In the history of modern calligraphy and painting, there are many literati calligraphers and painters who have been obscured. When the noisy social trend recedes or cools, the world will once again "discover" the fordreamed or marginalized people of those times. Ying Jun is such an artist, after all kinds of "hilarity", his pen and ink charm is being revealed after rediscovery. Ying Jun (1874-1941), a native of Yongkang, Zhejiang. Name Wanchun, the word Shihua, and the word Zhonghua, in his later years to "pine stone mountain people" as the number, a lifetime of indisputable, living in Yongkang, poetry and painting are all sloppy and free, just as his painting Chaos Lan titled "Xinglai a stroke of the stroke", reading to make people feel refreshed, the temperament of which, let people move.
In order to commemorate the 80th anniversary of Mr. Ying Jun's death, Zhejiang Yiwu Chun and Caolu Art Museum launched the "Empty Valley Shengxiang - Songshi Shanmin Calligraphy and Painting Exhibition" around New Year's Day in 2022, exhibiting more than 60 seal engraving works and stationery supplies of Mr. Ying Jun, many of which were exhibited for the first time, Zhejiang People's Fine Arts Publishing House also published "Songshi Shanmin Calligraphy and Painting Collection", during which the organizer invited relevant people in the domestic calligraphy and painting circles, literature and history circles to conduct online and offline discussions and exchanges on the achievements of Ying Jun's calligraphy and painting and the current significance. Excerpts from some of the speeches in the special issue of The Paper's Art Review.
Yiwu Spring and Caolu Art Museum exhibited at the scene
Ying Jun (1874-1941)
The vulgar place "I am myself" flows with the context
Zhang Ruitian (calligrapher, now living in Beijing): Ying Jun did not stick to the rules, daring to express his personality and express emotions in his writing; in addition, he had a new understanding of the fa, perhaps deliberately avoiding the shape and focusing on the rhythm of points and lines. The re-mention of Yingjun calligraphy shows that our view of calligraphy has been liberated, and it also shows our dissatisfaction with the increasingly conceptual calligraphy creation of contemporary times.
Wang Li (painter, now living in Hangzhou): What should be attractive to both is that his style is still obvious in the large category of the Republic of China's calligraphy. Paintings are mostly orchids, and occasionally ink plums are written. The eight sides of the orchid grass are clean and strong, and there are also chaotic and voluminous like the mountain wind swirling, tight and airtight, sparse and sloppy, the old pen is divided, chaotic and orderly, chaotic and chapter-bound, and the calligraphy inscription is riveted with each other. Although there are ordinary works, gifts from friends and friends, exchanges and rewards, elegance and vulgarity, and the fragrance is just right, but the wonderful works are probably not the well-bred study offerings, but the usual sights of The Lingli Mountains, and their unique features have been no less than the famous orchid masters of the past.
Cursive Yu Xin poem 1934
Chen Xinya (calligraphy scholar and retired calligrapher): The style of epigraphy in the late Qing Dynasty and the Republic of China made it a custom to learn stele books, from the famous scholars to the children with cangtou, all of whom were ashamed of not practicing stele, and dyeing them with pens without stele as ordinary. As a result, a generation of inscription practitioners have lost their spirits, their handwriting is pathological, and they have been depraved to this day; and scholars are unaware, and the theory is not to blame. I do not dare not be a stele, but I feel that the study of stele books is only in the form of the handover of swords and stones, but it does not take into account the characteristics of pen and ink, and it is contrary to physiology, which is really called unsuitable.
