Some people are destined to be born for art, and Song Weiyuan is one of them. He learned to paint since childhood, elegant and clean, with remarkable achievements, and has achieved high achievements in Chinese painting figures, landscapes, flowers and birds, as well as calligraphy, seal carving, poetry and guqin, calligraphy appraisal and other aspects. Mr. Song began teaching at the Central Academy of Fine Arts at the age of 27, and his peach and plum are all over the world.
On the occasion of Mr. Song's sixtieth birthday, his raw flower work "Talking on Paper - Song Weiyuan's Apprentice Draft" will soon be published, and the whole book is accompanied by the most artistic demonstration draft with talking art records, teaching records, and students' perceptions, comprehensively reproducing Mr. Song's thoughts, hoping to pass on the students' understanding, harvest, inspiration and improvement to their colleagues in calligraphy and painting every time in the classroom, and nourish the foundation of traditional Chinese painting. Yang Xiaowei, editor-in-chief of China Artists Network, explored the famous artist and art educator Song Weiyuan and conducted an exclusive interview with him.
Yang Xiaowei: I heard that you will publish a book entitled "Talking on Paper - Song Weiyuan's Apprentice Draft", what is Mr. Song's expectation for the publication of this book?
Song Weiyuan: When this book is published, I have no expectations at all. It's just that students expect to collect these classroom demonstrations into a booklet for future learning references. The tradition of inheritance has no place in this new art boom, and this volume is published for self-entertainment, recording some traces of teaching in the past, and resonating with peers. The decline of traditional Chinese classics is a huge mistake in our long-term art education. The Western teaching mode runs through the education of Chinese painting, which undoubtedly transforms the Chinese's inherent vision and aesthetic origin of observing the objective world. Interpreting China's Willow Bank with the eyes of Western artists makes China's current art works extremely unbearable. Respecting traditional classics and revering traditional culture is the inevitable of preserving China's pure bloodline, and it is also the inevitable result of national self-confidence and cultural self-confidence.
Yang Xiaowei: Mr. Song is proficient in Chinese painting, calligraphy, poetry, seal engraving, guqin, Peking Opera, and is known as the "Master of Chinese Painting", the essence of these ancient arts belongs to different fields, do you think there is any intrinsic connection between them?
Song Weiyuan: Chinese culture and Chinese art were originally a mess of things that could not be dismantled. It differs from the sliced study of Western scholarship and produces specialized scholarship in specific fields. The mutual promotion, mutual growth and mutual infiltration of Chinese cultures, the blurring of the boundaries of Chinese art, and therefore the vastness of the majestic. Chinese painting is a poetic painting based on calligraphy, and at the same time rich in the pursuit of Chinese musical theater, so it is a complex composite art that does not happen overnight. Chinese artists have made some achievements throughout their lives, which is also valuable. Artificially cutting Chinese art and forcibly dividing disciplines in order to create artistic brilliance in a short period of time, it is only the strengthening of Western art that is fueled by the seedlings, emphasizing the stylization, personalization, and alienation of the cultural background and cultural attributes of art, which has made Chinese painting increasingly become the backbone of Western art, so advocating classics, reverence for ancient sages, and small individuals are what Chinese artists want to do at the moment. The overall improvement of poetry, calligraphy and painting is a powerful guarantee for promoting the development of contemporary Chinese painting.
Yang Xiaowei: After comparing the painting systems of the East and the West after ten years of teaching and traveling abroad, you first put forward the theory of Chinese descent, advocating that Chinese painting should be "pure in blood". Nowadays, the theory of Chinese descent undoubtedly affects the direction of the development of Chinese painting today. I hope you'll share this with you.
