Mr. Yu Dongyou is a Chinese painter born in the beautiful Taizhou City, Zhejiang Province, we through his works, with his gods, it should be said that his paintings attracted my attention, this is a contemporary painter facing reality, facing the current survival thinking and artistic thinking, at least in the painter Yu Dongyou here, we see that poetry is his starting point, in such a vision, a branch and a leaf are always concerned, a mountain and a river are poetry, a person and a painting originate from the heart.
Yu Dongyou, Zi Bin, a native of Zhushan, Zhejiang, Taizhou, Zhejiang, studied at Huangyan Arts and Crafts School and studied at Zhejiang Academy of Fine Arts. In 1987, he worked as an artist at the Guangdong Provincial Institute of Arts and Crafts, and studied under Mr. Zhou Guocheng in the late 1990s.
He is currently a director of the Guangzhou Artists Association, the vice president of the Guangzhou Federation of Industry and Commerce Calligraphy and Painting Art Association, a deputy to the People's Congress of Tianhe District of Guangzhou, the vice chairman of the Artists Association of Tianhe District of Guangzhou, a visiting professor of the Yide Calligraphy and Painting Institute of Guangdong Provincial Transportation Vocational and Technical College, and three works were collected by the Guangzhou National Archives in 2009, and two works were selected by the Guangdong Provincial Department of Culture Building. Temperament, the works were collected by the Lianshan County People's Government, and in 2018, he won the honorary title of national business card. Member of the Organizing Committee of the 2020 Asia-Pacific Art Biennale.
The Tao and the Wonderful Are Clear and Clear
——Yu Dongyou Chinese painting appreciation
Text/Bu Shaoji
For a long time, freehand flower and bird paintings have been the most traditional and attractive artistic carriers in Chinese painting. From Wen Tong and Su Shi in the Song Dynasty to Zhao Mengfu and Ni Zhan in the Yuan Dynasty, and then from Shen Zhou, Chen Baiyang and Xu Qingteng in the Ming Dynasty to the Eight Greats, Shi Tao, Yangzhou Eight Monsters in the Qing Dynasty, and Zhao Zhiqian, Wu Changshuo, Qi Baishi and Pan Tianshou in modern times, his brilliant artistic achievements have made great progress in the field of freehand flower and bird painting. Among them, Chen Chun and Xu Wenchang of the Ming Dynasty were even more self-reliant and opened up the winds of the hereafter; after that, Yun Nantian, Bada, Shi Tao, Jinnong, HuaLun and other families were able to change their own laws and be unique; until the emergence of flowers and birds such as Zhao Zhiqian, Ren Bonian and Lao Miao at the end of the Qing Dynasty, it opened up a new realm for the development of freehand flowers and birds. Contemporary painter Yu Dongyou's large-scale freehand flowers and birds works are precisely trying to inherit and absorb the advantages of the former sages, and to integrate the aesthetic sentiments that conform to their own spirit and take the language of contemporary art for their own use.
Born in Taizhou, Jiangsu and Zhejiang on the coast of the East China Sea, Dongyou was nourished by jiangnan scholars, cultivated his artistic endowment of obsessive calligraphy and painting, and later took root in Lingnan, and for decades, worked hard, listened to the eyes, and splashed ink, becoming its own pattern. At the time when his career was booming, he was diligent and idle, taking Han Mo as a daily lesson, studying books and plotting, and enjoying it. He is modest and studious, travels south and north, turns to many teachers, seeks teachers and visits friends, communicates with each other, directly writes and ink kung fu, carefully polishes, praises the viewers, and bravely improves in painting things, and goes up the floor. He mostly uses the traditional Meilan bamboo chrysanthemum "Four Gentlemen" and green pine, lying stone and grass worms as themes. In recent years, Dongyou in the traditional bamboo writing method, but also borrowed the effect of "Lingnan Erju" and "hitting the water and colliding with the powder", trying to write bamboo with color ink above the ripe Xuan, so that the picture forms a multi-layer of different shades, with the natural contour line of the edge of the bamboo leaves, naturally expressing the yin and yang changes, and the line of water stains left between the strokes makes the wet effect between the branches and leaves particularly moist, moist and vibrant.