The inscription of the stele, hard to write with a brush, will enslave its ink, enslave its pen, and finally the dot painting is accurate, and the meaning is vicious. Writing the moment, folding hands and feet, it is extremely difficult to see the smooth beauty of the visual effects of dot painting, and the speed of swinging physiology. The so-called "cooperation" of the ancients was almost unprecedented. Even fewer can write the stele for daily life, but the calligraphy (kitsch, attachment) has been isolated from life. For example, Kang Youwei calligraphy, single word reading, strong and strong, but rarely can be connected into a chapter. Because a word is barely formed, the pen is wrapped sharply, so it is difficult to have ventilation between its words. Daily calligraphy, still in old form. Zhang Yuzhao's calligraphy, almost mechanical, into an art body. However, its daily calligraphy can actually break through the distinction between knives and pens, and its own style; Zhao Zhiqian's stele taste of calligraphy can also gradually forget his heart. Or because of the small number of words, the pen and ink physique can be self-contained. Should be written uniformly, as if between Zhang Zhao, and fluent. In particular, the late book works not only maintain the strength and thickness of the stele pointillist painting, but also return to the pen and ink autonomy to a large extent in the turning place; or use the in situ method to give the pen that is difficult to transfer, so as to return to the gap between the compound fronts, forming a folding structure, saving a lot of hand and brush discomfort. This treatment is very interesting: it is not so much about intentional creation, but rather about writing and writing, but also about recognizing nature, and it is also the cooperation of people (ideas) books (pen and ink). If compared with Mr. Shen Zengzhi's chapter grass pen, to the old does not avoid shoveling and carving, it can be more perceptual, the ancients called "a few micro to be wonderful, temporary from the appropriate" also. Yu Youren's early writing tablets were very beautiful, and the grass was grassy in the evening, weak and weak, and almost unsightly. Although Ying Jun is influenced by many clans, many of the books are capitalized or coincidental, and the cursive pen is too much, which is worth studying.
Mr. Ying Jun has achieved great achievements in calligraphy and painting and has reached a very high artistic level. But for a long time, it seems to have been forgotten by the world. In addition to the large number of calligraphers and painters in Jiangsu and Zhejiang, and the famous artists, I am afraid that it is directly related to the "clumsiness and laziness" of its temperament. His poem reads: "By virtue of my behavior, I am lazy and lazy, and let others accuse and fix yu flaws." "A lifetime of scorn and laziness, ice fish with the forest dove. Do not vibrate with the stinging insects, crazy negative spring color excellent. "Laziness fluctuates with the times, not self-promotion." In hindsight, it doesn't matter. As long as the work is still there, as long as it is good, it will eventually get a more objective and accurate evaluation from future generations. Its taste: lazy and wasteful on the outside, angry and diligent in the inside, and can be quite self-sufficient in their diligence. This may also reflect his artistic outlook and the aesthetic consciousness of calligraphy and painting: the art of doing things is self-entertainment, not dazzling the world. The deeper the practice, the more eternal the pleasure. Another poem: "Life is happy, why talk about clouds." It seems that I am lazy and clumsy, but I should be extremely scheming. "Therefore, Erle is happy to forget his worries, and he has no time to "plot outside"! Therefore, I feel that this old man is amiable and respectable, and there is a sense of "Weisi people and who I return to".
At the exhibition site, Tao Yuanming's poems should be written
Gu Cunyan (Calligrapher and Painter, Editor-in-Chief of The Paper)
Mr. Ying Jun's forgotten and rediscovered is a very meaningful topic, the art of seeing the tension of life will never be forgotten, behind the calligraphy and painting is people, and the rediscovery is also people, so behind this also witnesses a kind of flow of humanities and context. True art, related to the human heart and humanities, and the relationship with power and capital is actually not large, time is the best witness and choice, but unfortunately many so-called lively "artists" never understand what the tension between time and life is.
This is the first time to concentrate on reading Mr. Ying Jun's calligraphy and paintings, a kind of opening and stretching, spontaneous, I am my own style is very transferable, the pen and ink in the work is arbitrary, full of paper, just as his painting Chaos Lan's title of "Xinglai Strokes are Fully Sprinkled", reading to make people feel refreshed, the temperament of which makes people moved.
Xu Wei said in the "Title from the Book of a Branch": "Gao Shu does not enter the vulgar eye, and those who enter the vulgar eye are not Gao Shu. However, this statement can also be said with the knower, and it is difficult to speak with the layman. The books and paintings that should be equalized are also "this word can also be with the way of the knower, and it is difficult to speak with the layman." In modern times, his calligraphy and paintings have similarities with Pu Hua, Wu Changshuo, Xu Shengweng, Qian Shoutie and others in terms of connotation, which shows both the bone strength of JinShi and the indifference of the literati.
