Between the landscapes and rivers - Wen Jun landscape paintings

Gentle

Wen Jun, originally from Hebei, was born in Beijing in 1953. He is a member of the China Artists Association, a distinguished researcher of the Art Creation Institute of the China Academy of Arts, a member of the 10th Beijing Municipal Committee of the Chinese People's Political Consultative Conference, a special invited member of the 11th Beijing Municipal Committee of the Chinese People's Political Consultative Conference, a member of the 6th to 9th Council of the China Association for the Promotion of Peaceful Reunification, a deputy director of the Calligraphy and Painting Friendship Committee of the China Association for the Promotion of Peaceful Reunification, a director of the 1st to 5th China Overseas Friendship Association, and a member of the 7th and 8th Committees of the All-China Youth Federation.

He successively studied under the famous painters Guo Chuanzhang, Yaming, He Haixia and Zhang Bu. In 1991, he was sent by the All-China Youth Federation to Japan for study, and during his time in Japan, he created "Snow Mountain Fuji" and was highly praised by Ikuo Hirayama. "White Waterfall" and "Impressions of Japan" are collected by former Japanese Prime Minister Noboru Takeshita. In 1993, he held a solo exhibition at the National Art Museum of China, and in 1994, "Quiet Mountain Forest" was selected for the 8th National Art Exhibition. In 2005, some of his works were collected by the Political and Legal Committee of the CPC Central Committee and the China Law Society. In 2015, he held solo exhibitions at the Confucius Temple and the Guozijian Museum. In 2016, he held a solo exhibition in Rongbaozhai and in the same year, "Fishing Tree Cultivation Reading Map" and "Centennial Tree Man" were collected by the China Academy of Art. In 2018, "Guizhou Style Map" was jointly collected by the State Zijian and the Cultural Relics Bureau. In August 2021, the National Art Museum of China held the "Ink Language Condensation - Wen Jun Landscape Painting Exhibition".

Wen Jun, "Mountain Listening to the Tao", 2015, paper, 1032×248cm

Between the landscapes and rivers - Wen Jun landscape paintings

"The country is the people, and the people are the country." Wen Jun loves the motherland and the mountains, and nature as a teacher, affectionate landscape, the surface of his paintings is to depict the mountains and rivers, showing the grandeur of thousands of mountains, majestic and broad, but the inner is to express the connotation of objects, express life and meaning. Wen Jun is not a dull pedant, he is a painter who can sink into ancient paintings and come out into the grounding of real life.

Part of Wen Jun's "Mountain Listening to the Tao Map"

From Wen Jun's "Mountain Listening to The Tao", it can be found that the spatial layout of the composition is loose, and the long-range and close-up areas are expanded, which as a whole appears ethereal and full of artistic sense. In the painting, the waves on the left side are turbulent, the close-up scene has pines and cypresses, the mountain water is covered by each other, and the middle part of the scene is white and smokey, as if the mountains are filled with smoke and drizzle, creating a poetic paradise. The distant peaks are soft in color, and the pen and ink are full of vigor and charm. The treatment of the relationship between near and far in the picture is interspersed with smoke, and the virtual and real relationship between the scene and the fog form a contrast, so that the picture presents a lyrical mood.

Wen Jun, "Drawings of The Landscape of Jiangshan", 2015, 503×193cm

Wen Jun, "Drawings of The Landscape of The Mountains", 2021, 90×180cm

Wen Jun's landscape paintings are mostly based on the "scattered perspective" method, and his paintings can realize the visual and perceptive beauty of habitability, swimming, hope, and feasibility. He agrees with the creative concept of walking, watching and thinking about the landscape to create an "artistic conception", using things in nature as the subject of painting for expression, exploring and finding the development law of things, observing and summarizing things from different perspectives, refining, and then processing, choosing, and using pen and ink language to perfectly combine the feeling of beauty to achieve the ideal realm of the unity of heaven and man.

Wen Jun, "Farmer Loves Santu", 2020, 70×136cm

Wen Jun, Fuyang Landscape and Water, 2021, Paper, 129×248cm

Wen Jun pays attention to the expression of the artistic conception of the mountains and rivers in his pen, and his long-term intention is to use spatial distance and pen and ink language to create an imagery landscape artistic conception in the progression of hierarchical rendering. He takes "far" as the core of the artistic conception, and observes and fraces the landscape from the perspective of "far-reaching view", so that he can feel the potential of the mountains and rivers, and can he create the "artistic conception" of the emptiness of the landscape in the overall situation of the natural landscape. "Fuyang Landscape and Water Jia Tianxia", taking its momentum from afar and taking its quality from close to it, shows the masculine beauty of Senran and the beautiful mountains and rivers. The compositional form of its points and the rich pen and ink language create a landscape painting artistic conception that corresponds to the virtual reality and has infinite meaning. Wen Jun transforms the beauty of the mountains and rivers into a textured and flexible picture with sincere feelings.

Wen Jun, "Clouds and Smoke Silent Run Jiangnan", 2021, 503×193cm on paper

Wen Jun, "Clouds and Smoke Silent Run Jiangnan" part

Guan Wenjun's paintings can deeply feel that they are imprinted with traditional Chinese cultural genes, and his landscape paintings are full of humanistic beauty, reflecting Lao Tzu's quiet inaction and Zhuangzi's idea of leisure. In addition, the consciousness of benevolence, righteousness, etiquette, wisdom, faith and benevolence advocated by Confucianism and Confucianism is also deeply implanted in Wen Jun's heart. In his paintings, the original lifeless landscape trees also know to follow the etiquette norms of the human world, and also understand the joys and sorrows of the human world, and the strong humanistic atmosphere has become the bottom of his observation of the landscape. Wen Jun cultivates his ambition with virtue, looks at things with affection, and sends affection between mountains and rivers. For example, the painting "Clouds and Smoke Silently Running Jiangnan" depicts the beautiful scenery of Jiangnan in fujian, using the traditional technique of small green landscape painting. In the distance, the lofty mountains are hidden in the ethereal smoke clouds, and the main peaks are fully displayed, surrounded by mountains. The trees and bamboo in the middle are scattered and echo each other. Nearby, the stream is babbling, and the ancient pavilions and small bridges are in harmony. In the depths of the dense forest, perhaps the reclusive Gauss residence, a few idle houses, a guqin, quiet to the pine wind. The overall realm of "swim and live" created by this kind of real landscape painting with scenery and scenery is an important aesthetic and even life ideal in Wen Jun's landscape painting.

Wen Jun, "Drawing the Jiangshan into the Picture", 2015, 189×175cm

Wen Jun, "Fishing Tree Cultivation Reading Map", 2015, paper, 189×175cm

Wen Jun has always adhered to the bloodline of traditional Chinese culture and the roots of Chinese culture. By inheriting the profound cultural connotation and grand spiritual temperament of the sages, we enrich our learning and broaden our embrace. His works are natural and elegant, with a strong and solid foundation in tradition, a strong sense of innovation, and constantly innovating, and his works include both splashing ink on famous mountains and rivers and fine dot dyeing of Meilan bamboo chrysanthemums. During this period, Wen Jun had many divine strokes, and its classical pen and ink glowed with unprecedented unique characteristics of the times, and the seemingly inadvertent waving of ink was actually refined by thousands of hammers and extremely resistant to scrutiny.

Wen Jun, "Meilan Zhuju Four Screens", 2020, 34×137×4cm

Wen Jun, "Basho Bamboo Stone Peony Diagram", 2022, paper, 69×138cm