Xu Dingyi was born in 1967 in Yunyang County, Chongqing. He is currently the vice president of Rongbaozhai Publishing House, a member of the Rongbaozhai Art Committee, a researcher of the Academy of Calligraphy and Painting of the Central Research Museum of Literature and History, a tutor of the Art Training Center of the China Academy of Arts, a member of the China Artists Association, and a member of the China Literary and Art Critics Association. He was the editor-in-chief of the journal Rongbaozhai (荣宝斋). He studied Chinese Painting at the Central Academy of Fine Arts, visiting scholar at the Department of Chinese of Peking University, and graduated from Dongbei University of Finance and Economics with a bachelor's degree in administration. His calligraphy and painting works have been exhibited at home and abroad for many times and won various awards. His fine art papers and paintings have been published in fine arts, Chinese calligraphy and painting, Rong Baozhai, China Literature and Art Review, Literary and Art Theory and Criticism and other publications. His monographs include "Identifying Qi Baishi" (Fujian Fine Arts Publishing House), "Identifying Li Keyan" (Fujian Fine Arts Publishing House), "Xu Dingyi Saying Calligraphy and Painting" (Haichao Photography Art Publishing House), "Calligraphy and Painting Homology - Qi Baishi" (Rong Baozhai Publishing House), "The Authenticity of Chinese Painting Masterpieces - Li Kuchan" (Shanghai Calligraphy and Painting Publishing House), "Xu Dingyi Landscape Painting Collection" (China Bookstore Publishing House) and so on.
Cangshan Endless Blue 120cm × 120cm
Zen Heart Ink Rhyme Simple and elegant
——Zen in Xu Dingyi's landscape paintings
Text/Zhou Jing
Although Xu Dingyi was born in Chongqing in the southwest, he lived and worked in Beijing for a long time and can be said to be an authentic northern painter. However, it has the experience of being born in the south and studying in the north, so it has a Zen atmosphere of integrating the north and the south in the landscape. He has been engaged in publishing work in Rongbaozhai Publishing House for a long time, and he is more modest and gentlemanly, which may be related to his long-term immersion in the pile of books. Over the years, Xu Dingyi has studied calligraphy and painting diligently in his spare time, and has also studied at the Central Academy of Fine Arts and Peking University, and in recent years has been hired as a mentor by the Art Training Center of the China Academy of Arts. As Mr. Lu Yushun, president of the National Academy of Painting of China and a famous painter, said: Xu Dingyi"has strong artistic creation and research ability and has a wide social impact. His professional work (editing the journal "Rongbaozhai" for more than 20 years) has also achieved fruitful work performance, work steadfastly, simple people, and is an outstanding talent among young people. Xu Fushan, vice president of the Academy of Literature and Art Creation of the China Academy of Arts and a famous calligrapher and painter, is his close friend, knows a lot about it, and has a high evaluation: "Mr. Xu Dingyi is a famous contemporary Chinese painter, his works are based on tradition and have new ideas, paying attention to painting with books and culture. His works are full of a strong bookish atmosphere, which has a deep influence on the contemporary Chinese painting world. Mr. Xu Dingyi has a comprehensive artistic accomplishment and is proficient in art theory, and has published many books and published some papers. His paintings are simple and thick, elegant in style, especially in freehand landscape painting, he has participated in countless influential exhibitions, and has received wide acclaim in the industry. It can be seen that Xu Dingyi is an excellent painter who not only studies the theory of calligraphy and painting, but also creates and teaches, and has been widely recognized by society.
Art is the expression of emotions produced by people's hearts feeling external objects, and calligraphy and painting are the best manifestations of the artist's spirit and spirit. To this end, Wang Yu of the Qing Dynasty said in "On Painting in Dongzhuang": "Those who study painting first set up their products, and those who set up their products have a kind of positive brightness outside the pen and ink." Otherwise, although the painting is considerable, there is a kind of unhealthy atmosphere that lurks at the end. The text is like its person, and the painting is also the same. "Xu Dingyi not only has a wealth of theoretical works on calligraphy and painting, but also likes to read and keep quiet in his daily work. On weekends, there are many tea talks and ashram sitting. Its external appearance has changed greatly from previous years, and it is more kind and harmonious. The so-called foreign teacher creation, the source of the heart, its landscape paintings also have a zen flavor. In recent years, the author has been able to observe his landscape paintings up close and feel very deeply.
One is still. Its penmanship is exquisite, and it is more than the penmanship of the Song and Yuan Dynasties. For example, in his work "Mountains full of autumn colors", whether it is mountain stone trees or pavilions, they are all brushstrokes and hair, which is quite powerful. In particular, pine trees and trees with leaves sway upwards, circling and interlacing with each other, and clusters of red leaves are hidden between pine needles, and the title of the work is: "Full of Mountains and Autumn Colors and A Pavilion". This picture is both flexible and "quiet", as if a mountain of autumn leaves shrouded in a small pavilion, the pavilion looming someone sitting in it, let the autumn mountains are full of red light, but everything is silent. In Buddhism, there is "the creation of the ten thousand dharma ideals", and the manifestation of all things in the world is an innuendo of its heart, such as the Confucian saying that "polite and polite" and "words are like its people" is this truth. Xu Dingyi's written lines are related to his state of mind, seemingly natural and casual, but the pen is clear and clear. This kind of writing brushstroke requires a good foundation in calligraphy, on the one hand, it comes from Xu Dingyi's inheritance and development of the Chinese Song and Yuan freehand tradition, and on the other hand, it is the external expression of his calligraphy and painting and its practice.