For Ying Jun, in the past, it may only be regarded as a local famous artist in Yongkang or Zhejiang, but this time he concentrated on reading his works and the pursuit, exploration, and vision behind him, which is obviously not only a topic of local famous artists - of course, all of us are essentially local masters, and the significance of Ying Jun is that although he is partial to Yongkang, he has a broad vision and an outstanding independent pursuit of the history of Chinese painting and calligraphy, and he walks alone with his own attitude and personality, and has a unique style in calligraphy and painting. This is the realm that truly understands the general knowledge and grandeur of Chinese culture. It is a little pity that this exhibition does not present the works of calligraphy and painting that should be in the early and middle periods, otherwise the discussion of his quest and style formation is also a very interesting topic.
Ying Jun calligraphy, take the horizontal momentum, ancient meaning, Zhang Qian, Shi Men and other ancient relics in the will, this is not only the humble natural aesthetic pursuit, but also the lonely Gengjie of his personality, these people are essentially "vulgar people", so the kitsch of calligraphy and life isolation, in the history of modern calligraphy, this road is not a single person walking, Pu Hua, Shen Zengzhi, Xu Shengweng, etc., are walking, in fact, it will be very interesting to do a comparative study. Moreover, compared with Xu Shengweng's more decisive approach to the ontology of calligraphy and the path of lonely Geng, many of Ying Jun's styles are also lonely and high, but it seems to be pulled back a little, and it is more everyday, or this is reflected in some of his codexes and calligraphy works that record ancient poems, such as his recording of pottery poems, written naturally and warmly, quite the connotation of pottery poetry. It is a pity that Ying Jun did not live long, only in his 60s, and if he took a day off, even if he only lived to about eighty, then his achievements on this road would be even more amazing.
Some of the paintings on display, except for one painting of plums, are all paintings of orchids – and most of them are chaotic orchids, which is very interesting.
Written in Lan Zhong Tang in 1937
Write Lan Zhong Tang partially
I especially like the orchid at the beginning of the exhibition hall and the painting "Writing Orchid In the Middle Hall" in the middle, both of which are long titles, and see Ying Jun's education, prosperity and loneliness. Especially "Writing Lan Zhongtang", in the history of Chinese painting and calligraphy, the painting of Lan has never seen such a painting of Lan, a word - chaos, the surface is completely disorderly. If the stones are paved, but the real perusal is very strong, completely smeared with sexual paintings, chaotic, wild with the pen, pen and ink intentions, informal, this is the Chinese freehand painting "I am myself" place. As his painting is titled "Writing Lan Xiaojie Who Sets The Score... Sweep it away. ”
There is also an occasional painting of plums, the inscription is to write Jin Dongxin's brushwork, and it is really qinggao and lonely.
Should all be written plum
Tang Yinfang (calligrapher): In the 1990s, Mr. Jin Jiancai published a special topic on Ying Jun when he presided over the "Xiling Art Series". What we know today about Ying Jun's life has not gone beyond the scope of publication at that time. If Ying Jun went to Nanjing to hold an exhibition in 1935, who brokered it? What are the important people from the military and political circles in the art world? How did the art world at that time evaluate the equality? What is the reaction of the media, etc., is still unclear. We have not yet grasped these corresponding materials that are more important to study. Of course, at present, we can also start from the work, make a comparison according to the time of the department, sort out a clue, and get the clues of the evolution of his calligraphy, as well as his painting orchid vein. It is only in the absence of written records that the inferences we draw from images, if there are not enough materials to corroborate, inevitably carry today's position, so I would especially like to see the written material that has been excavated and as many works as possible, so that under the dual proof of graphic and textual evidence, a well-founded judgment can be made about the transformation of the art of the average. I heard that there should be an incomplete poem manuscript left behind, and the collector Xu Xiaofei had funded the printing. The singing and objects presented in this print outline a rough circle of friends that should be in Yongkang, providing us with information that should be seen before.
Regarding Ying Jun, now we know that he and his sister-in-law run a tavern, but what is his financial situation? Due to the lack of first-hand material, it is still impossible to make accurate inferences. We missed two key periods, one is that from the mid-1960s to the mid-1970s, many historical relics were erased as four old ones, such as the plaque given to Ying Jun by Yu Ren; The other is the urbanization process after the reform and opening up, and Ying Jun's former residence disappeared (his family situation can be seen in the former residence). Also because Ying Jun has been on the edge of art history for a long time, the materials that could have been obtained through visits have also been undocumented due to the absence of researchers and the demise of contemporaries.
