Milo: Painter Writer Newspaperman Scholar
Majestic and beautiful, excited and rushing
——A little talk about Hong Bin painting horses
Judd Jiang
Looking at the history of Chinese painting, there are countless famous horse painters in the past, most of them pay attention to the quiet, elegant, beautiful, and handsome form, even if Xu Beihong, a master of modern painting horses, his main breakthrough point is still in figure painting, and there are very few famous contemporary painters Yi Hongbin who paint horses with the kind of wind god, that kind of temperament, that kind of passion, and the masculine and majestic beauty.
Perhaps it is because the environment of the boiling era in which the painter lived is very different from that of his predecessors, or perhaps it is the natural outpouring of the painter's heart, temperament, character, and personality, or the painter's rich cultural heritage of erudition and ability to write poetry, Yi Hongbin's horses always have a magnificent spirit and a magnificent image. With his vivid pen and ink, he expressed his passion for "opening up the heart of eternity." Whether it is the galloping of ten thousand horses or the long hiss of the duji, its pen strength is like a sword and a sonorous sword, and the iron horse is prominent; the unstable cloth posture makes the whole picture show a visual effect of flying dragons and snakes and a sound and power of "the pen has not yet reached the breath has been swallowed". It can be seen that among them is Zhuangzi's aesthetic origin of "the heavens and the earth have great beauty without words", and it can be seen that Xu Wei's angry and agitated painting style in the Ming Dynasty influenced him, so that his works were full of strange and indulgent passion and untamed power. From Yi Hongbin's paintings, what we feel is the majestic strength, the grand momentum of "shaking the five mountains with a happy pen", a beautiful scenery soaked with the vicissitudes of time, and a heart-wrenching pride. This is Yi Hongbin's state of mind, his painting state, the natural nature of nature, and the display of his unique personality.
Yi Hongbin paints horses, has a variety of expression styles, absorbs many aspects of nutrition, or splashes ink and color, or ink lines, or writes lines and colors, or uses color and ink together. He is not limited to the authenticity of the horse's personality image, but pursues a spiritual display that tends to be general, focusing on expressing the horse's momentum between the resemblance and the dissimilarity, and strives to achieve a lyrical effect of visual impact with the help of the blending of Chinese painting and ink and color. Obviously, Yi Hongbin has a transcendent understanding of painting horses, not only can grasp the characteristics of horses from an anatomical point of view, portray the various looks of horses, what is important is that under his pen, horses have been given the mission of showing the spirit of the times, becoming the carrier of the painter's lyricism, carrying people's spiritual and aesthetic ideals. This kind of artistic expression not only inherits the essence of the Chinese painting tradition, but also breaks through the pattern of the predecessors and expands the expressiveness of Chinese painting art.
In 2007
Explore the charm of art from the cultural heritage
——Reading Yi Hongbin's Chinese paintings
Yang Renkai
Speaking of Comrade Yi Hongbin's paintings, his great name has already appeared in many special collections and documents published in China; he is the director of the Jilin Daily Newspaper, and he holds many concurrent positions in society, is full of energy, has a wide range of activities, and has outstanding features. The poetry is magnificent, especially the painting creation is unique, and it is a rare wizard. Here, the focus is on providing his own incomplete perception of his painting art, asking the painter and the reader for advice.
Comrade Hong Bin's creative energy is exuberant, his talent is outstanding, and he is specialized and versatile, and such talents are really rare. Here, on the works compiled into the collection of calligraphy and painting, the superficial experience is expounded, of course, the so-called "general outline of the view", hanging on to the omission.
My first impression of Comrade Hong Bin's works, whether they are the shapes of people, horses and beasts, are all flying in pen and ink, and the momentum is magnificent, and I know at a glance that it is everyone's handwriting. However, how could the author himself, who was originally the president of the Jilin Daily newspaper, paint such a bold and astonishing work? The general theme is mostly the proportion of painting horses, and the human body, landscape, and animal walking are also involved. Here, the focus is on some of the characteristics of the painting horse, but there are differences between ancient and modern masters, which makes the viewer's eyes and ears refreshed. Tang, Song, and Yuan dynasty horse painting masters, such as Tang Hangan, Song Li Longmian, and Yuan Zhao Ziang, can still be seen, and Tang Weiyan's famous work "Pastoral And FangTu" has a facsimile of Li Gonglin of the Northern Song Dynasty, and the famous work was originally stored in the former Northeast Museum, and later transferred to the Palace Museum in Beijing. As for Li Gonglin's "Five Horse Diagrams" and "Three Horse Diagrams", which both depict quiet people and horses, after the Yuan and Ming Dynasties, most of them are such shapes, that is, the works of the Italian painter Lang Shining in the middle of the Qing Dynasty. Until the 1930s, Mr. Xu Beihong used freehand to depict galloping horses, poured out patriotic enthusiasm with rough brushstrokes, changed his painting style, and his shape was novel, washing away the painting style of his predecessors, and then the scholars, accepting new creative inspirations and inheriting the previous rules, so it became a common practice and new people emerged.
The collection of paintings of Xu Yong, Guo Guangye, and Yi Hongbin's "Three Horses in Kanto" published by the People's Fine Arts Publishing House is based solely on Hong Bin, who is not a specialty, and although the three painters have something in common, they are especially prominent in comrade HongBin's painting of horses, just as the late famous comrade Cai Ruohong inscribed his painting horse "Picking Mulberry Seeds" words:
"Borrowed lyrical talent pen, not much shape. A lot of intentions... God is on the way in the form of a horse, and the ambition is saga. Style Saga, Wanli Benten is Miluo (one of the pen names of Comrade Hong Bin). ”
Comrade Hong Bin is one of the late horse painting rookies. What is particularly valuable is that the galloping horses in his pen are different from the famous horse painters of the past and today, but they are writing in a hurry, the posture is flying, the personality is prominent, and the first time he writes the pen, he has already become a "horse", the so-called intention is to write first, the shape of the galloping horse is already in the chest, so it can be taken care of, so it can be seen that the author's own skills for drawing horses are extraordinary. What is even more surprising is that it is indeed an incredible problem that he can use his spare time at work to draw all kinds of unbridled horses that shock the viewer. But this is, after all, a completely true fact, how to understand? Can't help but be confused. In the end, it can only be seen as a wizard.
May 2003