Over the years, in addition to paying attention to the study of traditional methods and the tempering of pen and ink, Dongyou also attaches great importance to "the creation of foreign teachers" and "Linyuan imitation pen", in his opinion: Mo can not make the objects in his pen rise to the generalization and refinement of art, so as to achieve "handy and attentive brushwork" in painting. Real life is the source of inspiration, and only by adhering to the two aspects of traditional dharma and realistic contemplation can we bring the stamina of artistic development and create good works with both form and spirit and vivid charm. For example, he loves the tallness and vigor of the green pine, and in order to paint the pine trees, he often travels, from the "Welcome Pine" in Huangshan To the "Six Dynasties Pine" in Mount Taishan, from the "Wanshou Pine" in the Summer Palace in Beijing to the "Thousand Year Ancient Pine" in the Yellow Emperor's Mausoleum in Shaanxi... Left him a lot of sketching material. The bottom of its wrist is loose, flexing and stretching freely, leaping and circling, like changing wind and clouds, flying color flowing xia. In particular, his newly created masterpiece of nearly 30 meters long and 2.5 meters high, "Ten Thousand Valleys and Pine Waves", is particularly full of the momentum of swallowing in all directions, showing the grand image of a thick and strong man. The scroll unfolds, its majestic style, the pen and ink are vivid, the atmosphere is vivid, and the composition is strict. This kind of big arrangement, big pattern, and big momentum have made his Chinese painting creation have a new breakthrough and a new look in addition to the original elegance and eternity.
As a keeper of traditional calligraphy and painting, Dongyou has inherited the tradition of "using books into painting". Looking at the modern freehand paintings, Wu Changshuo integrated the golden stone atmosphere of shiguwen into the flowers in his pen; Qi Baishi introduced the vertical and horizontal atmosphere in calligraphy into flowers, birds, insects and fish; Xu Beihong wrote horses with a stele brushwork, and the pen and ink were unrestrained and flexible; Zhang Daqian used the iron wire and silver hook of the Wei Stele Xingshu as the white depiction of the characters... Huang Binhong once said: "Those who are proficient in calligraphy often use calligraphy for painting, and Mr. Changshuo deeply understands this principle, I paint branches, often with the method of small seals." "It can be seen that calligraphy lines are important to the cultivation of pen and ink. Dongyou Xishu takes the "Two Kings" as the sect, specializes in the study of thesis, and works diligently on grass, line, and calligraphy, and gradually forms a natural and natural style of writing, so its pen and ink lines have a flowing and smooth rhythm and rhythmic sense. Moreover, as a member of the "Tianping Loumen People", an important corner of the contemporary Lingnan art scene, Dongyou adheres to the artistic purpose of "emphasizing ink language, emphasizing cultural connotation, and emphasizing character and morality" in his door, and strives to "meditate on art". It is this kind of state of "enlightenment" that is attained when the "mind" and "I" are one. This kind of "enlightenment" makes Dongyou's "magic" closer to the "Tao" of calligraphy and painting, and the enlightenment after this arduous search makes his paintings clearer and more refined with each passing day.
Yu Dongyou's seal engraving works
It is true that the true growth of a freehand flower and bird painter requires accumulated tempering. When we carefully taste Yu Dongyou's Chinese painting works again, while appreciating the exquisite ink in the pen, we hope that in the future, he can dabble in the wind and bones of the Qin, Han, Wei and Jin dynasties to increase his ancients; learn more about the methods of Qingteng and the Eight Great Predecessors to live his ink; melt more with the brushwork of the old man and Tianshou to strengthen his bones; read more poetry, pottery metallurgy, and strengthen his nostalgia, and express the life experience he has obtained in the vast world of freehand flowers and birds, and freely build the ideal realm in his heart.