Shao Pu is good at poetry painting, and this painting is still a relatively niche jiaomo painting, we are both university classmates and have had nearly ten years of working together, in Shao Pu's poetry and painting career in the past few decades, I have never been a silent admirer and bystander. Now that Shao Pu has new paintings on display and a new album, I have the impression that behind his usual smile is a tenacious persistence. During the same window period in college, although I knew that he could write well and draw a few strokes, but more often than not, it was more common for him to draw something on one notebook after another, and as a result, one day, there was a poem such as "On the weekend, we went to the female dormitory/ We had no excuse for taking it for granted / Just wanted to sit" spread on the university campus, and there was a campus poem such as "Weekend, We Went to the Female Classmates' Dormitory" that has been circulated for more than 40 years. In the following many weekends, in addition to "going to" the female dormitory, Shao Pu successively had the philosophy of "rolling like a flame / Extinguishing time", "Snow suddenly grabs out of the frame from the eyes / Must make the heart stop beating, expect the whistle of the ambulance / Wait, wait for the pulse to stop"; "The footsteps from afar are so hurried / So enthusiastic pouring out from the heart / So deep and so deep pain / So really so real blessing" like the blazing heat... Moreover, with the passage of time, Shao Pu's poetry has also begun to become diverse from simple, pure, but more vicissitudes, more depth, more taste, more artistic conception. After graduating from university, he caught up with the golden age of literature and art immersed in the Chinese Writers Association's organ newspaper "Literature and Art Daily" for ten years; later, he went to the graduate school of Kanazawa University in Japan for further study; after returning to China, he began to paint one scorched ink painting after another.
I am not surprised that Shao Pu can paint, when he was a student, he had the experience of painting, although the painting types are different, but similar to perspective, layout and other kinds of art general knowledge I think should still be similar; in addition, Shao Pu also has a unique advantage over the average painter, that is, he loves to do poetry, and he does a very good job. In the field of literature and art, the term "synaesthesia" has become the consensus of ancient and modern Chinese and foreign aesthetics, Mr. Qian Zhongshu said that "in daily experience, vision, hearing, touch, smell, and taste can often open up or communicate with each other, and the fields of the eyes, ears, tongue, nose, and body can be undivided..." This is the truth. The Qing Dynasty literary commentator Liu Xizai in his "Outline of Art" and "Outline of The Classics" both talked about the relationship between poetry and painting, that is, "to take this to summarize the other, to lift less to summarize more", and also to talk about the principle of one example and one inverse between literature and art.
Being able to draw does not mean drawing well. As for Shao Pu's paintings, I know that he chose the kind of scorched ink paintings that are old but more difficult. As for the difficulty of scorched ink painting, why is it so great? I first blindly thought as the name suggests: the coke ink painter, about the use of a more pure dry brush thick ink rather than with the help of water infiltration of a painting method, to compare the former of the brushwork control and use of brushwork seems to be more difficult to master; later, I saw Mr. Gao Shaojun in describing Mr. Zhang Qi's scorched ink painting said that "jiao mo is equivalent to a person forcing himself to a dead end and then find a way to live", which is simply "put to death and then born".
I also noticed that most of the painters of Fan Jiao Ink put the emphasis on landscapes and rivers, and their pen strength and composition were bold, and Shao Pu was no exception. But I felt a very strong charm and mood from his pictures: sometimes I saw pure silence in the ethereal, sometimes I revealed the weight in the simplicity... Moreover, all this is not expressed by pure techniques and craftsmanship, it is also an artistic externalization of Shao Pu's spiritual feelings and inner impulses, which requires a thick cultural heritage as a support. Of course, I can't judge what degree of artistic expression his artistic expression has reached, but as a person who has been immersed in the ocean of literature for many years, the inner impulse and agitation of Shao Pu when he is engaged in artistic creation I think can still feel and capture, perhaps this is where the root and soul of the so-called excellent artistic creation lie, the strength and the permanence are. I say this without any reference or disparagement to the creation of other artists, but only to express my own inner impulses and feelings when watching Shao Pu's Jiao ink paintings, and I also stubbornly believe that this is exactly where the soul of artistic creation lies.
(Text/Pan Kaixiong)
Artist Bio:
Shao Pu is a poet, calligrapher and painter, a member of the China Artists Association, a member of the Chinese Writers Association, and a visiting professor at Liaoning University.