Nie Zhenwen visited Mr. Xue Yongnian
The traditional watchman is a new change of splashing color
——Nie Zhenwen's art of landscape painting
Xue Yongnian
The origin of splash color can be traced back to the Qing Dynasty, Shen Zongqian's "Mustard Boat Study Painting Compilation" said: "Ink splash ink, mountain color splash green, grass color splash green." Splash it for use, the most full of hair painting in the rhyme. However, at this time, splashing green and splashing green is just a technique, unlike splashing ink has already formed a physique. According to the "Catalogue of Famous Paintings of the Tang Dynasty", the splash of ink was founded in Wang Mo, and the Wang clan "has a lot of sex, good wine, and whoever wants to draw a picture, drinks first." After drunkenness, it is splashed with ink, or laughed or groaned, wiped with feet, or waved or swept, or light or thick, according to its shape, for the mountain for stone, for the cloud for water. It should be at will, as if it were created, and the picture of the clouds and the clouds, dyed into wind and rain, like a divine skill." Splashing ink is the product of "undressing" and "creating", is the process of creating an artistic world, and has been "skilled".
As for the splash of color landscapes, Zhang Daqian, who was only called "a thousand in five hundred years" by Xu Beihong in the 20th century, was founded overseas. At this point, the splash color landscape, like the ink landscape, the shallow landscape, the green landscape and the boneless landscape, has become a kind of physique of landscape painting, with unprecedented artistic beauty, influenced in the painting world, marked in the annals of history. However, this kind of artistic beauty is by no means pleasing to the eye on the surface, nor is it different from Western abstract expressionism, but with the flowing and changing splashed ink background color, which sets off the dazzling brilliance of splashing color and green, and combines the large area of Lanqi mountain light with "impermanent shape and common sense" with the "constant shape" of the house, bridge, boat, and character details. Splashing color landscapes not only embodies the "Chenghuai Guan Dao" and "exchanges with the spirit of heaven and earth" since the Wei and Jin dynasties, but also expresses the spiritual home of "hopeable, swimworthy and inhabitable".
Nie Zhenwen, as the next generation of Zhang Daqian's art in the mainland, was originally a self-taught leader, and even more a painter with great ambitions. Although he did not study in art schools and relied on his spare time outside of work to learn from teachers, he persevered and made his career early, and before the age of 30, he had won many awards in national calligraphy and painting competitions. The most touching thing is that at the age of 37, in order to realize the dream of calligraphy and painting, he resolutely resigned from public office and founded the Liaodong National Painting Institute, which promoted domestic and foreign exchanges with curatorial exhibitions, broadened his horizons, and made great progress in the art of calligraphy and painting. Finally, during the planning and holding of the "Cross-Strait Chinese Painting Masters Exchange Exhibition" in 2009, he was appreciated by The famous Taiwanese painter Sun Jiaqin, a disciple of Zhang Daqian, and accepted as a disciple, and then began his colorful exploration.
Before studying under Sun Jiaqin, Nie Zhenwen already had a good foundation in calligraphy and painting. He first learned calligraphy with Erwang and Su Shi, turned to the various families, and later became quite familiar with the high realm of Master Hongyi's calligraphy. The painting originally exerted a lot of force on the Ming and Qing dynasties, and then peeked into the Song and Yuan dynasties. Not only did he learn literati painters, but he also studied professional painters, and he was particularly committed to Lan Ying, who founded the "Wulin School". Although Lan Ying is an expert and skilled, she is good at learning from literati painters, not only pursuing Huang Dadao, but also devoting herself to boneless landscape painting with bright colors like Dong Qichang. Nie Zhenwen's early Chinese paintings, the way is pure, attaches importance to the use of books into painting, is committed to pen and ink kung fu, grasps the patterns of predecessors, and is good at luck and transformation. Many works, Shang Guyi, seeking elegance, are in and out of the Taoist Zen realm, which may be the reason why he is valued by Sun Jiaqin. In 2005, he learned the technique of hitting water and hitting powder from the Lingnan school painter Li Rukuang, which was so wonderful that he used water and prepared the conditions for his subsequent splash color landscape paintings.