In the era in which he lived, although he was only a businessman, he was still valued by the local Shilin. This situation is not only reflected in Ying Jun, but also in Xu Shengweng of Shaoxing and Shen Black Tea of Haining, as well as many of their contemporaries. They do not occupy a prominent position in society, and their prestige is entirely due to their talents and talents. This makes me think of the social ecology in which they live, the interests and occupations of calligraphers and painters can be separated, social evaluation has nothing to do with the desired acquisition of the same origin, wealth and occupation, etc., and the evaluation system only focuses on learning. Ying Jun, Xu Shengweng and Shen Hongcha, and other semi-professional and semi-amateur literati calligraphers and painters have all shown this characteristic.
Cursive Xie Lingyun poem four screens
Blowing away the dust of the times should be a wake-up call and enlightenment for the present
Chen Wei (calligrapher and painter, now living in Hangzhou): The style of writing in the Republic of China not only inherits the remnants of the late Qing Dynasty's reverence for monuments, but also corrects its abuses and widely adopts Bona. Scholars in the Republic of China generally accepted the calligraphic influence of Bao Shichen and Kang Youwei, but they also studied the Cabinet Thesis, seeking to integrate new paths of inscriptions and new ones. In less than half a century, the Republic of China's book world has presented an unprecedented style of writing with different personalities and diverse styles, and many artists with a creative spirit have emerged, and calligraphy creation has gradually become a purely personalized artistic creation behavior, with the stars shining brightly and each leading the way. Ying Jun is undoubtedly one of the most representative. Only one of them is clothed, and he silently guards the countryside, and behind him is lonely and nameless, and he is unknown. However, from his poetry and singing, it can be seen that they should be widely recognized and obeyed by their book peers at that time. Mr. Zhang Pengyi, the elder of Wenzhou's book circle, talked with his student Xiao Yunchun about art before his death, and according to Mr. Xiao's recollection, Mr. Zhang was very respectful of Yongkang, which shows that the title of Yingjun's book was widely circulated at that time.
Ying jun calligraphy collects and integrates the essence of the Southern Thep and North Steles, which is deep and ancient, steep and cold. The knot body is tight and vigorous, mainly square and flat, purely attacking the stele method, obliquely taking the momentum, and the odd state is full; the pen is used in both circles, the sudden setbacks are clear, the rigidity is straight, and the stele is thick, without seeing the traces of condensation, correcting the rough and vulgar, and taking the elegance and harmony of the thesis, calm and stable, and not being a flattering pen. Ying Jun's majestic body of the northern stele, and the super-easy atmosphere of the Southern Thesis, represent the spirit of the times of the Republic of China's calligraphy. Due to the reasons of the times, in Zhejiang, there are some old people in zhejiang who have not attracted attention and are gradually fading out of historical memory. Excavating local cultural resources, blowing away the dust of the times, and discovering cultural values is a historical and cultural project that is an urgent task. It is believed that with the continuous deepening of the collation of regional traditional culture, Ying Jun will surely further enter the research horizon of calligraphy history and establish its due position in the history of modern calligraphy. I think this should be the original intention and significance of the Spring and Grass Lu to hold the Ying jun exhibition.
Sun Shanchun (Professor of China Academy of Art): What is the significance of a xiangxian, a reader, who draws and writes, and pursues art? That is, art can give him a way, as long as he paints, writes, draws seriously, writes seriously, can write to a certain extent, sometimes like some famous artists, very similar; sometimes he can break through in a certain aspect and form his own style.
When I look at Ying Jun's paintings, I have a very obvious feeling, that is, why he paints orchids, he actually has a lot of his own considerations. He chose to paint orchids, I think there are two considerations, one is ideological, that is, the emotional consideration of the "four gentlemen", and the other is his own consideration of his own pen and ink kung fu. His four clusters of orchids are indeed exquisite, I saw it at the time and told Wang Li that this painting is a work of showmanship, his paintings are actually very kung fu, and the difference between him and the ordinary so-called literati painters is that his technique is very advanced. So I value his paintings very much, but I don't value his calligraphy very much, that's what it means. I found an interesting topic, as long as the kung fu reaches a certain level, the style will be the same as some famous artists, for example, I personally feel that some of the words he writes have similarities with Zhang Daqian.
