and ink "thick and rich" until "pure coke ink"; To Pan Tianshou's "ancient Gao Hua", "blindly bully", Zhu Baoqing's "pen and ink are strong and primitive, fresh and elegant", to Xu Jianjun here is "original clean source, reform and innovation", one line of succession, with a consistent.
The common trend of this elite traditional main line identified by the traditional artists of the 20th century is the further independence and liberation of Chinese painting dots, lines and blocks of ink. The correlation between brush and ink and the body of the object is looser and more general, the brush line and brush stroke are further enlarged, and the small brush and ink tend to the large ink, forming a self-weight rhythm independent of the object image on the picture. This independent rhythm is the beauty of the pen and ink language itself, that is, the beauty of "writing", not the beauty of the object. The strokes and inks under the painter's hand are like musical notes. In the movement of the hand and the dominant grasp of the subject's mood, the ups and downs, jumps and twists and turns flow constitute the colorful movement of the whole picture, showing the overall atmosphere of broad and profound, simple and lofty. This is the understanding and publicity of the vigorous and broad national spirit at the higher level of art ontology. It is full of upright and harmonious, simple and restrained sense of strength, revealing the will and expectation of an ancient civilization that has gone through vicissitudes of life to seek the great revival.
From the perspective of both creators and viewers, the sensitivity to the subtle changes in the brush and ink of the picture and the understanding of the overall meteorological style are always the most crucial, the most cultural depth, the least easy to understand and control the hub. Among them, it is particularly worth thinking about that the so-called independence and liberation here is not any kind of independence and liberation of pen and ink, nor is it just new and interesting, but independence and liberation consistent with the common personality ideal and ideological orientation of the intellectual elite. The trend of modern brush and ink represented by Lv Fengzi, Wu Changshuo, Qi Baishi, Chen Shizeng, Huang Binhong, Pan Tianshou, Zhu Baoqing and Xu Jianjun is a reversal of the trend of light and weak in literati painting at the end, an admiration for the ancient strong style recorded in Han and Wei inscriptions, and an aesthetic response to the great changes in modern Chinese society. It is a symbol of the group psychological expectation of the Chinese nation self-reliance and self-improvement.
Xu Jianjun, as an outstanding representative painter of Chinese contemporary taxi men and literati, has a simple and strong feeling of home and country, which is fully reflected in his poems and paintings.
Mr. Xu insists on his own cultural ideals and the vitality of traditional Chinese painting. What is particularly valuable is that he has full cultural confidence in the new cultural context.
Based on the overall relationship between heaven, earth and man, Mr. Xu established a powerful image thinking system and aesthetic system, and established the image modeling law with the Chinese spirit taking truth as the path and the structure of pen and ink as the core.
Mr. Xu is well aware of the deified image between the real image and the abstract expression of Chinese painting, and between the "real image" and "abstract", just as Zong Bing said, "the sage contains the Tao and reflects the object, the sage has a taste of the image", and has always maintained its own national traditional symbols of The Times. In his creation, he often reverses the brushwork, the front changes into the paper, 10,000 milli, deep house creases, hairpin strands, cones of sand, worms gnawing wood, iron casting rust and other methods, the pen line is like a thousand miles of clouds, long live withered vine, strong and thick, the point is like a mountain falling stone, thirsty steed running to the spring, the old, scattered heart, reflecting the original stone tablet Qi full of signs, works have a strong sense of The Times. Thus, Mr. Xu's painting also fully demonstrates the original contemporary Chinese painting "pen and ink image spirit".
The influence of Chinese calligraphy on Chinese painting has always been emphasized, because books and paintings are rhythmic combinations of points, lines and blocks, and have a common nature and theoretical basis, as well as a common aesthetic taste and appreciation standards. Therefore, books and paintings penetrate and deepen each other and complement each other. "Bone method with brush" has become the most important component of the expression of Chinese painting, and the influence of Chinese poetry on Chinese painting has always been emphasized, which indicates that poetry and painting express similar artistic conception and the same spiritual realm. It contains the common national character, the feelings of The Times, and the philosophy of life. Poetry and painting have become the basic requirements of Chinese painting, and the combination of poetry, book, painting and printing is a major specialty of traditional Chinese painting, which is different from any other painting in the world, and is also the value of traditional Chinese painting.
Benevolence and its righteousness, Tao and virtue, love without wide-ranging! ---- is a nine-word motto for the globalization of art and culture. The Western Renaissance is the Renaissance of pinity, the Eastern Renaissance is the renaturation of human nature. The way of the six arts is to awaken the natural goodness of human nature and the truth of sexual virtue, so that benevolence can spread throughout the community of human destiny. We are in the spirit of "for heaven and earth to establish the heart, for life to establish life, for the sage to continue learning, for eternity to open peace." This is the guiding ideology of the Shiff school.
The ink of Chinese painting is based on the author's emotion, strength and the melting of the pen as a standard. In Chinese painting, the block is the expansion of the point, the point is the volume of the point, the line is the extension of the point, the point is the accumulation of force, the accumulation of force into the line makes people have the sense of life and death, the ancient people called the bone method, the bone of life and death. Mr. Xu deeply felt that the nation is the world. Our nation must represent its own national symbols in order to stand in the forest of world culture. The cultural symbol of Chinese national art is the brushwork that integrates poetry, calligraphy, painting and printing. Only by re-strengthening the national symbol of point, line and block can we examine the new development of aesthetics in the era of Chinese painting art in the 21st century. We are in the historical tide of the great rejuvenation of national culture, the national consciousness is constantly awakening, and the cultural confidence of the Chinese nation reflects the responsibility and responsibility of cultural inheritance for 5,000 years. The strong vitality of traditional Chinese painting is not only the force that promotes the innovation and development of Chinese painting, but also the core force that promotes the innovation and development of world painting.
Note: The Petrov Academy of Arts is one of the oldest and most important academies in Russia. It was founded on 28 January 1724 by order of Tsar Peter the Great. In the former Soviet Union, it was renamed the Soviet Academy of Science. On April 19, 1992, the Government of the Russian Federation named it the Petrov Academy of Arts. Since its inception, the Academy of Sciences has covered a wide range of research fields and made great contributions to the development of art and science in Russia and the world. In 1958, Pan Tianshou was appointed as an academician of the Soviet Academy of Arts, that is, the Petrov Academy of Arts is now the Royal Russian Academy of Arts. In July 2016, Xu Jianjun was awarded as an academician of the Royal Russian Academy of Arts.