Sun Endao, born in 1950 in Gong County ,Henan Province (now Gongyi City), graduated from the Department of Chinese of Wuhan University and graduated from the postgraduate class of the Department of Chinese Painting at the China Academy of Art. He once served as the president, editor and director of the editorial review committee of Hubei Fine Arts Publishing House. He is currently a researcher of the Calligraphy and Painting Institute of the Central Museum of Culture and History, a director of the Chinese Painting Society, an external painter of the Hubei Academy of Fine Arts, the vice president of the Hubei Provincial Chinese Painting Society, the executive vice president of the Hubei Academy of Calligraphy and Painting, a visiting professor of Wuhan University, a member of the Hubei Provincial Federation of Literature and Literature, a librarian of the Hubei Provincial Museum of Literature and History, a young and middle-aged expert with outstanding contributions to the Hubei Provincial Government, a member of the China Artists Association, a member of the Comic Strip Art Committee of the China Artists Association, and a vice chairman of the Hubei Provincial Artists Association.
He has authored and published a large number of comic strips and heavy color illustrations. His works participated in the 7th, 8th, 9th and 10th "National Art Exhibition" and "Chinese Painting Exhibition of Members of the China Artists Association" and won awards. In recent years, he has participated in major exhibition activities such as the Director Exhibition of the Chinese Painting Society, the Special Exhibition of Figure Painting of the Chinese Painting Society, and the Exhibition of Fine Arts Works commemorating the 20th Anniversary of The Return of Hong Kong to the Central Museum of Culture and History.
Since 1995, he has held many solo exhibitions at home and abroad, and his works have been widely collected by people at home and abroad. He has published special collections such as "Sun Endao's Ink Figures", "Album of Contemporary Famous Painters, Sun Endao", "Collection of Contemporary Famous Artists' Works of Sun Endao", "Collection of Chinese Famous Artists' Fan Noodles and Sun Endao's Works", "Danqing Collection of Sun Endao's Volumes", "Collection of Chinese Painting Famous Parents' Volumes, Lanting Xiuyu Tu" and so on.
At the invitation of the state, Mr. Sun Endao devoted nearly five years to the creation of a large-scale historical masterpiece "Shang Tang Rise Tang Oath" after being published on the Internet, which attracted the attention of many colleagues in the art world, and there were many praise and commentary articles. Here, we have selected two articles with weight, strength, unique insights and persuasiveness to be published here, so that readers can understand the art works at the same time, but also feel the charm of the articles. First of all, I would like to thank Mr. Sun Endao for his lifelong study and years of work to convey the historical events of the ancient period to the contemporary world with touching brush and ink to form a historical picture, and also thank Mr. Jia Dejiang and Zhang Ruxue for their objective and accurate writing, vivid and full of righteous passion for analyzing and evaluating the works, which have touched the viewers. In order to facilitate reading, when we edit and publish again, we will bring these wonderful together for the benefit of readers.
"Rise of Shang Tang Tang Oath" 270cm×530cm, 2016
Fukai Koima Kaai Nakanishi
Construct epic and tragic historical pictures
——Starting from Sun Endao's new work "The Rise of Shang Tang and The Oath of Tang"
Judd Jiang
"Rise of Shang Tang Tang Oath" is a huge production of historical thematic painting completed last year by the famous contemporary figure painter Sun Endao at the invitation of the organizing committee of the "Chinese Civilization Historical Theme Art Creation Project", which lasted for four years. The work is 270 cm high and 530 cm wide, with ink and color painting methods, the scene is grand, there are many characters, the waves are magnificent, and the mountains and rivers are magnificent. The painter is set in a war launched by the weak and strong Shang Tang against Xia Jie in the last year of the Xia Dynasty in ancient times, known in history as the "Battle of Mingtiao". However, the painter did not choose to show the scene of the two armies fighting in a positive way, but around the content set by the planner of the selection of the theme, choosing that before the battle began, Tang, in order to boost morale, in 1666 BC, gathered the Merchant army participating in the battle and the troops of the princes and Fang States who came to help the Shang And Xia, and read an oath of the Xia Xia - the plot of the historical "Tang Oath".
