Huangyada's first work
Liu Jue
In my piano room, there is a painting by Mr. Huang Dingchu. On his 70th birthday, he gathered nearly 20 of his disciples and asked me to play two piano pieces, I played "Flowing Water" and "Pingsha Falling Goose", and then he asked everyone to talk about their feelings, and then talked about the relationship between music and painting, poetry, reading, art and literature that seemed to have no direct relationship with painting, and even the real mountains and rivers, which were actually an important part of the art of enlightenment.
Now that I think about it, his voice and smile are vividly remembered. He probably wanted to use the extremely abstract guqin tone to inspire the disciples' artistic imagination and explore the extra-string sound of traditional Chinese culture.
This painting is a reward for my hard work playing. It is inscribed with a wanton stroke: "The flowing water of the mountain caresses the piano." Liu Jue played and set the first play in Changsha. After every stroke of the piano, I suddenly looked up and saw the violinist in the painting who "waved five strings in my hand and looked at Guihong", and I thought of Wei Jin's demeanor, and I thought of Ji Kang, Ruan Yuan, and Tao Yuanming. I think that the qin in his heart and the realm in his heart probably have the idle, fierce, frank disposition and great freedom of Wei Jin's spirit.
I met him in 2006, introduced by a music friend. At that time, it was only said that he was a landscape painter with a very high realm, indifferent to fame and fortune, hidden in the world, and could visit together. Enter his house, pick incense, look at paintings, and drink tea. He heard that I was playing the piano and loved his paintings, and he was very happy and gave it to him on the spot. In the small picture, the mountains and forests are crowded, and a coat of arms wears a square scarf on his head, with his hands behind his back, listening to the drums and violins sitting on the stone, and his expression is jumping and ready to come out. The gentleman said, "In the guqin, there can be a great atmosphere of heaven and earth and mountains, boundless, everywhere ..."
His paintings, the mountains, water, clouds, moons, trees, figures, rivers and boats on the whole picture, all seem to be moving and alive, and the smoke clouds on paper seem to come to the surface and breathe out; His paintings, which many people say are not easy to understand, have many paintings that seem to be very densely drawn; Up close, it seems that some can't see the end, often large and small, dry and thick long short strips, pen and ink intertwined, like non-image; But from a distance, he found that everything was sufficient, what he thought, what he wanted, what he should have, what he should have; I have experienced all the feelings in the landscape, painted on the painting, vivid, and have to say magical. Mr. Twin Peaks people, especially in his hometown, once had a number of paintings are painting the landscape of his hometown; His paintings are mostly Hunan landscapes, nanyue seventy-two peaks, Dongting qiuyue, Wulingyuan, Zhangjiajie, Xiangxi and so on are involved, mountain spirit Yuxiu. Xu is influenced by Hongsuo, the inscription in his painting is also a must, very resistant, there is the origin of painting, the perception of painting, the perception of Chinese landscape painting, etc., letter and brush, kind and natural, catchy, words like his painting, fire is good-looking, more with the landscape, character pictures complement each other, there is a sense of clouds and flowing water, full of vitality!
He once said: "Chinese painting is neither sketching nor copying, nor is it lingu, the highest realm, we must write the heart, we must paint the landscape in our hearts, the realm and feeling in our hearts." I think this is probably the reason why his own name is "Writing Heart Fasting". He often encouraged his disciples to observe more in the process of painting, emphasizing the need to be enlightened, to be bold, to dare to "break", and to dare to express their inner feelings. Emphasize that we must persist, do not be afraid to take detours, we must adhere to our original intentions, do not rush to make quick gains, slowly draw, insist on painting, require us to see more, read more, think more, move more, from the actual landscape, the paintings of predecessors to find inspiration, from poetry, music to pursue the realm, painting sincerity and true disposition. This way the painting can be good.
He said: "You play the guqin, and you must add the great weather of the landscape to the piano; Write calligraphy first, starting with Huang Tingjian; In the future, in your guqin, there must be the kind of thousands of armies and horses in Huang Tingjian's calligraphy, the opening of the great opening and the opening of the vertical and horizontal, and the realm of thousands of rivers and mountains, and the realm of the spirit of the world alone!" So, starting from reading The Yellow Valley, I began my journey of calligraphy and painting. Later, I focused on hongyi, and Master once said, "Calligraphy, painting, we must start from our own sincerity and heart, write Hongyi, you write well, but that is not the real you; Be sure to let go of your heart and write the calligraphy that you really want to write in your heart, then the words may be your original, your own true face!" Once, when My Husband was recovering from a serious illness, I went to see Master and specially wrote "Ren Zhi Shou", and Mr. Li was overjoyed to see the words, "Good! There is a change, write open, write like this, don't be constrained, write your own feelings!"
Again, I said, "Master, I'm ready to paint, how do I get started?" He laughed: "You, you can paint as much as you want!" Later, he said, "You mainly play the piano, and in calligraphy and painting, you can paint some small, Zen works according to your zen feelings and aesthetic tastes, so as to reflect an ethereal and Zen realm; For your piano, it is a good addition. ”
I finally didn't have the courage to take out a painting and ask him for advice. Every time he changed the painting for his disciple, he always hung the painting on the wall very seriously, looked at it for a long time, sometimes, moved a stool to sit down, looked at the painting, sometimes put his hands in the middle of his glasses, seemed to make a re-separation combination of the painting, sometimes used his fingers to constantly draw left and right, and then took it down, very seriously modified on the student's work, often making different explanations of pen and ink, structure, blank space, thickness, breath, lines, etc. Miraculously, after his modified paintings, the whole picture came to life at once! The mountains seem to be higher and farther majestic, the water seems to flow more and stretch, the clouds seem to be constantly floating, as if they are right in front of you...
Qin Shaoyou once wrote an ancient famous article in Hunan, "Tasha Xing, Chenzhou Hostel", with the sentence "Chenjiang lucky to go around Chenshan Mountain, for whom to shed Xiaoxiang", which seems to be a lament and regret for the high artistic achievements and untimely death of his mentor Huang Dingchu.