The Book of Wang Xi in 1933
Exhibit the scene, should be uniform stationery supplies
Yuyao people (calligraphers, now living in Tianshui): It is as if they live in the world surrounded by dense forests, and by the candlelight of calligraphy and painting, they continue their fate and life of loneliness alone. From his early encounters and later ordinary life in the city, the creation of art is undoubtedly a kind of cultivation of the soul.
The way of his artistic practice is the process of self-creation and continuous improvement. The transformation and reversal of calligraphy are completely devoid of the tendency to conform to traditional theories or to converge with the techniques of the world's calligraphers, that is, Ying jun calligraphy and painting and seal engraving are all explorations and efforts made under a free state of going their own way. The playfulness radiated by Ying Jun's calligraphy and painting works from clumsiness and childishness is exactly the style that the art world in the Republic of China era lacked.
The teacher, no sect and no path that should be engaged in art reflects the creator's indifferent mentality. Cézanne, the father of modern painting, was close to Florence, but he did not look at the works of the masters, because contact with rare masterpieces would shake his artistic beliefs. This is the reason for Ying Jun's success in painting, calligraphy and seal engraving.
Calligraphy should be applied to the localities
Chen Liang (calligrapher, now living in Hangzhou): Since the late Qing Dynasty, the research and creation of calligraphy has been characterized by the trend of "retro restoration", on the one hand, it is manifested in the reflection on the calligraphy of the previous generation influenced by the thought of Song Ming, and on the other hand, it focuses on excavating the forgotten traces of calligraphy in ancient learning. In the face of the increasingly collapsing theatrical theory of calligraphy, based on the academic basis of the study of the Golden Stone Examination, Ruan Yuan put forward the "Theory of the Northern and Southern Schools", advocating the separation of the two veins of the stele, of which the northern stele system shows the ancient law - "shedding the ancient law, a piece of vulgarity". Later, Kang You, in order to avoid the Han Dynasty, went through the stele and wrote "Guangyi Zhou Shuangyi", the main purpose of which was to honor Wei Beitang and try to build the stele into a truly systematic theory and practice of the school of calligraphy. This kind of conscious exploration of the reform of the ancient system and tracing the origin of calligraphy has become the main spirit of the calligraphy practice of calligraphy in the late Qing Dynasty, and this calligraphy has continued to this day. Ying Jun's calligraphic practice was formed in such a context of intellectual history. On the one hand, he should all practice with the philosophy of "waiting for the end of the routine, intersecting without shame", so his calligraphy pursuit is the same as that of the ancient calligraphy, although he lives in the countryside, but there is no limitation in taking the law. On the other hand, from the perspective of the unique appearance of his works, if he is discussed from the reception of his works, the potential readers he sets are probably first-class masters like Youren, so his writing has come and gone, directly catching up with the first-class celebrities of the Republic of China. Specifically, some of his later works, especially my favorite codex works, seem to take the meaning of "Zhang Ronglong" and "Portrait of Poor Villagers", such as the engraving of the seal edges, hurried and fast, this kind of tough wind bone is expressed in the turn of the word, and the sonorous sound of the knife is written with a cone soft, which is its greatest feature. Many connoisseurs think it's his ill, but I don't. The book is a painting of the heart, and the characteristics of a certain detail of the book writer cannot be measured by the so-called universal calligraphy technique, but should be discussed as a whole. For example, when it comes to Ying Jun, everyone will think of Xu Shengweng of Shaoxing, some people have the concept that he writes "child body", writes deformed characters, etc. to partial generalization, but in fact, his penmanship Han branch book of the long gun euphorbia, brush pen without revealing, line pen if breathing, inner needles, especially in the later years of three generations, the highest realm, this holistic calligraphy discourse can form an aesthetic judgment. Ying Jun's calligraphy should also be viewed in this way, the mountain and wild stele cliffs, across and over, is expected to be his real calligraphy pursuit, and his calligraphy practice has changed throughout his life, never stopped, which is even more clever than Yu Youren, whom he admires. Kang Nanhai once said: "People are limited to their customs, and customs tend to change." The rivers of heaven and earth, unchanged day by day, books are the smallest. "The path of calligraphy practice that should be changed is bound to give today's people a wake-up call and enlightenment."