It should be said that Sun Endao's choice of this creative task to give a concrete and touching description of this historical fact is a laborious, labor-intensive, labor-intensive, and not necessarily flattering labor. Because the background of the era in which he wants to express the object is too far away, and the lack of documentary materials and archaeological results are the difficult problems in front of him in creating this painting. Perhaps it is due to the stubborn and fearless character of this Henan Hanzi who has been tempered by the army, "the more difficult and dangerous the more forward", he is more willing to challenge himself, temper himself, and sublimate himself in this challenging creation.
"Rise of Shang Tang Tang Tang Oath" (partial)
In the four years of creating this painting, Sun Endao studied the history of Shang Xia, went through the materials of primitive civilization, searched for ancient weapons and costumes, visited a number of museums and the former site of Yin Shang, painted countless drafts and a large number of character models, painted three original large works successively, and invited a number of experts and scholars to give on-site guidance, repeatedly conceived, repeatedly revised, and repeatedly dropped ink, which can be described as a night of food and clothing, "exhausted effort, mobilized what you have learned in a lifetime" (Sun Endao), and finally completed. A historical answer sheet was handed over to the motherland and the people.
I have a clear appreciation for Sun Endao's answer sheet. Reading his new work, I feel that there is a kind of expectation that has been satisfied. Such a magnificent scene, magnificent, with a very firm and powerful visual appeal, is extremely rare in Sun Endao's past and among the representatives of the "Zhejiang School". In another article, I listed Sun Endao as a painter deeply influenced by the "Zhejiang school" painting style, and also expressed admiration for his characters who expressed modern (including ethnic minority customs) or ancient italian pens in the way of ink freehand. However, his "Rise of Shang Tang Tang Tang " is in contrast to the "Zhejiang School" painting style with the grand and rich "Beijing School" style of rewriting reality, heavy structure, heavy modeling, and heavy motif. It is not a light song and dance, but a Huang Zhong Da Lu; he is not a small love, but a magnificent atmosphere; he is not a style painting that emphasizes humanistic interest, calligraphy and pen, and emphasizes the meaning of "writing", but an ode that makes people feel breathtaking. Sun Endao, with a bold, big realm, and big-handed pursuit, on the basis of realism, integrates Western modernism and traditional brush and ink to construct this epic grand and tragic picture. In this work, under the premise of giving full play to the spirit of traditional brush and ink as much as possible, the painter maximizes the verified character images, cultural symbols, cavalry weapons and sacrifice scenes of the ancient era, and strives to make the work show the characteristics of that era and reproduce the historical situation.
The artistic language used by Sun Endao is not his previous freehand way of writing with large brushes, nor is it different from the brush painting method with more decorative craftsmen, but attaches great importance to the use of pen ink color, realistic reference to freehand, emphasizing that pen and ink are subordinate to the presentation of the landscape reality, and paying attention to the new changes of pen and ink driven by modeling. Obviously, Sun Endao continued to extend on the path explored by the "Beijing School", that is, the representative painters who followed the "Xu Jiang system" Wang Shenglie, Liu Wenxi, Zhou Sicong, Lu Shen, Wang Ziwu, Ma Zhensheng, etc. Reflected in the compatibility level of pen and ink and modeling, whether it is the layout of the work, the rendering of the atmosphere, or the shaping of the characters, almost all of them use the Western expression techniques and techniques such as sketching, light and shadow, structure, texture, space, perspective, etc., and at the same time, they have undergone the interpretation of the image modeling of "business position", "bone method with pen" and "ink as the top", which almost reveals all the information of contemporary ink figure painting. This is the traditional and modern, Oriental and Western, linear modeling and decent modeling, through the virtual, thick, thick, dry, light and heavy pen and ink in the hook and dyeing rub unified, to achieve the pen and ink for the shape of the all-round compatibility. It not only expresses form but also decentness, both pen and ink, which not only makes this work have a charm of telling the truth and stating history, but also has a spiritual capacity that makes people shocked and excited.
