One flower, one bird, one world| the works of the famous painter Yu Changyu are appreciated

Painter Profile

Yu Changyu, Character Whale, Trumpet Fisherman, member of the China Artists Association, was born in 1942 in Xiantao City, Hubei Province. He graduated from Hubei Academy of Arts in 1962 and is now a tutor of the Painting Institute of Chinese Min University, a tutor of the Advanced Research Class of The Tsinghua Academy of Fine Arts of China, the vice chairman of the China Professional Painters Association, a professional painter of the Hubei Provincial Academy of Chinese Painting, and a researcher of calligraphy creation in Hubei Province.

In 2002, his work "Waiting for floods" was selected for the National Fine Arts Exhibition.

In 2004, his work "Autumn Sun in the Old Garden" won the silver medal of the "National Exhibition of Chinese Paintings".

In 2005, his work "Qingfeng" won the silver medal of the second "Lai Xiangqing" National Chinese Painting Nomination Exhibition.

In 2005, his work "Autumn Garden" participated in the "Ode to the Yangtze River" National Chinese Painting Nomination Exhibition Excellence Award.

In 2005, his work "Autumn Light Unlimited" won the Excellence Award of the National Chinese Painting Nomination Exhibition of "Taihu Lake".

In 2005, his work "Song of Spring" was selected for the first exhibition of Chinese freehand paintings.

In 2005, his work "Mi" was selected for the "Fine Arts Special Exhibition" of the 16th International Association of Plastic Artists Congress.

In 2005, his work "Golden Autumn" was selected for the National Chinese Painting Exhibition.

In 2005, his work "Reed Flowers and Stacked Dreams" was selected for the 100 Jinling Painting Exhibition in China.

In 2005, his work "Cloud Harvest rain break" won the gold medal of Guangdong Provincial Art Exhibition.

In 2006, his work "Love Nest" won the Excellence Award of the "Lai Xiang Qing" Invitation Exhibition.

In 2006, his work "Drink" was selected for the 6th Gongbi Painting Exhibition. In the same year, he was invited as a special invited painter for the 13th National Flower and Bird Painting Exhibition in 2006.

In 2006, his work "Ludang Stacked Dreams" was a special invited work of the 13th Flower and Bird Painting Exhibition.

In 2007, his work "Remembrance of Jiangnan" was collected by the National Art Museum of China.

In 2008, his work "Eilean Tu" won the Creation Award of the 14th Contemporary Flower and Bird Painting Exhibition.

In 2009, his work "Autumn Color Endowment" won the silver medal of the first "Xu Beihong Award" Chinese Painting Exhibition.

In 2009, his work "Gradually Entering a Better Situation" won the Excellence Award of the China Artists Association Member Works Exhibition.

In 2012, his work "Sun Island" won the gold medal of Beijing Fenghuangling Elite Works Exhibition.

In 2016, his work "Golden Wind Sending Cool" was selected for the National Exhibition of Chinese Paintings.

In 2016, his work "Pujiang Fishing Song" was selected for the "Ten Thousand Years of Pujiang" National Exhibition of Chinese Paintings of Flowers and Birds.

In 2016, his work "You Feng Laiyi" won the Excellence Award of the Second National Chinese Painting Exhibition in "Danqing Yangzhou".

In 2017, his work "Zhai Lord" was selected for the Fifth National Academy of Fine Arts Exhibition.

In 2017, the work "Qingfeng and Ming" was collected at the Jingxi Hotel in Beijing.

Yu Changyu's magic line drawing art

Text/Shang Hui

Chinese painting is an art of line, and the line, as the intersection of surface and surface or the edge of the object, is the intuitive symbol of human observation and dialogue with the world, and is the most basic language and composition form of Chinese painting; The connection process of line as a characteristic of objects and images, and the trajectory left by the movement of points in time, has great subjective freehand and strong emotional color and personal aesthetic awareness, which varies from person to person, from place to place, and from time to time.

