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Yu Renjie
【Editor's Note】
Yu Renjie is a middle-aged artist with great strength and fame in today's Haipai art scene. He is a master of calligraphy and painting, especially good at painting lotus and cursive writing, and often uses cursive brushwork to paint, making lotus painting a business card for him.
Today, we published Zhang Yasheng's article "Taking "Lotus" as Precious, Sex and Spirit as Shang- Talking about Yu Renjie's Lotus Paintings", and we will taste and discuss Yu Renjie's painting and Lotus art with you.
Zhang Yasheng
"Lotus" is precious, and sexual spirit is still precious
——Talk about Yu Renjie's lotus painting
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● Among the many flowers of land and water, lotus flowers have won the favor of literati of all generations for their elegant temperament that can be viewed from a distance and cannot be played, and its independent character of not staining sludge. In particular, many painters are most happy to paint with lotus flowers, including Wang Mian, Zhang Zhong, Xu Wei, Chen Hongshou, Zhu Yun, Shi Tao, Yun Shouping, and Zhang Daqian, Qi Baishi, Huang Binhong, Pan Tianshou, Li Kuchan, Jiang Hanting, Yu Feimin, Wu Hufan, Zhu Qizhan, Xie Zhiliu, Wang Xuetao, and so on. It is these painters who exhibit their own wonders and are good at each other, so that the water hibiscus between the heavens and the earth has become a brilliant bright color in the Chinese painting world, which is the so-called "green smoke on the pushang and red clouds on the bottom of the waves".
● In today's Haipai art world, there is also a middle-aged painter who is intoxicated and intoxicated by the pavilion of lotus flowers, who loves lotus, appreciates lotus, dreams, yonghe, and paints lotus. This person is Yu Renjie.
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▲ Yu Renjie's "Quyuan Lotus Wind"
▲ Yu Renjie's "Shang Shu Da Yu Mo"
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● Graduated from the Oil Painting Department and the Chinese Painting Department of Shanghai Normal University, Yu Renjie is familiar with oil painting, drawing, printmaking, sketching, Chinese painting and calligraphy. From this point of view alone, we know that he has laid a solid artistic foundation and a broad artistic vision since he was a child, and can connect Chinese and Western and learn from all strengths.
● Among Yu Renjie's many specialties, painting lotus and walking grass is the most attractive. Although we are talking about Yu Renjie's art of painting lotuses here, we must not ignore the important role of calligraphy in his lotus paintings, without profound inscription skills, it is difficult to paint the full texture of the lotus handle, the flowing and free of the lotus leaves, and the freshness of the lotus.
● Yu Renjie's cursive writing is ethereal, the ink is concise, and the paper is full of ancient thick and upright atmosphere, which is very rare. It should be said that he has a good grasp of the ontological language of calligraphy, made careful trade-offs and annotations to tradition, and made appropriate exploration of innovation.
▲ Yu Renjie,"Li Bai will enter the wine"
Bucket side two pieces
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Therefore, Yu Renjie skillfully opened up the blood relationship between painting and book, so that it can circulate freely, and the line, cloth white, shape, and breath are all good, such as flowers, petioles and water weeds are quickly outlined in the cursive brushwork, not seeking stability but vivid fun. What is particularly rare is that Yu Renjie's painting of He pursues a temperament of frankness and purity, which is the "sexual spirit" that has always been emphasized in the aesthetics of the literati of the Yuan and Ming dynasties.
Counting the famous artists of modern painting, Zhang Daqian pursues lotus rhyme, fresh and beautiful, and wields as desired; Qi Baishi pursues lotus fun, naïve and messy, not similar; Pan Tianshou pursues lotus bones, domineering and tenacious, zhengrong unyielding; Yu Feimin pursues lotus color, and the image is forced to xiao and yanli is exquisite. Yu Renjie's painting of He seems to be deliberately avoiding the famous masters, and the ethereal spirit of the Yuan Ming is long, and the influence of Xu Wei and Zhu Yun is particularly profound. In Lu jinde's words, "Yu Renjie's Chinese paintings in the capital letters make the picture have a kind of Weixia tension."