Limited to the accurate and vividness of the instantaneous plot, focus perspective and shape, the biggest feature of the structure of "Shang Tang Rise Tang Oath" is to break the convention, put the core character Shang Tang on the high place of the vision, stand on the altar of Shang Tang to make an oath, Qi Yu Xuan Ang, and stand on the right side of his yiwen yiwu cadre Yi Yin and Zhong Yu. Under the altar, there were crowds of black oppressors on all sides, including slaves performing dances, envoys offering sacrifices, neatly arranged teams, Fang Guobingyong riding elephants, ox carts participating in the delivery of grain, people with arrows, and people participating in the war. The painter shows the grandeur of the rise of Shang Tang in a panoramic composition, with layers of layers, virtual reality, and static upward posture, showing the submission and worship of the low-level civilian soldiers to the supreme power, pushing the theme plot of "Tang Oath" to a climax. This technique reminds me of Shi Lu's famous painting "Turning to Northern Shaanxi", which has such characteristics, in which the painter stood Chairman Mao on the top of the mountains in the northwest as a distant vision, and although the figures were small, they further highlighted the great man's heroic strategy of "having millions of soldiers in his chest". There is a similarity between the two works.
Art originates from life, art is the dynamic reflection of real life in the artist's mind, and this dualistic proposition is the principle that guides the artist's creation. However, for the creation of ancient historical themes such as "The Rise of Shang Tang And The Oath of Tang", this source of life can only be obtained indirectly. In this regard, Sun Endao shows a spirit of indomitable challenge. First of all, it is reflected in the full work of preliminary examination and the degree of preparation for investment; secondly, the mental effort to adjust and improve the creative ideas is more; finally, the double workload of brain and physical strength in the implementation and production process is heavier. Sun Endao's artistic goal is to create the connotation and spirit that can fully express the theme of Tang Oath through only information and imagination, with his own wisdom, energy and ability, to show the heroic spirit of Shang Tang's change of dynasty and the ambition to create a great cause, in order to restore the truth of that period of history, so he not only worked the portrayal of characters, the vivid expression of the dynamics of various people, but also clothing, ornaments, weapons, flags, utensils, sacrifices, and the appearance of ox carts and elephants, all of which have been examined by the data Find a well-founded work that is full of ancient mystery and seduction, and strive to fully display the characteristics of ancient Shang culture.
It is necessary to emphasize that if the painter does not have strong modeling ability and comprehensive cultivation, he will not be able to control such a grand and spectacular masterpiece. Sun Endao has received strict realism training, received the baptism of realism, and he has strong modeling ability and creative ability. Over the years, he has achieved rich creative results, accumulated rich experience, and has a skillful grasp of the laws of art, especially good at using contrasting techniques to make his works show "business" in a variety of contradictions, highlighting the vividness and vividness of the theme, and invisibly expanding the new space of pen and ink expression. Specifically, the painter uses the multiple contrasts of the whole under opening and closing, the lower real and the upper virtual, the lower thick and the upper light, and the lower dense and dense and the sparse, highlighting the charm of the main character before the war, and he also shows the supremacy of power with the bow style of the subject and the upward style of the shang tang. He also formed a contrast between movement and stillness, straightness and curve with the flow of people dominated by curved slaves and the neat array of elite soldiers, and made the picture of yan zhen waiting with the rushing ox carts, wind-blowing flags, and elephants flinging their noses full of movement, looking at its grandeur and heroism from a distance, and its quality at close range, reproducing the mighty momentum of the largest coalition army battle in ancient times.
In any case, Sun Endao's painstaking efforts in this work are self-evident, from the perspective of figurative realism, this work also goes beyond the ink text he established before this, and goes deeper into the performance of the personalized temperament of pen and ink compatible with modeling, which not only enriches his personal ink text, but also provides a reference for today's realistic and figurative thematic painting, whether concept or language, providing a reference model for striving to reshape the realistic modeling with ink language. There is no doubt that the birth of the huge engineering "Shang Tang Rise Tang Oath" is not only the most important work for us to understand Sun Endo's artistic pursuit and artistic style, but also an artistic specimen for us to study how the artist's skills and talents can be brought into play, so as to obtain an artistic specimen of transcendent taste.
December 30, 2017 at Beijing Wangfu Garden
(The author is a famous publisher, art critic and painter)
Live up to the Danqing Han Ink Fragrance
——Mr. Sun Endao, a famous figure painter, and his masterpiece "Rise of Shang Tang Tang Tang " Brief Discussion
Zhang Ruxue
"Seeking chapters and excerpting old carving insects" Yu wrote every time he was a case, because he was poor in learning, he would often consciously or unconsciously consult the classics, temporarily hug the "Buddha's feet" of the sages, and pick up the steps and the wall of the master, in order to get a Confucius temple, lest he laugh and be generous for fear of fabrication and error. The painter Mr. Sun Endao is deeply educated and full of experience! So the pen dropped and felt that "Jiang Lang was exhausted", and he couldn't do it!
