A few days ago, the author re-read all the works of Sheng Rigi and re-examined every detail. The author found that it was different, and there was a harvest of "fine tasting, warm heart".
Spicy and bold colors, smooth brush and ink, vibrant rhythm, all full of surging tension, as if with super magnetic, deeply attract the eyes of the viewer, walk in, nostalgic for it, points, lines, surfaces, interplay, timeless, full of majestic momentum, implicit, surging with the power of capitalization, this is the calligraphy into the brush, is the heart of the pen at the end of the style, this is more artistic talent, life perception, speculative philosophy of the crystallization, the more you look at the more flavorful, the more analysis the more interesting.
In 1957, Sheng Ruiji was born in Daze Mountain, Pingdu, Shandong, grew up and lived around the "Wei Monument" of Tianzhu Mountain, may be affected by the environment, may also be born with artistic genes in the blood, when he was a teenager, Sheng Ruiji liked art, decades, gradual, Sheng Ruiji can write, good at painting, and love traditional culture, is a non-famous powerful artist. The so-called non-famous, because looking at the whole country, he does not have the fame of Fan Zeng and Huang Yongyu, the so-called strength school, is because he is calligraphy and painting Qi Xiu, and in the painting and calligraphy shine presents a high-quality, elegant, clean texture of the artistic appearance, presumably, it is precisely because of non-famous, less senseless socializing, less senseless harassment, only a little more life thinking, more calm and relaxed purity, it is precisely in this way that a strong artist has been achieved.
Calligraphy, Sheng Rui Ji was personally taught by Liu Bingsen, later, widely collected and contracted, integrated and penetrated, the true grass seal is subordinate, the five-body general interpretation, especially the Lishu, Kaishu is famous, in 1980, he was invited to Tuo Tianzhu Mountain "Wei Monument", highly praised, in 1984, he designed the Tianzhu Mountain Moya Stone Inscription Pavilion on the spot, becoming a classic. Sheng Ruiji's painting first learned He Shui fa, and when he was successful, he began to travel to the north and south of the great river, and the gods met many famous masters, and even received the guidance of Xu Qingping, the son of Xu Beihong, based on Xu's family learning, chasing the rhyme of the great master, and gathering the style of the master. However, Sheng Ruiji is not stuck in one family and one vein, but rather, the characters, flowers and birds, animals, and landscapes are intertwined with each other, and they are integrated, and they mainly attack flowers and birds, and flowers and birds become the basis of outstanding self-reliance.
When Sheng Ruiji established the Chinese flower and bird painting as the main direction of attack, he began to consciously study traditional culture, and even, poetry, song, he dabbled deeper, because there is a dialectical relationship between flower and bird painting, there is also the temperament connotation of flower and bird painting, at the same time, Sheng Ruiji also systematically and deeply studied traditional painting, he took the method Wu Changshuo, Qi Baishi, Pan Tianshou, Li Kuchan, explored the pen and ink skills of Yangzhou Eight Monsters, Qingteng, Baiyang, and also reveled in the characteristics of Lin Liang and Lü Ji, wandering among Xu Jiayeyi and Huang Jia's wealth. Lingering in the past generations of sages, he is very affectionate, but also very diligent, after going up to the tall building, suddenly looking back, the merits of the past generations, Sheng Ruiji "closing as in front of the eyes, let go can be at the bottom of the hand", hundreds of steel forging and casting into a solid pen and ink skill.
Calligraphy for Sheng Ruiji, that is desk kung fu, he has decades of writing skills, calligraphy and painting Qi Xiu has always accompanied his artistic life, so inadvertently, the lines of calligraphy have become the bone support of his paintings. Looking at Sheng Ruiji's paintings, it can be found that his forms, lines, ink rhymes, fun and other forms of expression are very written. In the paintings of "Fragrant Overflowing Qingyuan", "Spring Full of Qiankun", "Ten Thousand Purple Thousand Reds", "Bullfighting Under the Banana", "Sunshine World", "Red in February Flowers", "Dangui Fragrance" and other large-scale paintings, stroke after stroke is all born with the change of lifting, turning, and power, and every ink is also transitioned in the rhyme of the echo, thousands of miles of clouds, the brush meaning of the long-lived withered vines creates a thick, open and closed picture, bold and exciting, the momentum is rushing, that is, maintaining the figurative meaning of the off-painting, but also sublimating the magic of the image It was as if he had seen Wu Changshuo's strength, Pan Tianshou's strange indulgence, and Qi Baishi's frankness. In the "Autumn Real Map", "Rich and Auspicious", "Birds and Flowers", "Motherland", "Not Like Spring Light Victory Spring Light" and other small freehand works, the body of the book, the pulse of the air, the pen is broken, stroke by stroke, bit by bit flowing from the bottom of the heart, fresh and flexible, flowing naturally, a flower and a leaf, a tree and a stone, all of which are wonderfully written and flowered, making people pleasing to the eye and fascinated. Entering the essence of tradition and expressing new ideas, Yanran saw Chen Banding, Wang Mengbai, Wang Xuetao and others. Look at "Furu", "Red Jade Mantang" and other works that combine work and writing, the color is in the flowing lines, fresh and elegant, rich and moist, each petal, each group of branches and leaves in the pitch, contrast, Gu Pan, flexible and vivid, very modern, very rhythmic, in the picture, pen and ink form, color blending, boneless techniques are unified into one, the workmanship is still meaningful, the meaning is subtle, which not only reflects the interest of pen and ink, but also highlights a unique aesthetic.