After learning dafengtang, Nie Zhenwen's landscapes were about three. The first is to learn from Zhang Daqian. There are not only broken ink splashes, but also ink and small green. The works of breaking ink and splashing color include "Wuxia Yunfan", "Futu Erjiang" and "Yunshan Tu". The ink painting works include Xue Dong Ju's "Proposed Great Thousand Laws of Heavy Creek Stacked Mountains", Shi Tao's "Proposed Thousand Strokes of Huangshan Map", and Xiao Qinglu's works have "Drawings of The Huayang Xianguan of the Proposed Great Thousand Imitations of Beiyuan". The latter has its own inscription: "As the basis for consolidating the tradition, I intend to ink the ancestors of the Great Thousand Masters, and learn brushwork from them to moisten my wrist." It can be seen that he learned daqian not only to learn to splash color, but also to learn his profound learning ability to encompass tradition, in order to lay a solid foundation for tradition.
Another is to learn from the ancients. It reinforces the traditional foundation from the aspects of composition, breath, pen and ink, and the works are mainly ink and light colors. Among them, Lan Ying learned the most, including Lan's various faces, such as "Spring Smoke in the Valley" and "Quasi-Stone TuoBi yi". There are also those who learn from the gradual river, and there are also those who learn from the Eight Great Mountain People. The eight major ones are "Smooth Sailing for a Thousand Years" and "Sailing to Explore Friends", all of which are ethereal in composition, simple in painting, rounded with pens, and simple in eight majors. On both sides of the latter river, small trees use the boneless method, and the branches are ochre-colored, such as oblique sun illumination, which can be seen to be a comprehensive combination of the boneless landscapes of Ni Zhan, Bada and Dong Qichang, reflecting Nie Zhenwen's spirit of seeking change in the study of ancient times.
The other is more of a splash of color created by yourself. The multiple faces of Splash Color reflect Nie Zhenwen's multifaceted pursuit. One is to splash a little color on the broken ink. Daqian once had an inscription on the inspiration of Mi's Yunshan to splash color, and Nie Zhenwen followed the trajectory of Daqian and applied a little green splash on the Mijia Broken Ink Cloud Mountain. "Smoke On the Mountain Temple" and "Cloud Deep Unknown" are all such works. The former paints mountains surging and the air and green clouds passing through. The mountains are full of momentum, and the painting of the mountains is mainly ink, the splash color is lighter, and the moisture is sufficient. Self-titled: "Smoke on the mountain temple, cloud moving tree in the middle of the mountain." A hazy scene, which has not been returned. The green ridge loomed in the distance, and the white clouds swallowed themselves. Empty mountains do not meet people, and mountains are quiet like ancient times. ”
The second is to break the ink and splash the color. Or as a panorama, or as a corner, the rate is color and ink interpenetration, rounded without hindrance. "Cane Walking and Watching the Waterfall" is a corner composition, the smoke is standing, the clouds are shrouded, the mystery is deep, the flow is straight down, and on the bridge under the mountain, some people are watching the waterfall. The layout is minimalist, the ink color is blended seamlessly, the pen traces loom inside, the smoke is flowing deeply, the waterfall is hidden and sound, and the atmosphere is vivid. "Fog Locks Huangshan" paints clouds spread over the mountains, clouds rise and flow, wandering white clouds and verdant mountains intersect, broken ink and splash color blend, on the inscription Song People Wang Jianshan poem: "Who can refine the Emperor Stone, I also call it Kaichang Gate." In the morning, Meng Tian smiled slightly, still cloudy and thin Kunlun. "Its ink-breaking blue is extremely natural.
Its three splashes of color and ink are vivid and dazzling. "Scenic View of The Mountains and Mountains", "Cuiling Autumn Flowers", etc., or paintings of the meandering mountains, or paintings of the Springs, all highlight the colorful vegetation and mountains and their red leaves. The "Yanlan Huangshan", "Qingqiu Range Rover", "Haoran Heaven and Earth Autumn" and "Untitled" Tuan Fan, etc., are all written on gold paper, whether it is painting mountains and deep valleys, cliff fishing boats, or alpine streams, in the works of breaking ink and splashing color, skillfully using the splashing, flowing and precipitation of gold, white powder, vermilion, chenghuang and other colors, supplemented by dot pen rendering, forming a splendid and brilliant and meaningful golden landscape.
These ink-breaking works, between random and control, between transparency and coverage, between splashing ink and broken ink, between ink accumulation and color accumulation, more comprehensively grasp the unique performance and actual operation of splashing color language, on the basis of splashing ink and ink, using water and ink, water and color, ink and color, control and guidance, not only give full play to the flow of color ink, melting, sinking and overlapping, and on top of the ink splash, with opaque litzurite green as the main color of splashing color, occasionally pointing red, exposing gold, using white, As a result, the whole picture is not lacking in calm in brilliance, and it is more and more brilliant in the harmony.