"Not thin today's people love the ancients, and clear words and beautiful sentences will be neighbors." Flipping through the relevant freehand character painting theory articles in art publications, intended to learn and reference, after reading it, I really feel that the five tastes are mixed, unsatisfactory, and the opposite is true... Its literary words, itching across the boots, hearsay, so it does not dare to compliment, and more freehand figure painters write articles that are noisy, without stinginess to self-proclaim, exaggerated, and their reticent appearance! However, when viewed, its works are shoddy and overstretched. Song Chengyi has clouds; "If there is nothing to make up for, there is nothing to be missed, but it is useless to say anything." "I would have set my heart on the bright moon, but the bright moon shone in the ditch."
In contrast, Mr. Sun Endao is much quieter, indifferent, willing to be lonely, always giving people the impression of gentleness, optimism and open-mindedness, and a humble gentleman's style, which is admirable! The ancients also said: "The crowd is bustling like enjoying a prison, like spring on the stage, I am turbid, it is not a sign; chaotic, like a baby's child; arrogant, if there is nowhere to go." There is more than enough for everyone, and I am alone. His pen is graceful but not kitsch, simple but not slippery, permeated with the atmosphere of a quiet scroll, "out of the mud without staining" paintings like his people, it is really the height of the gentleman's wildness. There is a saying that "asks the king how to be able to do it, and his heart is far away from himself." ”
To trace back to the source, to clarify today's freehand figure painting, if you do not comb its development history, do not deeply understand its unique national attributes, cultural channels and the essence of calligraphy and painting with the same root, it is difficult to have a clear understanding and correct judgment of freehand character painting. Throughout the process of freehand figure painting, it can be traced back to the ornamental modeling and various patterns of pottery products in the matriarchal social period, such as the "Human Face Fish Pattern" pattern excavated from the Banpo site in the eastern suburbs of Xi'an, Shaanxi Province, and the Han Dynasty paintings, there is no shortage of abstract paintings of characters, as well as the "Character Royal Dragon Diagram" and "Character Dragon and Phoenix Diagram" excavated from the Chu Tomb, which are only for a specific occasion and actual needs, and belong to the ideology of the emperor and the upper class. The character performances are innocent and childish, intentional and impossible, simple and rough, it is difficult to define it as a work of art with rich cultural connotations, but it is indeed the earliest prototype of Chinese freehand figure painting, and can also be compared to the "Paleolithic Age" of freehand figure painting. The Wei, Jin, and Sui dynasties were important stages in the cultivation of Chinese freehand figure painting, and religious figure painting was particularly prosperous, while the painting style injected a deep sectarian culture.
The author has thoughts, purposes, and rules to create, to rough and refined, to become naïve into skilled, to turn simple into simple, the Jin Dynasty to Gu Kaizhi as the representative of the painter, has pushed the figure painting to a new realm, it can be seen that his character painting works, with a distinct religious and cultural color, the character image or exaggeration or realism, tend to depict the demeanor and emotional expression. Such as "Female Shi Zhentu", "Roselle Futu" and other works are written in the form of gods, shaped by lines, wonderful in imagination, have a strong writing charm, laid the foundation for the later freehand figure painting, at the same time, the painter gave full play to the artistic imagination, the emotional behavior in the literary works is expressed as a specific character shape on the picture, full of poetic fantasy of the romantic mood, worthy of the ancient masterpieces, the founding of the sect, so that future generations worship. In the Sheng Tang Dynasty, Wu Daozi pushed the character religious painting to a new vision that was more emotional and expressive with purely stretched and smooth lines. For example, the work "Eighty-Seven Immortal Scrolls" shows the characters with stretched and smooth lines, and the painting is written in books, which is extremely freehand, the composition is holistic, and the chapter is perfect. The works contain profound Taoist cultural ideas, art and religious culture are integrated, which can be called the originator of Chinese freehand figure painting, and has become a model for successive generations, and has not been right for more than 1300 years. In the Southern Song Dynasty, Liang Kaikai's characters were the first to write freehand, and his representative work "Splashing Ink Immortal Diagram" has few strokes, highly refined, both form and god, and see pen and ink. "A little is better than a lot" is another peak of freehand figure painting.
