Cang Mang, Thick, Interesting and Ethereal - "Successful Calligraphers and Painters in the West" publishes an appreciation of the works of contemporary painter Mr. Zhu Tiechuan
Mr. Zhu Tiechuan's painting "Crane Township"
Chinese painters use brush and ink as a medium to create bones for the heavens and the earth, all of which come from the "mind understanding and divine understanding" of the fusion of the painter's subjective mind and objective objects. Therefore, the Tang Dynasty Zhang Yanyuan said in the "Records of Famous Paintings of Past Dynasties": "The image of the husband must lie in the shape, and the shape must be full of its bone; the bone qi is similar, all of which are based on the intention to use the pen." The author appreciates the paintings of mr. Zhu Tiechuan, a contemporary painter, in the recent issue of "Successful Calligraphers and Painters in the West", which is like this, "the hills are formed in the chest, and the hair is in the pen and ink.". With the ancient clumsy and thick, vigorous and strange line writing rubbing, with the spontaneous and unbridled ink color spilled, presented on the paper of the thick and light dry and wet changes, light and heavy, rapid, partial, straight, in the composition of the mountains and rivers of the bones, the lush spirit of the vegetation, the vast sense of the flowing water, but also see the painter's "subjective life mood and objective natural scene blending and intermembling", raw or reckless, or interesting and ethereal artistic conception.
Mr. Zhu Tiechuan's painting "North Country Jiangnan"
Mr. Zhu Tiechuan's painting "Northern Jiangnan" Appreciation of Mr. Zhu Tiechuan's paintings, in terms of pen and ink, fit the hieroglyphic characteristics of landscape objects, and take the line and surface rubbing language, "with the color of the class" and blend and harmonize to show its spirit. The publication of "Crane Township" this time, the strong visual impact brought by the overall blue color from a distance, and the majestic imagery of the wild peaks of "Crane Township" are added. Close inspection of its quality and the strong contrast between the calm and clumsy texture of the mountain stone texture and the ink color of the smoke. In particular, the traditional "axe splitting" and "scraping iron" and other harsh languages, the sharp edges and thick solid products presented by the stony cliffs, under the background of the colorful indigo and lake blue, the rich bone structure of the hills and ravines is seen. On the contrary, the mountain stone-shaped silhouette and mottled image brought by the rubbing will also enrich the endoplasm of water, color and ink blending and interpending. This artistic image language is also a specific expression of the painter's skillful use of the ancient method of "using color to help ink light, and ink to show color" (Qing Tang Dai's "Painting Incidents") as a concrete expression, and it is also more evident that his painting creation is well versed in the aesthetic philosophical operation of "dialectical thinking".
Painting by Dr. Zhu Zhengcheon,Yamagyo
Mr. Zhu Tiechuan's painting "Mountain Trip" Is similar to the previous work on the two brush and ink paintings of "North Country Jiangnan" and "Mountain Line". The similarity lies in the fact that painters attach great importance to line ink and color language, and the difference lies in the painter's use of different landscapes to increase or decrease, or to take or give up. In the work "Mountain Walk", the painter obviously took "far up the stone path of the Hanshan Mountain, and there is a family in Baiyunsheng." Parking to sit in love maple forest at night, frost leaves red in February flowers. The poetic theme of the pen and ink is also through the hard rubbing, through the brilliant dot dyeing, to emphasize the strangeness of the "Hanshan Stone Trail", the colorful "frost leaves", and the splendid xiaxia of the "maple forest" in the distance. "North Country Jiangnan" is also different, such as the use of a large number of face wrinkles, the combination of cliffs and rugged peaks, rocks occupy the main body of the picture, bringing the viewer a distinct theme awareness of the "North Country" landscape image. There are also lush grasses and trees dyed with thick green dots, boats and boats parked on the shore of the "folding belt", etc., and also see the painter's emphasis on the beauty of "Jiangnan", which is in line with the brush and ink capture embodiment.
Mr. Zhu Tiechuan's painting "Alley"
Mr. Zhu Tiechuan's painting "Alley" Appreciate Mr. Zhu Tiechuan's paintings, and also see the presentation of the picture of his master and guest blending in the illustrations. For example, in "Crane Township", the grass and trees brought by the blue and green splash dyeing in the vast sky of the mountains and villages, there is a group of white cranes soaring to decorate the arrangement on it, that is, to see the composition of its strange and positive harmony, dynamic and static mutual reference. The white gaps of the landscape and water are filled with breath flowing; the empty pavilion where the streams and waterfalls intersect and the peaks are placed at the top are precisely the places where the spiritual qi brought by the picture layout is gathered.
Another example is the sketching style of "Alley", taking the sense of loneliness of the alley brought about by the "far-reaching" arrangement, the dense vines hanging on the pink wall dewa and the sparse contrast of the smooth walls, the rich picture space formed by the jagged vertical and horizontal, the stacking of the houses and the real fiction, and so on. There is also a character painting "When the Breeze and The Moon Rises, the Grass Shed Hangs Upside Down Melon", which is ink-shaped loofah vine branches and trees, and the rattan yin yin quiet environment space arranged for the twister chantIng Gaoshi character loop. There is also the long volume "Danping Thousand Blades And CuiLing Wuding Kai" with a firm pen line to construct the reality of the ink image of the Leiluo Hills, and the void of the picture that is hidden or explicit around the smoke and clouds. In "Spring and Autumn Reality", the vertical hills are like clusters, and the whole column is full of steep shapes, and the horizontal and strange and verdant farmland, the plain white vacant, silent rivers and lakes, and the overall vertical and horizontal, knotted and scattered cloth brings a sense of grandeur.
Mr. Zhu Tiechuan's painting "When the Breeze is Bright and the Moon Is Overhanging in the Grass Shed"
It can be seen that whether it is a landscape or a figure, or a panoramic composition of a general Vientiane, or a small scene created by taking a corner, it is an explicit reflection of the dialogue between the painter's subjective divine will and the landscape of heaven and earth. Gathering and dispersing, imaginary and real reflection, or high or deep, all see Mr. Zhu Tiechuan's paintings and illustrations in the operation, reflecting all things with the soul, the fusion of the mind and things in the case of mountains and rivers, and the emotional sustenance of his temperament and his heart.
(Wen\Feng Yiyu, Calligraphy and Painting Art Critic, Chenggong Art Museum)
Painter Profile: Zhu Tiechuan, painter, born in 1947, Daxing, Beijing; graduated from the Central Academy of Cultural Cadre Management, majoring in fine art and decoration. He is currently the director of the Fifth Beijing Municipal Federation of Literary and Art Circles, the sixth representative, the vice chairman of the China Art International Exchange Association, the member of the China Artists Association, the member of the Chinese Calligraphers Association, the member of the Beijing Branch of the China Photographers Association, the special reporter of China Modern Photography Newspaper, the senior consultant of culture and art in Shanghai World Peace Village, the senior artist of China Jiuzhou Calligraphy and Painting Institute, the vice president of Beijing Nanhai Painting Institute, and the second-class artist of Beijing Printing Institute. The art resume is included in the "Who's Who of Chinese Contemporary Artists", "Dictionary of Chinese Modern Calligraphy Circles", "Who's Who in Chinese Contemporary Art Circles", "Dictionary of Famous Chinese Calligraphers and Painters in the World", "Chinese Characters Cihai", "Who's Who in the World" and other dictionaries.
Zhu Tiechuan's long volume "Danping Thousand Blades And Cui Ling Wu Ding Kai" please enjoy it horizontally