Mu Xuesong saw the masterpiece "Penglai Wonderland" by the Qing Dynasty boundary painter Yuan Yao by chance, and he fell in love with the boundary painting uncontrollably. After learning that there is a lack of inheritance of boundary paintings, he gave up his achievements in painting and changed his course to specialize in boundary painting, which was recognized by people in the circle, such as Shanghai painter Su Xiaosong, who believes that Cedar's boundary paintings are the best in China at present. The Nanjing painter Yu Hui believes that Cedar's paintings are a good organic integration of the delicacy of boundary painting architecture and the aura of landscapes, and the use of light and elegant colors to change people's impression of boundary paintings is vulgar. This may be the result of his hometown Wujiang Landscape, the result of his edification, he took the ancient village of his hometown as the object of the creation of boundary paintings, especially Pengshui's grand architectural complex - Xuanyou Jiuli City as the object of the creation of boundary paintings, Jiuli City is an architectural wonder of Pengshui, bringing together pavilions and pavilions and various folk buildings in Wuling Mountain, is the collection of traditional architecture, some people think that it is a museum of wooden architecture. The building is large in volume, has many categories, and integrates well with the surrounding landscape.
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artist
Brief introduction
Mou Xuesong, male, from Chongqing, born in 1970. Graduated from Sichuan Academy of Fine Arts, he is now a member of Chongqing Artists Association and a member of China Television Artists Association. Xi Shanshui is good at painting, and his works have been selected for provincial, municipal and national painting exhibitions many times and won awards. In recent years, he has devoted himself to the study of boundary painting.
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Entering the ancient boundary
Guan Mu Cedar Boundary Painting Caused by Association Text/Lu Dai
How a person steps into his own art world is always a little strange. For example, Mou Xuesong, around 1996, he happened to see Yuan Yao's painting "Penglai Wonderland" in a magazine, and was immediately attracted and conquered, and from then on he began to use the boundary ruler lead, so he made boundary paintings for more than 20 years. Recalling this, he said: "My choice as a person is often passive, I didn't know what a boundary painting was at that time, it was at that moment that I was attracted by the atmosphere of Penglai Wonderland, and I was happy and yearning for it." ”
Regarding boundary painting, many people, including many people who study art, are not very familiar with it. The Concise Dictionary of Fine Arts introduces: "Boundary painting, a painting discipline of Chinese painting. Use ruler leads when painting, hence the name. The origin of boundary painting is very early, and it has existed in the Jin Dynasty. ”
Boundary painting is old, and entering the boundary is like entering the ancient world.
Cedar from the boundary into the painting, I call it into the boundary.
For young artists with a strong sense of the times, most of them always tend to be different and new, especially conceptual art, trying to do somersaults and play with feelings in various ideas from the West. Cedar wood and stubborn, he said: "Those, I can't play, I like boundary painting." ”
▲ "Five Willows Returning to Zhuang" 94.0cmx57.0cm
Entering the world is not so fun. First of all, the original words of "landscape painting at the beginning, boundary painting at the bottom" that Yuanren Tang Yan repeatedly quoted were: "Secular painting must know that there are thirteen branches of painting, landscape painting is the head, boundary painting is the bottom, so people take boundary painting as an easy task, do not know the square direction, high and low, far and near bumps, clumsy and beautiful, Ziren craftsman family has not been able to do their best." In the case of pen and ink rules, it is extremely difficult to think about the top of the silk and seek to meet the criterion of its legality. Tang Gao also said: "The paintings may be fabricated and concealed, and there are no people who do not use the law of employment in the paintings of the far boundary." In this regard, we can at least see two meanings: first, at that time, there was indeed a phenomenon of raising landscapes and degrading boundary paintings; second, Tang Yan was obviously able to perceive the beauty of boundary paintings, to distinguish between secular theories, especially to distinguish between the works of the general "Ziren Craftsman". Therefore, he said: "The method of looking at paintings cannot be taken all the way, the ancients have their own destiny, each has its own way, how can we just see what we see, and the rope is the meaning of the ancients." Unfortunately, most people today hearsay about Tang Gao's words, and if they catch half a sentence, they will run away, which will be completely wrong.