After the Song Dynasty, freehand figure painting gradually declined, and the painters represented by Chen Hongshou and Ren Bonian who appeared in the Ming and Qing dynasties, although there were new breakthroughs in freehand figure painting and brought a new dawn, the transcendence that people expected did not come. After the 1950s, under the influence of "Western painting and eastern gradually", the "Xu Jiang system" swept the freehand figure painting world, integrating the Western painting figure modeling method into Chinese painting, it is undeniable that the Western means of sketching figure painting did solve the general estimation mode of traditional Chinese freehand figure painting for thousands of years (that is, the so-called standing seven, sitting five, plate three halves), eliminating the concept of unclear, chaotic and vague structure of character painting (it should be pointed out that character painting is different from landscapes, flowers and birds, because the depiction objects are different, it needs to complete the necessary structural modeling), Undoubtedly, Western painting has promoted the progress and development of Chinese freehand figure painting from a certain point of view, which is obviously positive. In this regard, freehand figure painting is in the sound of revolution and transformation, and some painters stand out, explore new ways, and achieve new achievements. Becoming the leading figure of modern freehand figure painting is undoubtedly a new benchmark of this era, such as: Lu Shen, Fang Zengxian, Liu Guohui, Zhou Sicong and other painters. There are also some painters who are lost in this wave, so that they can't afford to lose. Becoming a victim of "sketching and pen and ink" grafting Chinese painting, almost losing the ancestral lineage, the work appeared "zombie" picture, there is no structure and no content, heavy techniques and less ink, and the work lacks connotation. Xu Beihong advocated the "New Seven Laws" of Chinese painting improvement, which emphasizes the implantation of Western painting elements, but dilutes the spirit of freehand painting, which has a great influence on traditional freehand figure painting. It has both positive and negative sides.
More than half a century has passed, and Chinese freehand figure painting has not fulfilled its wishes, reaching the height of expectations, and it is still looking at flowers in the fog. "Gradually drifting away and getting farther and farther away, where is the water wide and the fish sinking asks!" This requires us to calm down and reflect. It is believed that the emergence of these phenomena is roughly two: first, the calligraphy cultivation is not enough, the lines lack gold content, it is difficult to reach the height of the ancients' pen and ink; second, the traditional cultural reserves are lacking, the connotation is superficial, and the painting environment is not high. It is an indisputable fact that for more than half a century, it is difficult to compare with the sages. The so-called "ink freehand figure painting in the new era is unique", "in the past hundred years, the freehand ink figure painting art is perfect and has reached an unprecedented new height" and so on. It is just used to numb oneself, self-intoxication, and seems to be a little frivolous, which can be described as: "Write two lines of coming and going, and drop a big axe in front of Luban's door." This embarrassing situation in front of the freehand figure painter is all a pain in the heart, and it is numb.
"Please Jun Mo play the former song and listen to the newly turned willow branches." What is gratifying today is that there is no shortage of people of insight in the freehand figure painting world, who have explored a new pattern of freehand figure painting in the face of traditional eclecticism and western painting, and have achieved remarkable achievements. There is no doubt that the painter Sun Endao is the beneficiary of this revolution and the mainstay of contemporary freehand figure painting.
Mr. Sun Endao was born in Gongyi, Henan, which is the county capital of the Xia and Shang dynasties, born with the genes of orthodox Central Plains culture, young people love to read sage books, love literature, "young people should take clouds in their hearts". Then he grew up and lived and worked in Hubei, and was long-term influenced and nourished by Chu culture, so that this Central Plains Man had both a strong and broad, self-improvement side; there was also a confucian and mellow, bold and romantic side. The spirit of Chu Renlu, forge ahead, and eclecticism is not difficult to reflect in him. Sun Endao, in the year of hair binding, studied painting from the famous painter Mr. Chen Tiantian, three more lights and five more chickens, cold and summer, laid a good foundation, can be described as the "True Scripture". In the years to be established, he has dabbled in comic strips, prints, brush strokes, line drawings, calligraphy, worthy of the name, practiced "boy skills", especially comic strips are quite accomplished, repeatedly participated in national exhibitions and awards, and appeared in the painting world, attracting attention. Undoubtedly, through the strict training of various types of painting, with "special skills", solid skills, enough to have the ability to master the structure of human modeling, it is also in his painting field of smooth sailing, he quietly silent, green lights and yellow rolls, late clothes, preparation for the examination, as desired, but the major chose Chinese department, quite unbelievable, incomprehensible. In the author's opinion, this is his cleverness, which also contains "ambition".