The second is Ya. His paintings are elegant in color, with a literati atmosphere and a lot of bookish atmosphere. As Mei Mosheng, a researcher at the National Academy of Painting of China and a famous theorist, said: "Xu Dingyi has a special study of Chinese painting and calligraphy, and has achieved great results in theory. His Chinese painting creation is also unique, the landscape atmosphere is elegant, and the daily success is gradually attracted by the attention of the industry and outside. His poetic cultivation is also very accessible. His diligence and studiousness, and the breadth of his reading, especially his ability to do so, are difficult to learn. "Xu Dingyi has a large collection of ancient books and a wide range of books, saying that the ancients can quote the scriptures without reacting, and tell the story, this kind of study and memory of the classics of traditional Chinese studies in the past few people in the contemporary era. This rich education is applied to his paintings, as Su Dongpo said, "It is better to eat no meat than to live without bamboo", which is to take the law and take elegance as the first. For example, in his work "Heavenly Light and Wild", a mountain peak stands in the close-up, five trees are interspersed, and various forms are various, such as the five gentlemen in this elegant collection, and there is a child-like komatsu standing next to it. Under the shadow of the trees, there are layers of houses, which are lined up one after another, and should be a place to live and swim. The overall ink color of the picture is light, and there is very little heavy brush. Start with light ink, dot moss in medium ink, and apply a little flower blue and ochre in between. The ink color blends together to present a quiet and elegant atmosphere. Such landscape works should be regarded as elegant products.
Three is the realm. The Ming Dynasty painter Gong Xian believed that the realm in the painting was the most important, and his words were: "Although the clouds are at the end of the painting, the pen and ink are real and the hills are ordinary, and there is no way to lead to the excitement of lying down." This "hill" is the painting "realm", which has both the realm of nature and the realm of the heart. Xu Ding often sits and meditates in the morning and evening, and the natural mountains, rivers and other scenery can be freely drafted in his heart, and the ink color is dimmed, as if in front of his eyes. The situation created in this mind is unique, but it is also very atmospheric. Mr. Lu Xun once said that Chinese art has three beauty: "Yimei is to feel the heart, one is also; Sound beauty to feel the ear, two also; The beauty of the form is to feel the eye, and the beauty of the three is also. In Xu Dingyi's paintings, the beauty of the "sense of the eye" in this painting includes both the natural landscape of the teacher and the landscape of the tradition. For example, in his work "Qing Biao Tian Wai Zhi", his mountain stone trees and houses are simple, with light ink and elegant use, and very little color, all of which are counted white as black, leaving a lot of white, giving people unlimited imagination space. In his paintings, there are not only the peaks towering in the southwest, but also the alum heads of the southern landscapes, and several houses hidden between the peaks, all of which are the longing and seclusion places of the literati and Coats of the past, and also the natural air and leisure place that contemporary urban people yearn for on weekends.
In recent years, under the hidden presence of the epidemic, multi-network and "cloud" painting exhibitions have been reflected in the creation of Chinese paintings, and the demand for more "visual communication", that is, paintings with strong ink color contrast and strong visual impact are more favored on the Internet. To this end, a large number of ink-colored works came into being, and whether they can be recognized by the times still needs time to test. The valuable thing about Xu Dingyi is his deep understanding of traditional Chinese classics, his painting style is simple and elegant, and he also adheres to the ideal of "the wind moves the flag and moves the heart", which is not affected by the temporary atmosphere. The landscape painting realm in which knowledge and action are one is still being actively explored. His efforts to improve day by day, the cultivation of the heart for my generation is often ashamed. I look forward to his state of mind, in the writings, in the creation of calligraphy and painting, there are more masterpieces to come out.
exegesis:
Lu Fusheng, editor-in-chief, Chinese Painting and Calligraphy, vol. 10, Dongzhuang on Painting (Wang Yu), Shanghai Calligraphy and Painting Publishing House, p. 420.
Liu Gangji, Chinese Painting and Calligraphy, Art and Aesthetics, Gong Xian, Wuhan University Press, 573 pp.
Lu Xun, Outline of the History of Chinese Literature, The First "From Words to Articles", The Complete Works of Lu Xun, vol. 9, People's Literature Publishing House, 1981, p. 244.
(The author of this article is a doctor of Buddhist studies and a special editor of RongBaozhai)
Skylight Wilderness 68cm× 68cm
Summer to autumn 68cm× 68cm
Matsugin Manko 68cm×68cm
A pavilion full of autumn colors collects 68cm × 136cm
The ground weather turns cool at the beginning of the day 68cm× 136cm
Where Fang Chun is in 68cm × 136cm
Peaks 68cm × 136cm
QingFeng Tianwai to 68cm × 136cm
Autumn Qi Qingqing 68cm× 136cm
Songwu heat dissipation figure 68cm× 136cm
Deep in the mountains quietly 68cm × 136cm
Summer Mountain Youcui 68cm× 136cm
Lingtou Pine Tingcui 68cm× 136cm
Planners: Zhou Jing, Ziyan, Doctor of Buddhism, Special Editor of Rongbaozhai Magazine, Assistant Teacher of Xin'an Painting Research Project Class of Rongbaozhai Painting Institute, Contracted Artist of Rongbaozhai (Hohhot Branch). He focuses on the research, creation and education of Buddhist art.