Song Weiyuan: In the 1980s, with the deepening of China's economic reform, culture and art also opened up, the West and the East gradually made the Western literary and artistic thought and literary and artistic practice impact on the Chinese painting world, how to make Chinese traditional art into the world art forest, promote the reform of Chinese painting, is the problem of every artist at that time, they strive to understand Western art and art theory, transform their own artistic ideas and artistic practice, at the same time, also destroy the Chinese art tradition. There is no doubt that their artistic ideas have influenced so far, so that Chinese painting is increasingly entering the concept of oil painting and abstraction, and this powerful grafting force inspires the current young art students, thus forming the trend of the times, and this transgenic art stifles the life continuation of traditional Chinese art. In today's high-tech development, people are more and more for the national and ancient cultural relics to produce infinite warmth, and the artistic reality of scientific and technological globalization is also questionable, so purifying the artistic bloodline and pursuing their respective artistic origins should also be what we should reflect on. I have traveled abroad for ten years, visited major museums and Western artists, learned about their views on the trend of contemporary art, and deeply felt the difference between Eastern and Western art, the difference in artistic concepts, the difference in aesthetic orientation, the difference in thinking mode, and even the difference in race. Realizing the profundity and preciousness of classical Chinese art, someone should conservatively adhere to it and develop it.
Yang Xiaowei: Chinese painters on the road of creating their own new ones, a school of people to absorb Western nutrients, such as Xu Beihong, Lin Fengmian, etc.; Another school excavated in Chinese traditions, such as Qi Baishi, Huang Binhong, etc. Which genre do you think is more suitable for the development of Chinese painting?
Song Weiyuan: Yes, the artistic path of combining Chinese and Western art has brought us visual novelty and brought prosperity to the current art world, but it is difficult to say how long its artistic vitality can last. Because its bones are completely Western, not our nation's, and China's traditional painting has lasted for thousands of years, today it seems that it is still impossible to explore, and the eternity of its life is obvious to everyone. Chinese art has a precious inventory of more than a thousand years, can we bear to bury it? With the passing of the old gentlemen, the inheritance of traditional arts has declined. When there is a serious problem with the inheritance, its development cannot be discussed.
Yang Xiaowei: Why have you always been fond of traditional Chinese painting art?
Song Weiyuan: First of all, because we are Chinese, which is very important. Reading a Tang poem makes us proud. Kazan, one of the "three great mountains" in the Japanese painting industry, is equivalent to the status of Qi Baishi and Xu Beihong in China. He said that Japanese painting was very close to Chinese painting, but now Japanese painting has its own new look and personality, which has a great influence in the world. At that time, I asked him a question: How did Japanese painting go to the world and enter the modern era? By what means? His answer surprised everyone present, saying: "Japanese painting was completely learned from Chinese and Song paintings, and the nutrition drawn from ancient Chinese painting, including Chinese calligraphy, was preserved by the Japanese." "Today we have discarded a lot of our own things, which is a pity, modernization can not because of learning from the West and give up China's original things, the essence of traditional Chinese culture, should be continuously carried forward."
Yang Xiaowei: Today's interview ends here, thank you Mr. Song for taking the time to accept my interview! Thank you also for your contribution to the promotion of the traditional culture of the Chinese nation!
Rare "Chinese style" in the domestic painting world
Song Weiyuan's sincerity and purity of traditional Chinese culture have been deeply rooted in the marrow, and he is a master of tradition, capable of landscapes, characters, flowers and birds, and is good at freehand writing and writing. The pictures of his works reveal the state of mind of emptiness, relaxation, retreat and freedom, and he advocates that Chinese painting should be "pure in blood", advocates the purity of Chinese painting, and forms a painting concept of "poetry, calligraphy, painting and printing". At the same time, he has intensively read literary history, deeply educated, and has published "Ancient Painting Decryption - Shi Tao Scroll", "Art Egg Incubation - Song Weiyuan Studio Character Sketching", "Song Weiyuan Poetry Text", etc., accompanied by tradition, with sages, as well as Song Weiyuan's painting and literary style, famous masterpieces include "Portrait of Ming-style Figures", "Qin Huai Bayan", "Turandot", etc., he is a rare national style persistent watchman and practitioner in the Chinese painting world.