Ancients Yun: "There are poems and books in the belly", Zi Yue: "Polite and polite, and then a gentleman." "A freehand figure painter to achieve great things, must rely on culture as a preparation, pen and ink techniques are not the only, otherwise they will fall into the ranks of "craftsmen". Chinese painting talks about taste, style, and connotation! Which of the famous masters of the past generations is not a sage who is only eight buckets high and learns to be rich in five cars. "The depth of the encounter is the rarity of the encounter." It can be seen that Mr. Sun Endao's cultural cultivation has always accompanied his artistic process. In his view, "there is a house of gold in the book" Mencius said: "I am good at raising my haoran qi" Painters should not have a small family temperament, but must have a big pattern to become a big climate. Song Luyou also has a poetry cloud: "This body is the poet wei, drizzle rides a donkey into the sword gate." "Lament is just an ordinary poet, who has failed to repay the regret of the country." Li Rihua of the Ming Dynasty once said in the "Ink Jun Inscription" Yun: Scholars take the virtue and righteousness of the article as precious, if the skill, more than one is not as good as one less, not only to be enslaved, but also self-detrimental..." And yun: "Yu tastes the five Ma Jie jade talent, if it is not to chant a few poems, then the pipa people, ink painters." Tang Yan Liben also had his self-esteem frustrated by the fact that others called him a "painter".
He once admonished his son, saying: "I am good at reading the words, and now I know only danqing, and I am doing the work of serving in the service, and I am humiliated, so it is advisable to take a deep precept and not to learn the skills." There is a cloud: "Not close to the master, full of fan body." For this reason, talking about the cultivation of painters is not just empty talk, high-profile. Today's Chinese painting world is not only in the context of a prosperous culture of the good times, but also trapped in the "money" temptation, I don't know how many painters in a piece of real and false auctions, used to play the tricks of the business, and how many people have sat on the bench for ten years cold, face the wall and repair? Under the bubble of exhibition and awards, it has long been forgotten that Chinese painting also needs to cultivate culture and other sister arts. As a result, the current work has become a tool of personal ethical tendencies, tending to be empty and boring. This is an issue that the entire Chinese painting world today should lead to attach great importance to and fan defense. The painter Mr. Sun Endao is diligent in writing, and I have seen many of his articles. Or flat and straightforward or romantic and fresh, mourning strings urgently, and the voice is full of emotion, and his book "Father's Land" is a good book. Compared to those boring pen and ink games, isn't he the best and weather vane among today's freehand figure painters? The knowledge in the chest is deep, and the painting realm is naturally beyond the ordinary.
The Chinese painting "Rise of Shang Tang • Tang Oath" is 550 centimeters long and 270 centimeters high, and this huge work was signed by the painter Mr. Sun Endao in 2013 at the invitation of the organizing committee of the "Chinese Civilization Historical Theme Art Creation Project", which took five years to complete. The picture is magnificent and magnificent, reproducing the shocking scene of the solemn assembly of the oath division before the Shang Tang Xing army fell into the summer, as if 6,000 soldiers could be heard as brave as the roar of the lion, threatening the world, and it was as if the war horses roared and the drums and horns sounded in unison. Beacon Even March... The work is based on 1600 AD, the social contradictions of the Xia Dynasty became increasingly acute, until Xia Jie took the throne, tyrannical and unreasonable, absurd and shameless, causing the people to be unhappy, complaining, and the tribes deviated from morality, which created a favorable opportunity for Shang Tang to destroy Xia, so Shang Tang resolutely raised an army, ordered Yi Yin, and Zhong yu as the left and right phases, in order to encourage and boost morale, Shang Tang gathered soldiers to take an oath to mobilize, for it to uphold the will of Heaven to conquer Xia Jie and save the people from water and fire. There is a great momentum of "the Yellow River wears golden armor in a hundred battles, and does not break the Loulan and will not return it"!