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Tuan Fan Sketch
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As we all know, the "sexual spirit" has a wide range of interesting sources, and in the Ming Dynasty, there were both Wang Yangming's "heart study" and Li Zhuowu's "childlike heart theory" in the spread of philosophical thought, and there were also "public security factions" represented by the three yuan brothers who contributed to literature.
As a result, in the painting world, there are such wizards as Xu Wei and Zhu Yun. Xu Wei's paintings of lotuses are pungent and spicy, dripping with ink, and the spirit is full of energy; Zhu Yun's paintings of lotuses are purely won with pen and ink, the form is concise, and the extremely vulgar is clear; but guan Yu Renjie's lotus, complex and simple, dry and wet, heavy and light, warm and cold, have both, if there is no certain skill, enough talent, and talented spirituality, I am afraid it is difficult to merge the two into one.
▲ Yu Renjie's "Lotus Rhyme"
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● Look closely at Yu Renjie's lotus paintings, Ye Maiyi writes, the shape is simple, and the pen is tight and loose, or the dot or splash is written. The lines are full of toughness between the bullets, and everything seems to be forceful, but it is point to the end. For example, the petals of the lotus flower are not circled, the air mouth is full, and the fresh breath of the flower bones is born spontaneously. The petiole of the lotus flower is either straight or leaning, or pitched or tilted, and the combination of movement and static is pleasant to the eye.
● At the same time, Yu Renjie's lotus paintings are not colored much, preferring the feeling of "no fat powder, no thick makeup, and the water temple wind has a dark fragrance", which has a fresh and elegant atmosphere. He also pays great attention to the changes in the whiteness of the picture and the thickness of the ink color, and uses the care of dryness, thickness, lightness and weight to enhance the sense of flying ethereal in the picture, leaving a looming aesthetic space for the viewer to reverie, and is also the embodiment of the idea of "sexual spirit".
▲ Yu Renjie's "Lotus Pond Elegant Fun" four screens
▲ Yu Renjie's "Purple Qi Coming East" four screens
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Today's market is particularly admired for Zhang Daqian's lotus painting, named "Daqian Lotus". Zhang Daqian's paintings are varied and noble, and his outstanding skills are indeed the "first person in five hundred years". However, Zhang Daqian's lotus paintings are also unsatisfactory if they are to be harshly investigated, and excessive decorations (such as "five-color lotus flowers") and the gentleness of the breath are short. In my opinion, Zhang Daqian's painting of the lotus still belongs to the literati's interest, self-cultivation, and does not deviate from the category of orthodoxy, just as Zhang Daqian said to himself, "My experience in painting the lotus is to always look like it stands in the middle of the water."
On the contrary, Xu Wei, Zhu Yun, and even Yu Renjie, they paint lotus more like the "Wild Yi School", not seeking utilitarianism, not asking about the world, but burning their own life experience and life emotions, painting with "heart" and "sex". We often value "lotus", in the final analysis, it lies in its straightness, in its non-branching, in its symbol of a gentleman's clean and clear, clean and self-righteous conduct, in that it embodies Chinese will still appreciate a helpless magnificence when in contradictions and pain, and to do a dream of high purity and detachment. If there is no passion burning and emotional verification of the painter's own life, how can it be imprinted with the "sexual spirit" of the Lotus? There is a way that "the mud body is not stained, no more than the same as the crowd", "the painting and the xichi crown are upside down, and it is hard to work next to people".
Xin Ugly Year Tail Ya Sheng Yu Zi Ke Mountain House
Yu Renjie Lotus
Fun
Wild fun
Fun
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Summary
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● Yu Renjie, born in September 1955 in Shanghai, is a native of Zhenhai, Zhejiang. Graduated from the Oil Painting Department and the Chinese Painting Department of Shanghai Normal University. He is a member of the Chinese Calligraphers Association, a director of the Shanghai Calligraphers Association, a member of the Shanghai Artists Association, the vice chairman of the Hongkou District Literary and Art Federation, the vice chairman of the Hongkou District Calligraphers Association, and the chairman of the Hongkou District Artists Association.