Qilu Evening News Qilu one-point reporter Liu Yuhan
Shan Yinggui:
Born in Jinan in September 1933, his ancestral home is Gaomi, Shandong.
He began his career in May 1949 and served as the editor of Shandong People's Publishing House. He graduated from the Central Academy of Fine Arts in 1961 and studied under Ye Qianyu, Jiang Zhaohe, Li Keyan, Li Kuchan and Liu Lingcang. He is currently a professor of Shandong Academy of Arts, a librarian of Shandong Provincial Research Museum of Literature and History, the honorary chairman of Shandong Women Calligraphy and Painters Association, an advisor of the China Women Painters Association, a director of the Fourth China Artists Association, and the Shan Yinggui Art Foundation was established in 2016, serving as the honorary chairman of the foundation. Former Vice Chairman of Shandong Artists Association.
His representative works include "Wedding on the Lake", "Mountain Village Women's Group Painting", "Spring Wind", "Plateau Group Painting", etc., and has published "Shan Yinggui Painting Collection", "Shan Yinggui Painting Selection", "Yanbian Sending Love", "RongYuan Painting" and so on.
Shan Yinggui is 89 years old this year, but she said that she is still "retiring without resting." "When professional people may not stop, the more I get to the back, the more I feel that people have accumulated more, and society has given itself more nutrition."
For an art creator, Shan Yinggui enjoys the current state more - doing things without following the rules and regulations, all out of their own initiative, and there is no other trouble, and they can devote themselves to creation. "This is the happiest state of a painter, just like Confucius said, 'do as you please,' free, but within a certain law."
New Year paintings are nostalgia
Shan Yinggui has a sense of urgency that the time is not waiting. "I have so many years in my later years that I can't use my energy evenly, but I just want to be able to make something on the point of New Year painting." New Year painting almost tied shan Yinggui's life, she once said that new year painting is her own nostalgia. "A painting that is so grounded and rooted in the fertile soil of the people, no matter its content and form, is unforgettable, and for everyone, it is the taste of hometown."
The association with New Year paintings dates back to Shan Yinggui's infancy. She was originally a child who grew up in jinan, but she fled to the countryside because of the war. Eight years of fugitive experience, she is bitterly seeking pleasure, drawing nourishment from the folk art of New Year painting. "I can't help but love New Year paintings, and watching "Mouse Marrying Relatives" when I was a child is something that can never be forgotten in my young mind."
In 1956, Shan Yinggui was successfully admitted to the Chinese Painting Department of the Central Academy of Fine Arts. Before that, she was the art editor of Shandong Xinhua Bookstore and was already a mother of two children, and she cherished the hard-won learning opportunities. In his second year of college, Shan Yinggui created a work "Peace and Happiness", and the childhood affection for New Year painting flowed to the tip of the pen and jumped on the paper. But her heart was very worried, "In the institution of higher learning, the paintings are all Yangchun white snow things, I suddenly changed a lower riba, can I be accepted?" At this time, her teacher, Mr. Li Keyan, stood up and gave affirmation, "He said that this is Chinese, very good, you will paint." ”
Shan Yinggui creates "Peace and Happiness"
In that era, Li Keyan not only affirmed Shan Yinggui's personal works, but also clarified an artistic concept. "Now we all know that New Year paintings are linked to the inheritance of national culture, but at that time there was no such mention. For folk art, is it positive or negative? Is it to look down on or to look down on? Mr. Li Keyan explained that this thing is not a Xialiba person, it represents the Chinese nation. With the approval of the teacher, Shan Yinggui determined the direction of the parallel creation of Chinese painting and New Year painting in his lifetime.
"Peace and Happiness" was successfully selected for the "World Youth Festival Art Exhibition", and Shan Yinggui came to prominence in the Chinese painting world. Since then, her works "Contemporary Hero", "Making Military Shoes", "Wedding on the Lake", "Mountain Village Woman", "Escape - Childhood Memories", etc., have been recognized, and have been selected for more than ten national art exhibitions and won many awards.