Artist Profile
Song Weiyuan, character Yin Ru. In 1984, he graduated from the Chinese Painting Department of the Central Academy of Fine Arts and stayed on to teach, and was included in the "Who's Who in the World" of the University of Cambridge in the United Kingdom. He studied under Ye Qianyu, Li Keyan, Li Kuchan, Jiang Zhaohe and many other masters of art. He has a high degree of attainment in Chinese painting of figures, landscapes, flowers and birds, calligraphy, seal carving, poetry, and identification of Chinese paintings, and has studied guqin and Peking opera. His painting talents have been highly praised by the famous Japanese art master Kayama Yuzo. In 1991, Mr. Song Weiyuan began to lecture and travel overseas for ten years, conducted in-depth and systematic research on Chinese and Western painting, and advocated the "pure blood" of Chinese painting. His works are widely collected by major art museums and individuals at home and abroad.
Artistic career
In 1980, he was admitted to the Experimental Class of Chinese Painting of Ye Qianyu of the Central Academy of Fine Arts with the first place;
In 1984, his graduation work won the Ye Qianyu Award, and he stayed on to teach at the school, serving as a teaching assistant for Lu Shen and Yao Duo;
In 1987, he participated in the workshop of the famous Japanese painter Kayama Youzaku, and Kayama Rezoku commented: "Your paintings have given me new inspiration, you have a good pair of eyes, you are a genius";
In 1989, his artistic achievements were included in the Dictionary of Contemporary Chinese Famous Painters, in 1993, he was selected into the "Who's Who of the World" of the University of Cambridge, England, and in 2009, he configured a Chinese painting background map for Zhang Yimou's Bird's Nest Edition of "Turandot";
Solo exhibitions
In 1988, he held a solo exhibition at the National Art Museum of China; in 1992, he held a solo "Chinese Painting Exhibition" at the Victoria Museum in B.C, Canada; in 1993, he held a solo "Chinese Painting Exhibition" at the Exhibition Hall of U.B.C University in Canada; in 1994, he held a personal "G Printing Exhibition" at U.B.C University in Canada; and in 1995, he held an exhibition of "Saying Seals" at the Arts and Crafts Museum in Vancouver, Canada In 1996, he held a solo exhibition at the Richmond Cultural Center in Vancouver; in 1996, he held a solo exhibition at the Richmond Cultural Center in Vancouver; in 2007, he held a solo exhibition in Taiwan; in 2008, he held a solo exhibition in the Los Angeles Municipal Government; in 2012, he held an art exhibition of Shangyou Guxian Song Weiyuan at the Confucius Temple in Beijing, and in the same year, he held a solo exhibition at the ChunshanShu Art Museum in Tokyo, Japan; and held several solo exhibitions in art museums/museums in Beijing, Shandong, Shanxi, Guangzhou, Sichuan, Inner Mongolia, Jiangsu and other places.
publication:
His solo art album "A Master of the Painting World" was published on a photo tape; "Ancient Painting Declassification - Shi Tao Scroll", "Art Egg Hatching - Song Weiyuan Studio Character Sketching", "Art Egg Incubation - Song Weiyuan Landscape/Flower Sketching"; "Song Weiyuan Works Collection"; "Song Weiyuan Poetry Text"; "Chinese Contemporary Hanmo Famous Artists Painting Collection , Song Weiyuan"; "Talking on Paper - Song Weiyuan Lesson Manuscript".
Interview:
In 2007, he recorded the special feature film of "Non-hereditary Persons" of Radio Television Hong Kong;
In 2009, he recorded the special series of "Collecting the World"; exclusive interview with Writers Network;
In 2019, he recorded the special documentary "Resurrection of Ancient Paintings"
Appreciation of works
▲ "Chinese Painting" 137.5cmx34.0cm
▲"Chinese Painting" 67.5cmx33.5cm
▲"Chinese Painting" 71.0cmx36.0cm
▲ "Ranuma Feather Alliance" 58.5cmx10.5cmx2
▲ "Fine Mass Thick Link" 58.5cmx10.5cmx2