Undertaking large-scale historical theme art works, the starting point is high, the difficulty is large, the pickiness is more, it takes a lot of time and energy, it does not have any references and similar works to speculate on. The picture should not only pay attention to the artistic effect and appeal, but also respect the history and even restore the historical scene, which is undoubtedly a major problem in front of the painter, how to start the draft, how to portray, everything must start from scratch. The painter Sun Endao strategized, formed ideas, and moved forward step by step. Since then, I have visited bookstores, run libraries, collected and sorted out relevant historical materials of the Xia shang period online, found ancient information from history books, and simulated the patterns of relevant images. Countless trips to various museums around the world to take photos, sketch, record, and talk to antiquities. The shaping of the character image and the design of the costumes, the design and composition of chariots, weapons, sacrifices and other objects, many details, all need to be drafted, inked and modified by the painter according to the information obtained, and every process and every problem embodies the responsibility and responsibility of the painter.
This work adopts the composition of the poly-point radiation perspective, and the picture tension is large and imposing. The protagonist of the character is prominent, skillfully using the crisscrossing "well" character, the outer real and the inner space, the big opening and the big close, the small opening and small closing, so that the picture is not scattered, and the sense of rhythm is strong. The color and ink blend, blending together, tight but not stuffy. If divided from the block surface: first, the slave to the altar with the negative arrow on the left is a large oblique triangle on the right; second, the ox cart on the left and the army and horse array above form a second small triangle; third, the upper blank space is a diagonal triangle, which seems complex, but the painter is ingenious, the outer outline is extremely holistic, the composition is strong, and it is very modern. Mr. Pan Tianshou once said that no matter how big or small the picture space is, it is a piece of heaven and earth, to "know the white and keep the ink", first arrange the pen and ink to the corners, just like playing Go, gao ming is also very bold. If you start by dropping the pieces into the middle of the board, you will undoubtedly kill yourself. Leaving a blank space in the middle of the painting to make it virtual, the pen and ink from close to the corner has become a chess game of "gold edge, silver horn, grass belly". The painter Mr. Sun Endao boldly and cleverly used this law to make its composition impeccable. It can be seen that the painter's ability to control the big painting is superb and skilled, the intention is profound, in addition to the accurate character modeling, element symbol expression and pen and ink refining, the information revealed by the picture is extremely rich, just like the history books, there are both the trend of political change in the Xia and Shang dynasties, and the scene of the military strategic soldiers meeting each other, both the soldiers and the courage of the front line of the battle, and the uneasiness of the people and panic. There are not only the expressions of humanistic customs, but also the epitome of geography and climate. Let people linger, every time you read every new.
At the bottom of the frame is a group of dedicated and mysterious jumpers, some with their heads tied with scarves and naked upper bodies, some wearing god masks, shouldering the god flag and hitting umbrellas, or leaning back or bowing their heads, the movements are exaggerated and fierce, the face is vicious, and the atmosphere is fierce. Exorcism of demons and exorcisms, and the removal of disasters is auspicious. The dancer puts the right side and the left side of the left to open the trend, the character modeling is combined with the hook line and the rubbing, such as writing mountain stones, the back is portrayed so unusually, see the pen and ink, the shape is accurate and the left and right sides are blurred with the shenhata akatsuki as the element, avoiding the knot and forming a virtual rhythm. Although the painter takes the decent structure in Western paintings, he is not affected by light and shadow at all, and abandons the pathology of "sketching and ink", which is the height lacking in today's Chinese freehand figure painting world. Warriors riding elephants (The appearance of elephants in the picture is by no means imaginary: during the Xia and Shang dynasties, Yuzhou belonged to a subtropical climate, and the army had the custom of training elephants. "Lü's Spring and Autumn Ancient Music" Merchants serve elephants in Chayi, and zhou gong chases them away with teachers, and as for Jiangnan, it is an elephant, to Jiaqide. Carrying an arrow on his back, the mood is high and the sound is vibrating in the sky, and the three real and one virtual are stretched out and formed a retracting relationship with the dancing crowd below. They held up the banner straight out of the edge of the painting, so that the elephant, the person, and the banner became an upward momentum, forming a straight line of the picture, and the banner on the left was also the same, which not only echoed with the right side but also enhanced the upward momentum in many places, while the dancing crowd, the military carriage, and the altar above the altar were expanded left and right, forming a powerful three horizontal lines, so that the vertical and horizontal lines were staggered, and the vertical line broke the horizontal line.