In calligraphy-based paintings, Sheng Ruiji also attaches great importance to light and shadow, color, perspective and other new era artistic expression techniques, especially paying attention to strengthening the control of color and ink and color, for this reason, he has conducted in-depth and systematic research, and made effective practices. If "painting with books" and "the same origin of calligraphy and painting" reflect sheng ruiji's high-quality lines and pen and ink interest, then the clever use of color and the high degree of control of ink and color make his paintings full of strong visual beauty and elegant decoration. Sheng Ruiji's works, whether they are arranged at home or decorated in the palace, are bright because of their vivid colors and inks. Through Sheng Ruiji's works, it can be found that he is good at adjusting the rhythm of the picture through rich colors, such as the work "Red Jade Mantang", he uses symbolic techniques to dye the Taihu stone like a chicken blood stone with a carmine halo, the color sense is spicy, the tone is very calm, not only emphasizes the rich sense of color of the Taihu stone, gives the Taihu stone a rich imagination, but also breaks the traditional literati painting with gray and black tones to depict the Taihu stone, the overall presentation of a strong sense of innovation. The magnolia that forms an echo relationship with the Taihu stone shows a clear, clear and vivid posture in the contrast between the strength and weakness of the big red and pure white, so that the magnolia is full and full in the background of chicken blood red, the posture is charming, the beauty is pure, and the beauty is otherworldly. Sheng Ruiji is also good at playing the multicolored effect of ink to enhance the vividness and coordination of the picture, such as the work "Dangui Fragrance", he uses the pen, can be majestic, can be humble, can be sideways, the pen is hairy, ever-changing, with ink, there are smooth, there is wanton, there is old spicy, meteorological splendor, charm, and then look at the relationship between black, white and gray, harmonious and natural, unrestrained, volume, sense of space, everything is generated in the ink rhyme. Of course, the fusion of ink and various colors is also a good play of Sheng Regis, such as the work "Not like spring light wins spring light", he dominates the picture through the very pure color of "red", subtle, dignified, elegant, all emphasized by a large area of warm color blocks, and then, he easily plays the effect of color and ink rhyme cold and warm contrast, so that the fiery red flowers are particularly prominent in the veins of stone blue and stone green leaves, in the picture, color, form, and qi rhyme are reflected in each other, showing vitality , the spring spirit, as if with a refreshing fragrance.
In a sense, Sheng Ruiji's use of color and ink is similar to Qi Baishi, of course, the author is not saying that Sheng Ruiji has reached the artistic height of Qi Baishi, but that in terms of color and ink, Sheng Ruiji and Qi Baishi have a surprising similarity. In his later years, Qi Baishi learned Wu Changshuo's "safflower ink leaf" to realize the decay method, which has a very loud symbol, that is, Qi Baishi completed the transition from the traditional literati painting "ink five colors" to "red flower" and "ink leaf" on the basis of Wu Changshuo, and in the traditional literati painting represented by Wu Changshuo, he added a rich "color" in a transformative manner, adding a new form to the traditional literati painting, thus achieving Qi Baishi. If you refer to Qi Baishi's use of color and ink and color, on the contrary, Sheng Ruiji's understanding of color and the control of ink and color, it can be found that Sheng Ruiji's focus is on the "shape and divine foot" constructed by the new era of expression techniques as the main way of expression, and on this basis, through superb pen and ink techniques to express ink rhyme, to achieve the meaning of catching up with traditional literati paintings, and through the high degree of control of color, extract beautiful colors in the picture, so as to distinguish between strength and weakness, spatial conversion, color relationship, Rhythm and rhythm and other aspects to achieve interesting, flexible, harmonious visual effects, showing the realization of the symbol of contemporary public aesthetic judgment standards of "both divine form" and "vivid rhyme", which should be the brilliance of Sheng Ruiji. In this regard, Sheng Ruiji seems to get some kind of divine revelation, guiding him to continue to move forward in the color and ink five colors, and gradually formed a unique artistic style, it may also be that Sheng Ruiji really found his own unique sensitivity to color and ink rhyme, and then, with maximum diligence and effort, to deep ploughing and digging, thus forming a blend of ink and color, harmonious freehand character, but no matter what, in time, he will be able to shine in the continuous breakthrough and perfection.
Pen and ink symphony in the world of writing, color and ink shine in the colorful life, decades of Danqing drunkenness, Sheng Ruiji all the way to specialize, confusion accompanied by the joy of willow dark flowers, struggle accompanied by the transformation of the snow thick, indifferent, he is determined and persevering, quiet, he poured his heart, there is the "end of the world" of the cold, there is the loneliness of the lonely mountain high-rise, there is also the understanding of looking back, the pen is not quitting, tireless, Sheng Ruiji has created a wonderful art, art has also perfected Sheng Ruiji, the wisdom of the brushstroke poured out the essence of the customs, In the process of reaching the peak, the book is rich, his heart is calm, his color is full of ink, his vision is deep, and his heart is far-reaching.
(Text/Sangan)