"The precious person is bold, the soul of the person who wants it" "Art is not a probe, it needs to be painstakingly managed"... These teachings from the teacher Shan Yinggui have always been remembered. In 2014, Shan Yinggui created portraits of four teachers, "Li Kejian", "Jiang Zhaohe", "Li Kuchan" and "Ye Qianyu" to thank the teacher. Ye Qianyu once commented on Shan Yinggui's paintings, saying, "Simple and generous and vivid, accurate with pen, concise color, rich in decorative effects, its artistic mood is both popular and elegant, beautiful and pleasing to the eye." ”
Shan Yinggui created "Benefactor Li Keyan"
Teaching is like a test field
But even if the concept of "folk New Year paintings are lower Riba people and cultural scum" is broken, the voice of "New Year paintings should be eliminated" is still endless. Shan Yinggui's efforts made the painter Wu Zehao feel admired, "She fought for the status of Chinese ink painting, white painting, New Year painting and various interesting national paintings in the world for almost a lifetime." This sentence tells the hardships of Shan Yinggui's artistic trek, but she did not flinch and flee, but more firmly and powerfully waved the banner of New Year painting creation. Shan Yinggui once went to Henan to inspect the creation of New Year paintings and heard such a story: There was an old overseas Chinese who corresponded with his hometown, and the people in his hometown asked what they needed to send him, and the old overseas Chinese said that he wanted a New Year painting. This made Shan Yinggui firmly believe that the New Year painting has a great value for its survival.
"The best inheritance of art is innovation." Shan Yinggui has worked hard in the field of New Year painting creation. "As early as the Yan'an period, artists began to advocate 'New Year painting', using old forms to reflect new content, and art could not return to old things more and more. In the past, he painted the god of the door, the god of wealth, and the king of the stove, and later he painted the People's Liberation Army, and if he painted well, he could also produce fine works. Shan Yinggui feels that New Year painting is an art form that can be pushed to the world, and cannot be treated as an antique, "There must be a new language, a new mental state, and a new expression method must also be absorbed." ”
Shan Yinggui creates "Wedding on the Lake"
Slowly, Shan Yinggui discovered that an important problem affecting the development of New Year painting to a higher level was that painting, engraving, and printing were separated. "Those who can draw will not be engraved, those who can be carved will not be painted, and the most important place in art is to cut off the breath." The sketch he conceived himself, and then another person to carve it out, his carving knife can not come out of that impulse, can not inject that emotion. In order to make the New Year painting develop to a high level, the painter must be a printmaker at the same time. When she realized this problem, Shan Yinggui was already more than 50 years old, and she immediately signed up to study printmaking, but because she was too old, she was still unable to do it.
Shan Yinggui realized that this problem could not be solved by herself in three or five years, so she began to try to teach classes and cultivate follow-up talents for the creation of New Year paintings. In 1983, under the initiative and presidency of Shan Yinggui, Shandong Academy of Arts officially established the New Year Painting Major. In order to improve the situation of painting, engraving, and printing, Shan Yinggui asked a worker technician specializing in single-knife engraving from Weifang. In order to highlight the characteristics of the teaching of New Year painting, Shan Yinggui set up courses related to this but unprecedented folk paper-cutting, Han portrait brick portrait stone and so on. Thanks to Shan Yinggui's efforts, eight of her students have won awards nationwide.
In the 1990s, the 7th New Year painting major came to an abrupt end, but Shan Yinggui did not give up running and calling. In 2017, Shan Yinggui created a woodblock new year painting of the zodiac and completed an 80,000-word new year painting research manuscript. In 2019, shan Yinggui Art Foundation and Shandong Art Institute jointly held the first Shandong Art Academy Annual Painting Senior Seminar, and in the same year, the Shandong Art Academy Annual Painting Art Research Center was established.
