Photo/Brooker
As soon as I opened the invitation card entitled "Seeing Micro Knowledge - Chen Peiguang Remembers Jun Aesthetic Art Sketch Exhibition", I couldn't help but be sensitive to how this "micro" and "author" relate to the content of the exhibition.
Speaking of micro, the meaning is small, but there is a beginning, at least the Shang Dynasty oracle bones have its figure, in the final meaning, is hidden, hidden meaning, and can be cited as reconnaissance, small, and even the meaning of nothingness, but also can be extended to subtle and profound.
It is clear and small, but it is also a subtle and profound place, which shows how many unpredictable mysteries are implied. I remember that the Dayin Art Museum, of which Yijun is the curator, once held an exhibition of bowl lotuses with more than 100 varieties, and because of the avoidance of its "bowl lotus" harmonic sound, it specially set up a wonderful "micro lotus" exhibition. So I wondered what gimmicks were hidden in the re-exhibition of Mr. Chen Peiguang and Mr. Yijun, who had been acquainted for a long time.
In October last year, Mr. Chen Peiguang and Mr. Yijun held a joint exhibition of academic sketches called "GeWuzhi". Could it be that because the scale of this work is smaller, it is deliberately titled with the word "micro"? I remember that after the opening ceremony, a group of theorists, calligraphers and painters and college students who gathered at the "Queen's Café" academic seminar expressed their deep appreciation for the kingly attitude of mr. Chen Peiguang's theme creation of the national flower peony sketch and the tree king atmosphere of the national tree ginkgo sketch created by Mr. Yijun.
Soon after the sunshine from the dome accompanied my figure in the grand and exquisite building, it was the jin'ao aesthetic life exhibition hall on the first floor that was newly opened for this exhibition and intended to create a unique atmosphere for the new year. Because I arrived earlier than the agreed time, I was able to quietly appreciate it, and I never expected that this was not a big, but not a small exhibition hall, and the works on display were only eight sketches.
For decades, I have seen many exhibitions of calligraphy and painting on large and small occasions, and even though I had imagined before I came here that the word "micro" might mean that the number of works was so small, I was greatly surprised that it was so small. Who would have dared to think that an exhibition specially organized for two painters would only exhibit eight paintings, and directly doubted whether there was another exhibition hall hidden.
Several old painters who arrived later, also shocked to drop their jaws as if they could not return to God, even said too unexpected, an exhibition, two people, eight paintings, must be unprecedented, it is difficult to have come in the future, directly subvert their cognition, simply created the most in China, even if it has not been in other countries in the world, it shows the unique creativity of the organizers and curators, and also sees the extraordinary courage of the two authors who have been on the battlefield for a long time.
The exhibition, hosted by Jin'ao Aesthetic Life Museum, undertaken by Zhizhi Aesthetic Studio, co-organized by Phoenix.com Jiangsu Art Channel and Nanjing Jiuxun Cultural Development Co., Ltd., was designed and arranged by the team led by two well-known curators, Mr. Takagi and Fang Wei. Equally chic and unexpected, the entire exhibition hall did not take the inertia of the background tone as the usual festive atmosphere because the exhibition date spanned New Year's Day and the Spring Festival, but directly connected the upcoming spring to the Yangchun March at the end of the exhibition with the usual juice green as the background.
These works with the shape of a ruler and a fan, in an ancient chair, an ancient case, a porcelain vase embellishment, complete through the wide floor-to-ceiling glass echoing the surrounding sunshine and flowers, can be described as exquisite in the exquisite, in the elegant to show the exquisite taste, so the artistic elements of the composition of a different style, straight to a "micro" word to interpret the infinite meaning, straight to the meaning of a small knowledge into a humorous poetry.
Leaving aside the original meaning of seeing the micro-knowledge, and combining it with the meaning of the second half of the sentence "see the beginning and know the end", people who have come one after another have guessed that the corresponding works of this micro-character may refer to two famous painters, or refer to the grand environment of this famous building, or refer to the encouragement of Zu Whip's first writing.