The painter expressed thousands of military formations in heavy ink, and handled the dancers who gave people a sense of neatness, solemnity and boldness to form a contrast between movement and stillness, light and dark, scattering and wholeness, and at the same time laid the foreshadowing for the prominent theme, and the flag flying high in the team pointed directly at the altar, which was a bit of a wake-up theme. The bull's edge picture on the left enters and forms a "palm-in-hand" trend with the elephant on the right, which is "gathering qi" and also introduces the "potential" into the theme. The ox cart and chariot horse in the painting reveal the traces of the development of a highly skilled industrial civilization at the time of the Xia Shang. In the middle of the picture, there are slaves kneeling on the ground and prostrating, holding sacrifices in their hands to ask the gods for help, praying for the victory of the Shang Tang banner, which also points to the theme. The phalanx chariot in the upper left corner, the majestic general holding the reins, looking ahead, listening to Shang Tang's oath, forming a virtual contrast with the thousands of troops and horses in the distance, expanding the sense of spatial hierarchy. The blank space in the middle of the painting, like clouds and mist, whether it is a cloud or a fairy qi, it is unknown, the Shang Tang who picked up the steps came out of the crowd, walked up to the altar with the right hand holding the yellow cymbal, the left hand vibrating arm exhaled, the qi was extraordinary, the eight-sided mighty wind, and the two people next to him, Yi Yin and Wu Yu, formed a gathering and dispersion relationship, in order to statically support the movement, the primary and secondary were clear. It can be said that the painter has maximized the perspective of the picture, almost to the point of no return. Although the theme of shaping Shang Tang is small, the painter expresses his form through a variety of artistic spaces, and the protagonist is still very clear and not inferior, and has played a role in seeing the big in the small. This is the result of the painter's skillful use of Chinese and Western painting techniques. Whether it is from the composition of the block surface in the picture, the focus perspective, etc., or the location of Chinese painting, the beginning and the end of the combination, etc., it is very exciting.
There are also many opening and closing relationships in the picture, large opening and closing, small opening and closing, so that the content of the picture is rich and the level is clear. Finally, in the upper left, the title of the small seal book "The Rise of Shang Tang" and the long book are written in the style, solemn and quaint, beautiful and dignified, full of book fragrance, full of breath, books, texts, paintings into one, natural synthesis. It also played the purpose of opening up and closing the picture, and ended successfully!
The change of the Xia and Shang dynasties is a major historical event in china's ancient period, and Mr. Sun Endao's masterpiece of Chinese painting, "The Rise of Shang Tang, Tang Oath", fills the gap in the language of Chinese painting to reproduce history, and its significance is extraordinary, far beyond the art work itself. It is a pity that this masterpiece was actually won by the judges, and finally failed to enter the National Museum, but in a silent way to tell its helplessness... "Raised in the deep boudoir people do not know" What is not agreeable is that among the works of art now displayed in the National Museum and named epic, some works have obvious flaws, almost hard wounds. For example: some of the composition is simple, the pen and ink are rough; some are messy, the lines are weak, etc., which lack both artistic standards and historical information, and also have a good name: all works are strictly evaluated by experts. This is the "fake and inferior product" of the naked art world, and what about the peak? Now it is displayed in the hall, which can be described as: the yellow bell is destroyed, and the tile kettle is thundering. "Poor night half empty front seat, do not ask the heavens to ask the ghosts and gods." What else can this say except that the judges are extremely unprofessional and unserious! There is a saying: "The Gourd Temple arbitrarily adjudicated the Gourd Case, and the Thin Life Woman met the Thin Life Lang." "Woohoo! The painter Mr. Sun Endao is very calm about the current situation of this work and laughs at it. Zi Yue: "What the heavens say?" Four hours of action, a hundred things are born, what is the word of heaven? ”
Recently, Mr. Sun Endao has created many calligraphy sketches, and his writing is timeless and pure. His dedication to the art of calligraphy and painting, I am ashamed of myself, he put the happiness of life on Danqing, the so-called fame and fortune are indifferent, rich and noble is floating clouds, free and happy, so happy, people envy.
(The author is a famous painter, calligrapher, art critic)