▲ "Mountain Resident Arrival Time" 94.0cmx57.0cm
Secondly, the earliest formation of the concept of boundary painting is directly related to ancient Chinese architecture, that is to say, boundary painting objectively reflects and reproduces various architectural forms and vehicles such as pavilions, pavilions, temples, bridges, boats, and ships with the help of proprietary painting tools. Boundary painting was once brilliant in the Tang and Song dynasties, but in the Ming and Qing dynasties and modern times, due to the rise of literati painting, boundary painting gradually edged, so that it was not welcomed. The art form changes from time to time, and the ebb and flow of artistic thought is a law. However, what I would like to point out here is that boundary painting is a realistic painting style, and its characteristics of standardization, neatness, rigor and accuracy fully reflect the style and style of ancient Chinese architecture; while the literati paint sloppily, do not seek similarity, show personality, and point directly to the heart. This is certainly two paths, two ideas, two forms, but it is by no means black and white, either-or. Boundary painting is only a small aspect of social life and art history, but it is enough to cause us to reflect deeply. I discussed such a problem with Zhou Nanping, a professor at the Sichuan Academy of Fine Arts and a famous artist. He believes that in art, especially in art education, it is better to walk on two legs of perceptual thinking and rational thinking, and it is unreasonable to ignore or belittle a certain aspect. He believes that the architecture and related parts of the boundary paintings, Zhang Zeduan's "Qingming On the River", as well as Wang Zhen's "Nongshu", Song Yingxing's "Tiangong Kaiwu", etc., his paintings and the pictures in his books are actually the great traditions of Chinese culture, which shine with the brilliance of rationality and should be carried forward.
Third, boundary painting has a narrow sense and a broad sense, we should fully understand the richness of boundary painting and see the development of boundary painting. Often the comprehensive level of people who draw well in the boundary is also high. Dong Boren's tower figures, Zhan Ziqian's green landscapes, Li Sixun's golden landscapes, Wu Daozi's immortal figures, Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty", as well as Many famous artists such as Ma Yuan, Fan Kuan, and Qiu Ying, are all involved in Yu Jie painting, and their influence on Chinese painting is far-reaching. In the Qing Dynasty, Yuan Jiang and Yuan Yao broke the formula and continued to open up a new one, pushing the boundary painting to a climax. Xu Beihong once inscribed Yuan Jiang's Tongjing Landscape (one of the largest surviving ancient joint screen paintings): "As far as painting is concerned, the true Yangyang Grand View, I am afraid that Wu and Li three hundred miles of Jialing River can not be caught and added", which means that wu Daozi and Li Sixun painting the jialing river three hundred miles are not necessarily much better than him; the second half of the sentence is: "When the literati painting arrogance, they were not valued, but in fact, they were below the white, and the four kings were inferior to Wu Zhuzi, and their speech and workmanship were far inferior." Xu Beihong's argument is indeed insightful.
▲ "Terrace Autumn Moon" 36.0cm x 36.0cm
Cedar copied a lot of boundary paintings, and the favorite is the boundary paintings Yuan Jiang and Yuan Yao. He felt that the "Two Yuans" had both work and writing, and could not be discussed in terms of general stylized boundary paintings. He felt that in the boundary paintings of Yuan Jiang and Yuan Yao, the immortal atmosphere and artistic atmosphere created by the integration of pavilions and landscapes were fascinating, and whether it was from a distance or a close-up view of the brush and ink, it achieved the "vivid charm" of Sheikh's words, and "vivid qi rhyme" was the fundamental way to avoid the craftsmanship of the boundary painting. He carefully savored the charm of the lines of the "Eryuan" painting, such as the thickness and thickness of the straight lines, the gentle curves of the loops, the setbacks when starting and closing the brush, and the beautiful carvings, while finding the relationship of context in the architectural paintings in the Song Dynasty paintings. He felt that many of the ancients such as Yuan Jiang and Yuan Yao had the characteristics of steepness and strangeness in the shape of mountain stones, and in the overall composition of the picture, they were both unexpected and just right. At the same time, he tried his best to understand the freehandness of the expression of mountain stones by the ancients such as "Eryuan", including the thickness of the pen and ink, dryness, thickness, and the use of various wrinkles - such as ghost face wrinkles, small axe splitting, etc. He also repeatedly experienced the influence of the lightness, intensity and layering of the green landscape on the picture, and strived to create a sense of ease in the picture. Cedar said that among the painters in the industrial circles in later generations, the "Second Yuan" is the most difficult to overcome, and those who imitate it cannot get their work. Therefore, he pursued Yuan Jiang, Yuan Yao and other works, and during his wandering, he wanted to get his magic and elegance.
At present, there are very few people painting in the national painting circle, so it is meaningful for Cedar to love the boundary painting and inherit the boundary painting. At the same time, his creations such as "Boundary Painting Nine Li City" have also begun to express some of his ideas, which is commendable. Shi Tao said: "Today's people and ancients, who teaches who is the body; but out but in, by turning the bottom of the pen." I thought that "who teaches who is the body" and "but out but in" are unavoidable topics not only for Cedar, but also for many artists.
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Appreciation of works
▲ "Yun shan gaohuai" 22.0cmx68.0cm
▲ "Lake and Mountain Retreat" 22.0cmx70.0cm
▲ Pavilion Map 46.0cmx43.0cm
▲ "Seclusion" 36.0cm x 36.0cm