It is worth noting that Nie Zhenwen's splash color works are still between abstraction and figuration, between the inside and outside of the image, between nature and humanities, between actual feelings and wandering in the heart, like the splash of color in the dafengtang, which is completely different from the abstract painting of modern Western paintings, but after seemingly automatic random ink splashing, on top of its natural natural color and ink traces, mobilize the image in the chest, embellish the processing, and generate mountains, hills, streams, streams, springs, clouds, smoke, lanqi, mountain light, houses, roads, boats and bridges, characters, and generate landscapes in abstraction. In the chaos, the light is released, and the performance can enter the spiritual home of harmony between man and nature that can be more wandering.
Most of the above splash color works were made before 2016, although they originated from their predecessors, they injected their own feelings, and many works have been relatively perfect, so they have won unanimous praise. However, Nie Zhenwen, who has lofty ambitions, in accordance with the ancient precept of "reading thousands of books and walking thousands of miles", summed up the experience of his predecessors in "integrating poetry, calligraphy and painting", and since 2016, he has continuously traveled to the famous mountains and rivers of the motherland, collecting style and sketching, and his footprints have spread to more than 30 provinces, increasing the source of the splashing landscape. And in order to sublimate the sense of happiness and temper the artistic conception, from 2019 to self-study near-body poetry, with flat water rhymes, talk about ping, blend painting meaning in poetry, his art has also entered a new stage of a pattern of greater poetry and more concentrated to seek the divine realm in reality.
"Three Qingshan Wan Wat Chao tian" (2019), "Qianshan Qinghe Tu" (2019) and "Macau Bishop Mountain" (2021) are all derived from sketching, which makes the splash of color in the painting an organic part of the real scene. On the one hand, it strengthens the blue-green tone, which is really like being in the mountains with lush grass and trees in the sky, on the other hand, the depiction of the mountain scenery is as far as possible out of the existing pattern, exposing the mountain bones, showing the terrain, showing a real sense of "if you can enter, as if you pass". Or the mountain is towering like a wat in the sky, or the mountain is hugging like a multi-petal lotus, or the mountain is gentle and green, and the church building group is hidden in the mountain. Splash ink and splash green splash color are used to properly represent the lush vegetation and to properly represent the floating Lanqi mountain light. In the complementarity of the vision and the poem, the artistic conception in the painting is also peaceful, mysterious, or vicissitudes. I dare not say that they are all equally perfect, but we can see Nie Zhenwen's valuable efforts to explore without being satisfied with the achievements of the inheritance of the master on the road of splashing color.
WuyiShan (2020) is one of the best of the best works sketched from sketches. This picture is made on the gold note, the mountain meandering cascading, surging like the waves of the sea, showing the beauty of the peaks and rocks, the painting law began with a scale of two meters, as a splash of ink cloud mountain, but in the splash of ink, sometimes also loomed mountain bone hook, and then on the splash ink to break the stone bluestone green and Zhu Zhen, suddenly feel the green mountains in front of the eyes, green trees with smoke, dazzling sunshine, red clouds out of the clouds. Because of the integration of line and surface, ink and color, water and light, reality and illusion, it is very successful in organically combining Daqian's splash color with my own sketching feelings, and it also tends to be perfect in art. There is its own inscription on it: "Gu Jingxi Qingyi water open, looking at the green mountain like Penglai." The cliffs and cliffs can stay drunk, and I don't feel idle near the Crane Terrace. Wuyi Mountain Inscription". The poems and paintings are born together, recording the comforts of traveling in the mountains.
Historical experience shows that in order to make a difference in the field of Chinese painting, it is necessary to "create a foreign teacher." Zhongde Heart". What unites creation and the source of the mind into one is tradition, the experience of previous generations. The artistic path that Nie Zhenwen took was precisely the road of first teaching the predecessors and then teaching the creation, which was a road for ancient painters and modern traditional painters to become talents. Taking this artistic path requires a lot of effort, but it can bring together the wisdom of classics to become classics. And from the ancient master to the master of the creation, from the real world to the divine realm, with the pen and ink to set the color of the micro, the expression of "the harmony of heavenly and artistic conception" (笪重光語), which shows an important turning point in Nie Zhenwen's art, has revealed a new meaning different from Zhang Daqian, with his consistent abandonment of impetuousness, steady progress, continuous progress, I believe that in the near future, his art will have a greater entry.
Source: WeChat public account Master's Gate Art Network
Editor: Xinhua Online Network Qi Chengzhi