Zhang Yu is a member of the China Artists Association and a national first-class artist.
Graduated from Shandong Normal University, he graduated from the first division of the Great Landscape Painting Class of Longrui Studio of the National Academy of Painting of China. He is a painter of the China Landscape Painting Creation Institute, the vice president of the Beijing Guobo Painting Institute, and the tutor of the Chinese Painting Advanced Research Class.
Hanmo Heritage
The most fascinating thing about Chinese painting is undoubtedly pen and ink, which people regard as the driving force of Chinese painting, the origin of the small universe of traditional Chinese painting, and the organism that created this universe. Without pen and ink, the whole world would fall silent. Zhang Yu has formed the existing pen and ink style in a long period of large-scale painting practice. In the Song and Yuan tables, there is also the meaning of today's freedom and freedom, which can be described as a ten-year grinding sword. For him, finding the true self in change seems to have been achieved, especially with the state of freedom when painting.
Yi Zhongtian once commented on the people of Xuzhou: "There is affection and righteousness, and dare to act boldly." "Yes, the people of Xuzhou have both the ruggedness of the northerners and the spiritual beauty of the southerners. Xuzhou is a city with rich cultural heritage, and there are many talents, and Zhang Yu is one of them.
Mr. Chenglongrui, Zhang Yu's landscape master, later integrated some southern school brush and ink methods, and the picture revealed a dissipated taste, which was very interesting. Zhang Yu has always pursued a quiet and elegant rhyme, which is mostly because of his personality, because he is not a person with a flamboyant personality, Zhuangzi believes that "people do not think of the flowing water and in view of the water, only to stop the crowd", the mood of the indifferent will produce the ancient meaning of Lin Quan, and Zhang Yu has a method, the pen is clear and the ink is clear, and there is no bias between the pen and ink, so the picture always has a idyllic pastoral style, which looks very desirable. I have been in contact with him for several years, I know his simple and gentle character, and there are few right and wrong grievances, I think that with the continuous deepening of Zhang Yu's pen and ink skills, coupled with the richness of life experience and the nourishment of the culture of the north and the south, his paintings will be better, and they can better reflect his own unique pen and ink world.
Text/Fang Hui
"Zhi Xiao Zhai" is Zhang Yu's Zai number, and from his Zai number, you can feel his humble attitude towards the world. A "small" character says "The Face of Kong De", and a "literacy" character says "only the way is from". With the continuous increase of experience, Zhang Yu has become more and more peaceful and humble. His literary self-requirements are very high, although occasionally paranoid, but there is no strange and bizarre behavior and cynical attitude, not to mention no jokes and cunning, self-esteem, his paranoia only comes from the responsibility and seriousness of painting.
Zhang Yu is a mature and stable person in life, and his personality is also slightly arrogant. As the saying goes, "Paint like a man". This temperament reflected in the painting will flash a spiritual light, so that the power of pen and ink flexibility becomes old and natural over time, forming a simple and authentic atmosphere.
His painting style gives people a sense of the vicissitudes of the weather, both the vicissitudes of the north and the warmth of the south. In particular, his huge landscape "Zhong Ling Yu Xiu", waving a rafter-like brush scribbling on thousands of miles of rivers and mountains, depicts the lofty mountains and mountains in his heart, "there are really thousands of jun forces, the void and the wind; the peaks and mountains are smokey, and the streams and rivers are congested." Ink sprinkles new ideas, Xuan talks and laughs at the ancient style; looking back at the traces, waving his fingers to the sky. ”
Text/Wang reform
Zhang Yu "entered the ancient world", dabbled extensively, taking the Fa Gaogu, from the five dynasties of the landscape and water four big Jing, Guan, Dong, Ju, to the Song, Yuan, Ming, Qing and Qing families, all of which were infected. Moreover, in the course of study, he insisted on taking from the boguan and being eclectic, not only imitating Wang Meng's fine and dense landscapes, but also absorbing Li Cheng's achievements in landscape art; both the northern school of landscape and the southern school of landscape, but later absorbed and integrated Li Cheng's landscape art style in a large part, and pursued concise brushwork.
Therefore, his landscapes use light and layered ink, depict the countryside and vast landscapes, and the images of the old trees in the cold forest he paints are vigorous and full of vitality, which gives better play to the pen and ink expression of traditional painting, and expresses the spirit of the mountains and rivers with smooth and free brushwork and rich changes in ink color. Therefore, his water paintings not only have the sparseness and desolation of the northern landscape, but also the clean and shaoxiu of the southern landscape.
Text/Chen Yan
The persistence of tradition and the tempering of pen and ink have their own special laws, especially under the blessing of the traditional Chinese context. Pen and ink when the topic of the times, originally is the product of "only change is appropriate", society and individuals, need to go with the flow, maintain the original pen and ink practice is simple and boring, but through the grinding of time to constantly show its sublimeness, which is actually an interpretation of self-style and language.
Lao Tzu said: "Xu Qing, who can be turbid with stillness, xu sheng who can be safe and moving, those who protect this Way do not want to profit, and the husband only does not have profit, so they can be evil and new." "That's about it.
Text/Wang reform
This article has been summarized and revised by the Calligrapher and Painter.
Appreciation of works