Looking at Ma Yong's works, we will unconsciously think of the comparison between flower and bird paintings and poetry in the Northern Song Dynasty's "Xuanhe Pictorial Notation" section of "Narrative of Flowers and Birds": "The poet's six meanings are more knowledgeable than the names of birds, animals, plants and trees, and the four hours of the law calendar also remember its glory and dry language, so the magic of painting things is more interesting than here, and the poet is in harmony." ”
Ma Yong's works are exactly like this, birds singing and insects singing, the wind over the branches, full of natural poetry; its magic, especially in the stillness of the movement, the movement of the emotion. Whether it is an ink or a chapter, his paintings are always full of vitality and reverberate with pure breath. Looking at his boneless flowers and birds paintings, the ink falls into color, the water is interesting, and the color and ink shine together, full of vitality, which can be described as "dignified and miscellaneous, strong and graceful". These works are based on folded branches, not roots, but the branches are next to each other, the flowers and leaves are obliquely out, and the view is clear and easy, and it is quietly displayed without waiting for the surprise.
——Wu Yongqiang (Professor, Sichuan University)
Ma Yong: Zi Pingqiao, born in Chengdu in 1975. He is a member of the Sichuan Artists Association, the deputy secretary-general of the Sichuan Chinese Painting Society, the special painter of the Chengdu Academy of Painting, the visiting professor of the School of Fine Arts and Design of the China-ASEAN Art Academy, and the secretary-general of the Flower and Bird Painting Art Committee of the Chengdu Artists Association.
Painting, raising birds, playing the piano, riding horses, walking dogs... Ma Yong inherited the chengdu people's playful and playful nature. Moving in silence, emotion in movement. People are like this, so are their works, immersed in the fertile soil of traditional culture all year round, a lot of study of the spirit of pen and ink, prompting his boneless flowers and birds, grass, wood, insects and fish to be elegant and natural, in this rolling red dust, people are refreshing. The picture is full of frank and restrained spirit, and it also responds to his thinking about tradition and contemporary.
Chengdu people can play, Ma Yongna is a player among players. The studio is Ma Yong's museum of collections, showcasing his wide range of hobbies: pipes, calligraphy and painting, bird cages, books, guqin... These hobbies are subtly cultivating the mind, and at the same time, the qi is through the ancients. Ma Yong often said that writing and painting does not have to be deep, the truth in the painting, the meaning in the words, honestly show it is moving enough.
Ma Yong's green leaves, idle flowers, strange stones, and small insects, there is no complex atmosphere, no excessive color modification, only a faint ink, rhymes in elegance, and the simple picture is full of fun, which is obtained by long-term observation, sketching and understanding. The sense of pleasure and leisure revealed in the picture is a kind of philosophy of "spring with things".
The empty background and the single shadow of the insects make the viewer suddenly lonely. Zhuangzi described the natural habitat of grass, wood, insects, and fish, saying that they "all give birth to temptations, but do not know why they are born; they all get what they do, but they do not know why they get it." In Ma Yong's boneless paintings of flowers and birds, we witness such a state. The charm contained in the painting reveals the style of literati painting.
The simplicity of the picture, the more realistic the processing technique, the quieter, the more independent, the more attractive the effect achieved. However, the simpler the painting method, the greater the control of the heart, and the more the rhythm of painting needs to be managed. Ma Yong's paintings seek contemporary expression on the basis of tradition.
Ye Ruikun (Director of Chengdu Academy of Fine Arts Art Museum):
When you are confronted with a painting, it is your intuition that is searching deep within the painter, and whether it is joy or sentimentality, what you get will go beyond the painting itself. Because a creation from the heart is a long-term precipitation of the painter's thoughts. This is an inexplicable feeling I have when I watch Ma Yong's paintings. He made an ancient form of expression so fresh.
Boneless painting method - as a kind of Chinese painting form, as early as the Jin and Tang Dynasties has been formed, and from the physical objects we see today, it can be clearly that it has been quite mature, and there are a large number of such expression methods in today's Dunhuang Caves. The single -- "Autumn Garden Deer Ming" (Tang Dynasty) is more representative.
It was only in the Song Dynasty, the development of science and the popularity of literati painting that this form of expression based on color was abandoned by a simple cultural concept. Slowly it went into decline. In the season of the Yuan Ming Dynasty, it is difficult to see such paintings. The reason is that this style of painting, which has some craftsman tendencies, cannot enter the category of literati painting.
When this method of painting was gradually forgotten, a painter in the Qing Dynasty, Yun Shouping, made a large number of boneless paintings. It inherits the previous painting method of Tang, but also does not have such a rich color. Appears in a light and elegant appearance. The charm of those hidden in the paintings also reveals the style of literati painting.
In fact, Yun Shouping was originally an orthodox literati landscape painter. In the early years of the Qing Dynasty, the Four Kings, Wu and Yun were the leading figures in the painting world. When Yun Shouping gave up the creation of landscape painting and painted a large number of such boneless paintings, it caused a vibration in the painting world. The number of people learning is also increasing. Therefore, it brought a new and elegant wind to the painting circle at that time...