Say Rantu 1936
Xue Yuan (literary critic, now living in Qingdao): In the melody of the times with innovation as the main tone, traditional literati are often labeled as conservative and conservative, and it is difficult to be paid attention to by the mainstream or written into the history of art. However, such a traditional literati may not have no artistic vitality, and this artistic vitality is reflected in the re-excavation and presentation of the next generation, which often originates from the cultural complex of the township and the state and transcends the regional search, becoming a search for the predecessors who have hidden into history, and combing out the scenery that is still covered by the wind and dust of the years but still changing the vitality. The significance of the special exhibition and collation of the corresponding calligraphy and painting works is also here. In fact, regardless of whether Ying Jun's works are admired by everyone such as Tai Youren and Sha Menghai, the significance of his works is more of a traditional literati's living state and spiritual outlook. Traditional literati like Ying Jun are already a landscape of the past today, but in the era in which he lived, traditional literati like him are not uncommon, and many "Ying Jun" are mostly drowned in the dust of history and years. The significance of the Yingjun Calligraphy and Painting Exhibition not only allows us to feel the charm of the essence of traditional culture presented by the art of Yingjun calligraphy and painting, but also presents the organizer's understanding of traditional culture and artistic appreciation, and also presents a feeling of cultural responsibility, which is also a cultural attitude and dedication to traditional art that is more scarce today.
Should be both calligraphy, full of seven words in 1936
Should be painted orchid in 1934
Yang Bing (Researcher of the Forest of Steles Museum in Xi'an): Mr. Ying Jun is in an era of change, which undoubtedly has an impact on Mr. Ying Jun's artistic pursuits. This is more reflected in the pursuit of epigraphy in his book, painting and seal engraving creation, which was also the trend at that time. It is particularly prominent in his calligraphy and seal engraving. First of all, in terms of calligraphy, Mr. Ying Jun's early and middle calligraphy works are mostly based on the Northern Dynasty inscriptions, reflecting the style of scattered freedom and simplicity; the late calligraphy works show more of a dignified and dignified and simple and majestic temperament, revealing the influence of Mr. Youren's calligraphy implications, which may be the reason why Mr. Youren admires his works. Secondly, in terms of seal carving, Mr. Ying Jun completely inherited the characteristics of the seal carving of Ding Jing and Huang Yi of the "Zhejiang School", and entered the seal with a cutting knife, distributed evenly, and was old and simple. In addition, in terms of painting, Mr. Ying Jun mostly uses orchids as the object of depiction, absorbing the creative interest of the "Yangzhou Eight Monsters" art group, and the painting method is more similar to Zheng Banqiao. In terms of composition, it is based on the state of self-life, coupled with the personal experience of the world, condensing the personal style of less stretching and more wrapping up the state of distress. This is the value of his paintings.
As a representative artist with traditional artistic spirit in Yiwu, Zhejiang Province, Mr. Ying Jun's calligraphy, paintings and seal engravings not only have their own ancestors, but also have a certain expression of their own personality. Just like its local living conditions, it is not a safe corner, not for publicity, let alone as a means of making a living, but a true portrayal of a pure state of life. Of course, it was this state, coupled with the regional limitations of Yiwu, that prevented Mr. Ying Jun from being more deeply involved in the tide of artistic change at that time. Inheritance is the main theme of his artistic creation.
"Songshi Shanmin Calligraphy and Painting Collection" published by Zhejiang People's Fine Arts Publishing House in December 2021
Zhu Zhizhi (collector, head of Yiwuchun and Caolu Art Museum): For Ying Jun's collection and exhibition, it is indeed a coincidence, because when I first entered the collection in 2004, there were two works of Ying Jun, one of which was a couplet, and there was an orchid. At that time, when I saw this couplet, it was quite impressive to me, and The orchid said that I couldn't understand it when I looked at it, and it felt a little messy - of course, now it's not so messy to look at. The first thing that impressed me in Ying Jun's work was calligraphy, which looked neat and generous, like the words of a reader, which touched me at that time.