"The establishment of the research center is a great comfort to me. No matter how many classes there are, it is a good thing that someone here blows the horn and wakes up for the New Year. Education is a slow job, just like the experimental field of agriculture, it has to be slowly improved one stubble after another. We have such a good cultural accumulation, it would be a pity if it were destroyed at the hands of our generation. ”
In-depth front-line communication
In addition to New Year paintings, Shan Yinggui also has great achievements in figure painting. In her view, figure painting is the most groundbreaking type of painting since the founding of New China. "Before liberation, most of the figure paintings were ladies and scholars, and the fishermen sitting in small boats and fishing were all in the form of a bowed body, a lifeless face. This is absolutely different from the mental state expressed in our later modern figure paintings, which reflect the new face of modern people and modern life. "The performance of clothing lines alone is a big knowledge." In the past, people wore wide robes and large sleeves, and now people wear cotton jackets and uniforms, how to apply the concept of dry and cracked autumn wind and spring rain in the previous Chinese paintings to the pen and ink? New content needs to be expressed in perfect form. ”
When he was more than 80 years old, Shan Yinggui created a series of ink freehand works such as "Taibai Poetic Intention", "Yi'an Qiu Yintu", "XiZhi Love Goose Diagram", etc., looking back at the classical Chinese spirit, borrowing the ancient and opening up the present, expressing his idyllic inner world and spiritual pursuit. Wang Shuguang, a professor at Peking University, commented on Shan Yinggui's paintings as follows: "Great coincidence is clumsy, big simplicity is not carved, Duncheng is thick, solemn and solemn, the quality is not magnificent, and the instrument is magnificent. "Mr. Shan Yinggui's paintings are full of a simple and upright Qilu style, a rich and thick aesthetic spirit, and a magnificent personality. Mr. never shows off his skills, is not impetuous, but abandons flashiness, returns to the basics, is thick and introverted, and is bright but not bright. Her characters are as solemn, simple, thick and open as the land of Qilu. ”
2021 coincided with the 70th anniversary of the establishment of the Shandong Provincial Federation of Literary and Art Circles, and Shan Yinggui was transferred to the Shandong Provincial Federation of Literary and Literary Associations as early as 1963 and became an officer of the American Association. "The Literary Association is like a locomotive, driving the improvement and development of the following associations." In 1962, the Shandong Provincial Federation of Literature and Literature invited Li Kuchan, Pan Tianshou, Fu Baoshi and other veteran artists to Qingdao to hold a symposium and put forward the idea of establishing the "Shandong School of Painting", which was a major event that could be recorded in the annals of the history of the Shandong Provincial Federation of Literature and Literature. Just in the second year of Shan Yinggui's transfer to the Shandong Provincial Federation of Literature and Literature, he encountered a national art exhibition celebrating the 15th anniversary of the founding of the People's Republic of China. After discussion, the Federation decided that the exhibited works should highlight the characteristics of Shandong fine arts, so it took the New Year painting as the main type of painting. To this end, the Literary Association has set up a special creative team, and the excellent works of various regions have been selected and sent to the provinces, and painters from all over the world have also concentrated on the Literary Association for creation. "It was a big project, and I was responsible for collecting pens, erasers, paints, etc., and I had to register them one by one. Then I had to create it myself at the same time, and I had two and a half paintings that were selected for that exhibition. ”
At that time, there were about 50 works in Shandong selected for the national art exhibition for the 15th anniversary of the founding of the People's Republic of China, and light-year paintings accounted for more than 30, which caused a sensation after being exhibited at the National Art Museum of China. Some critics have proposed that there are three good paintings in Shandong: good paintings, good organization, and good subject matter. At that time, Shan Yinggui was stationed by the Federation of Literature and Literature in the exhibition hall in Beijing to understand the situation and listen to opinions, and she also became a volunteer docent there, "Many people have come to ask me how to draw lines and how to fill in the New Year paintings this year, and asked them very carefully." At that time, the People's Daily also had a full-page report that selected more than a dozen Shandong New Year paintings, and each New Year painting was accompanied by short article comments, which showed that Shandong had set off a wave of New Year painting fever throughout the country. ”
Shan Yinggui still remembers that in order to make the works penetrate deeply into the frontline masses, the Shandong Provincial Federation of Literature and Literature once organized painters to carry the paintings to the Jinan Licheng Market for the people to evaluate. "I laid out a stall there, pressed the painting with stones and bricks, and asked the people to come and see which one was good and which one was bad, and listen to them talk about why it was good and why it was not good.