Exactly how to interpret it, it is the organizer and the author who can give the correct solution. And these sketches drawn by the lens, the theme is different, but the style is harmonious, or work, or write, or part-time work clip writing, all are in the small to see the big model of the weather, all are based on the micro-view of the meditation annotations, all are microscopic macroscopic leisurely speculation, so that the artistic style of the two famous painters who are famous in the Jiangsu flower and bird painting world can be seen in this way.
Different viewers will have different views of "seeing the micro-knowledge", and from this, it is natural to remind people of words such as knowing the micro-seeing and seeing the micro-knowledge, and thus revealing the future development trend of the things implied by the signs of its shallow signs, and then deducing the various wonderful points of seeing the micro-knowledge and the cave micro-candle.
There are more people watching the exhibition, but it is still a quiet atmosphere. Looking at the exhibition title of "Seeing the Micro And Knowing the Book" made of different materials and forms, I can't help but think of Su Xun's "Only the quiet people in the world can see the micro and know". At this time and place, it is not the environment and state of mind where "only quiet people in the world can see the big in the small and see the big in the small", so it is a kind of enjoyment that can be fully cultivated.
As far as the cognition and creation of art are concerned, the concept of observing and interpreting nature should be embodied in the micro-knowledge, that is, trying to start from the relationship between the whole and the part, so that the complex objects have the elements of personality cognition, and through the composition of management, the refined element symbols are incorporated into the orderly art world, thus leading people to feel the subtlety of another kind of simplicity that is refined in complexity, so that the rich connotation of "one flower and one world" and the broad feeling of "one leaf know autumn". It is transformed into a unique visual experience and an infinite spatial feeling, empty and clear, dusty and clear-hearted, and in the Brahma Zen fog that is introduced by the ink of their works, they fully feel the true meaning of "the micro, the micro, the author, the author".
Although it was only eight works, it made me unable to leave for a long time. Or it can also be understood in this way that Chen Peiguang and Yi Junzhi have seen and understood the creation of micro-knowledge. It is not only a creative thinking that reflects the essence of nature in a unique way of expression, but also an image search for the most appropriate language that organically closes and pushes the object closer and farther away, thus seeking to open up people's pluralistic vision of objective things and art.
The famous German painter Dürer once said: "Art exists very really in nature, and whoever can pull it out of nature will master art." It can be seen that we must not only understand the world with small views and big visions, but also look for the beauty of nature by seeing micro-knowledge, not only to understand the essential spirit of our own world by seeing micro-knowledge, but also to experience the beautiful rhyme of the cave from the depths of feelings and the depth of the meaning of the works, so that people's emotional touch points are constantly sublimated to the artistic height of both sensibility and rationality.
In the face of the sketches displayed by Mr. Chen Peiguang and Mr. Yi jun, and associating them with the series of works they have created in the past, they cannot help but add a kind of understanding of their unique perspective perception and creative thinking, nor can they derive a kind of great atmosphere based on the smallness of the sketches they exhibit, the small number of exhibits, and the narrowness of the exhibition site.
For Mr. Chen Peiguang, it seems that there can be another interpretation. At the age of ninety, Mr. Chen Peiguang, who is still full of inspiration and passion, often has a creative thinking similar to seeing the big with the small and the big with the small. He even refines and exaggerates the exquisite small flowers and leaves that move the heart into abstract aesthetic objects. For example, in the process of recuperating and sketching in New Zealand, he always found that although the flower shape of the plants in front of the house and behind the house was small, it was magical and exquisite, because it was difficult to express it in a freehand form, so he adopted the close-up technique of microscopic interception to obtain unexpected visual effects. Immersed in it, he was unable to receive it, painted a series of such works, and named it "Microscopic Flower World", so that later in his theme creation of flowers in Jiangsu Province, he also exaggerated the complex and tiny jasmine flowers to the size of peony flowers, and romantically became a beautiful overhead effect floating in the air with the clouds, giving people a dreamlike picture feeling.
Interestingly, in the last joint exhibition of "GeWuzhi" academic works with Mr. Chen Peiguang, Yi Jun had a work as small as the size of a palm. This painting is 20 cm wide and 18 cm high, and the rice paper used is an ancient paper unearthed from a Ming Dynasty brick kiln donated by a friend. In the face of this 600-year-old paper, the meditative Yijun suddenly became inspired, taking the ginkgo fossils formed 180 million years ago in the collection of the desk as a reference, and with two small snails that already existed in the same period, created this interesting pocket piece with rich ancient meaning, and inscribed a small poem: Ming kiln ancient paper frost wind, small fan-shaped god fossil. To argue about the Jurassic Triassic, the snails look at each other hazy.