Maybe I later entered the collection, and I didn't say how much it had to do with Ying Jun, but there was definitely a relationship, and because of Ying Jun, I had a good feeling for art. Later, I began to collect one after another, I have two good friends around me, both of them have good taste and vision, with the help of the two of them, I can basically hold the tone of collection, and there is also a true and false can also be controlled, these two are the most important. The collection is first of all to have a good tone, and then the work to be true, these two can be held, generally speaking, there will always be something to slowly settle down.
In our collection, there are actually some calligraphy and paintings with a heavy golden stone flavor, and we have received Shen Zengzhi, Xu Shengweng, including Huang Binhong and Wu Changshuo, and there are more calligraphy and paintings with a heavy golden stone flavor.
In 2012, I met a designer in Taiwan by chance, and when we built a building in front of us, we designed and transformed the first floor of the complex building as an art museum. Because the collection is more emphasis on gold and stone style calligraphy and painting, the exhibition is also more important to this side. The first exhibition of our Chunji Caolu Art Museum was the Yu Rentian Calligraphy and Painting Exhibition, which was mainly provided by Yu Rentian's family, and we held an exhibition with our own collection. Since then, the exhibitions have been held one after another, including the exhibition of modern and modern calligraphy and paintings in our own collection, as well as some exhibitions of contemporary masters, exhibitions of contemporary youth calligraphy and painting, exhibitions of local township culture, and so on. In the process of collecting, in the process of organizing exhibitions, there is this feeling, we can not be large and complete, we must make our own characteristics and characteristics, our positioning is biased towards some modern and modern literati calligraphy and painting, especially the level is higher, but may be promoted to do less, or the popularity is not enough, relatively obscured. So under such an idea, with the help of friends, we have successively held some exhibitions, such as Ying Jun, Zhu Baoqing, in front of Bao Shichen Wu Rangzhi Shen Zengzhi, the township state has Zhu Heng, and then in front of the Suzhou Song Jiding, this category we have been paying attention to, including Xu Shengweng, Tao Bowu, Wu Rongting, Chen Shuting, if there is a chance, we all want to do some exhibitions in this regard.
Exhibition site
Jiang Xuefeng (calligrapher, artistic director of Yiwu Chun and Caolu Art Museum): We also paid attention to the corresponding averages very early, just like I just said that when Jin Jiancai was launched in 1990, when "Xiling Art Series" was launched, I had an impression when I saw it. Later, because of coincidence, after 2000, I personally received Ying Jun's works, his orchids and couplets, and I have been paying attention to them since then. This year we went to Yongkang to visit the collector Mr. Qian Longbiao, saw that he hung an orchid in his living room, at that time felt that his eyes lit up, he talked with Qian Zong about Ying Jun, he collected more than a dozen pieces, at that time we joked that we could not do a ying jun calligraphy and painting exhibition? Qian always said you do it, and I support it. Then we started to do it, to collect works that should be equalized. Mr. Zhu and I went to Nanjing, Hangzhou, and Jinhua basically ran all over the place. Yongkang went no less than ten times, asked one by one, friends continued to introduce, found more and more works, and collected more and more. Mr. Xu Xiaofei, because he is a large collector of Ying Jun's works, he is also very supportive of our exhibition, then this exhibition is basically successful.
After we borrowed these works, we discussed them. Because Ying Jun's works have various periods, including his works before the age of 50, we think that he is not mature enough and his style is not strong. We later decided to select the works of the last 10 years of The Year, 57 to 67 years old, and selected about 60 pieces to make this exhibition, and also compiled this "Collection of Works of Matsushi Mountain People".
Some of the earlier works were also borrowed, but they were not exhibited in the storeroom. This exhibition is the work of Mr. Ying Jun in the last 10 years, and it is also his most wonderful and mature work.
Calligraphy and painting works should be all
Yiwu Spring and Caolu Art Museum, should be both the plaque (top) and the on-site presentation of the stone appreciation