On the way back, I was constantly haunted by the situation that their works were held at home and abroad again and again, and I couldn't help but think of the scene of their works displayed in the Golden Hall of the Great Hall of the People, and the situation of their works being exhibited at the United Nations Headquarters... Frame by frame, it is full of montage images stirred up by "seeing and knowing".
(The paintings used in this article are not exhibits in this exhibition.)
Artist Profile
Mr. Chen Peiguang
Jinling Peony Chen, born in 1933 in Zhangping City, Fujian Province, joined the Fujian-Guangdong-Gansu Border Longitudinal Literary and Labor Troupe in 1949, and engaged in military art work in his early years. In 1964, his Chinese painting "The Place where Childhood Was a Long Worker" won the "Excellence Award" of the General Political Department of the People's Liberation Army and was compiled into the "History of New Chinese Art Map". In the late 1960s, he transferred to jiangsu art museum. In 1995, he went to the United States, Malaysia, New Zealand and Australia to hold solo exhibitions. In 2010, more than 50 Chinese paintings were donated free of charge to his hometown in Zhangping City, Fujian Province, and in July 2019, 70 Chinese paintings were donated to the Central Soviet District (Western Fujian) History Museum.
He is currently a national first-class artist of Jiangsu Provincial Art Museum, the leader of the Jinling Group of Chinese Freehand Flower and Bird Painting, a librarian of Jiangsu Provincial Research Museum of Literature and History, a member of the China Artists Association, and the fifth president of the fourth session of the Jiangsu Provincial Flower and Bird Painting Research Association. He has published "Selected Chinese Paintings of Chen Peiguang", "Jinling Peony Chen Painting Collection", "Introduction to Learning to Paint - Freehand Peony", "New Mustard Garden Painting Notation - Flower and Bird Scrolls" (cooperation), "Contemporary Famous Painter Technique Classics - Chen Peiguang Freehand Peony" and so on.
Mr. Yi Jun
Xiangtan Renshi, serving in the National Pictorial of China, mainly engaged in flower and bird painting and a wide range of themes, especially good at the creation of ginkgo themes, has visited more than a thousand ancient ginkgo trees at home and abroad, and has authored "Overview of Ancient Chinese Ginkgo", "Research on Ancient Chinese Ginkgo Culture" and more than 200 poems on the theme of ginkgo, which is the first scholar painter in China today who has not only extensively studied archaeological ginkgo but also engaged in the promotion of ginkgo culture and is committed to the creation of ginkgo art. Many media have called him "the holy hand of ginkgo biloba", "ginkgo painting everyone", "the leading figure of Chinese ginkgo painting", and "the first person of Chinese ginkgo painting". Li Jianchen, the father of Chinese watercolor painting, wrote his inscription "Jinling Flower and Bird Family", and Yu Jigao, a master of Chinese gongbi flower and bird painting, painted "Ginkgo Heaven and Earth Who Is Comparable".
He is currently the vice president of the Chinese Folk Calligraphy and Painting Art Research Institute, the vice president of the Beijing Huaxia Guomo Calligraphy and Painting Institute, the member of the Chinese Flower and Bird Painting Art Committee of the Jiangsu Provincial Artists Association, the first-class Chinese Painting Art Committee of the Artists' Faculty Committee of the Chinese Talents Research Association, the honorary president of the Zhongyuan Calligraphy and Painting Research Institute, the first-class artist of the China Arts and Crafts Artists Association, the director of the Dayin Art Museum, the director of the Jiangsu Provincial Chinese Painting Society, the vice president of the Fifth and Sixth Sessions of the Jiangsu Provincial Flower and Bird Painting Research Association, the secretary general of the Jinling Group of Chinese Freehand Flower and Bird Painting, and the member of the Chinese Poetry Society. He has been employed as a professor from many colleges and universities and researchers from the Nanjing Academy of Calligraphy and Painting, and has been rated as "One Hundred Masters of Chinese Calligraphy and Painting" by China Calligraphy and Painting News.