Yu Changyu's magic line drawing is an embryo bred by his half-century of long artistic practice, its lines are straight and changeable, eight-sided, vigorous and simple, like a grass with strong branches, just like his bumpy life (in 1960, due to a three-year natural disaster, Yu Changyu was sent from hubei art institute to rural farming for 25 years, and the Cultural Revolution was criticized for many years) and fought endlessly with life. Magic line drawing is a concentrated explosion after Yu Changyu's emotions have brewed. From the perspective of art history, Yu Changyu excludes a large number of traditional Chinese line drawings and Western pen line drawings, and he looks for new artistic meanings and life propositions from the framework of historical constraints.

Yu Changyu's magic line drawing is not only the expression of "shape", but also the "quality" of things. His lines, in addition to completing the outline of the shape characteristics, also use the artistic changes of the line itself to reflect the strength of the form and composition of the object, use the lines of different natures and adapt to the different textures, temperaments and demeanors of things, and organically integrate the different emotions of the painter for things. Therefore, his magic line drawing is not only a reflective depiction, but also a combination of the painter's modeling ability, skill, emotion and perception.

The reason why Chinese painting chose and first used the vocabulary of line is because the line is more concise and clear in language than decent, that is, it is clear and vivid in the expression of people's subjective feeling intentions to the outside world, nature and interior. Clarity and clarity are the most fundamental characteristics of all forms, and, more importantly, the lines painted in China are closely related to our conceptual expression at the earliest stage. As the source of Chinese painting, the ornaments carved on the faience ornaments of ancient times and the mirror plates of the Shang Zhou Zhong Ding are flowing and rhythmic lines rather than static and three-dimensional images.

Previous Han murals, portrait bricks, and paintings (such as the "Figure Dragon and Phoenix Diagram" excavated from the Chu Tomb, the "Figure Royal Dragon Diagram", and the T-shaped Painting excavated from the No. 1 Han Tomb in Mawangdui, Changsha), the lines are very vivid. After Wei Jin, the changes in the lines began to be enriched, and they were endowed with an elegant and flowing feeling, and the line felt delicate. In the Tang Dynasty, some shadow techniques were integrated, and various character "depictions" and various landscape "wrinkles" appeared. The Yuan Dynasty focused on expressing personal feelings, advocating ink painting, paying attention to vitality, adopting the intention of the heart, taking the complex into a simple situation, changing the description into writing, and emphasizing the use of calligraphy with a pen. At the end of the Ming Dynasty, Chen Laolian's lines are thin and clear, high and strange, finely outlined, and concise and refined. Then there are Ren Xiong and Ren Bonian at the end of the Qing Dynasty, whose line shape is strangely exaggerated, but it does not lose the law, and the image is real and vivid. "Depiction" and "皴" are not only the painter's abstract summaries of the sensibility of natural objects, but also the decency of natural objects.

The lines (including points) in Chinese painting, whether they are "tracing" or "皴", have two functions, one is to rely on the shape and organizational structure of the lines themselves, which can show specific objects. The name of each "depiction", the name of each "皴", indicates that the line (including the point) provides a specific meaning in the composition of the form. The other is to use intuitive infection to convey a certain momentum, emotion, and meaning from the rhythm and rhythm shown in the form and composition of the line. In the Han "Preface to Mao's Poems", it is said: "Emotion is in the middle and shape is in words, and the words are not enough, so sigh, sigh is insufficient, so the song is insufficient, the song is insufficient, and the foot of the dance of the hand is also the same." "A certain state of action must have a specific psychological basis and a specific inner state, so a certain emotional state must be adapted to a certain action. Reading Yu Changyu's magic line drawing series, you can feel the painter's strong emotions "moving in the middle and must be outside". The lines recorded by his highly professionally trained hands are linked to two kinds of emotional activity: one is the emotional activity that governs the movement of the fingers, and the other is the emotional activity that determines the intention to act deeply. The two emotions are closely intertwined and eventually implemented in the line, becoming the carrier and symbol of the painter's emotions.

The author believes that Yu Changyu's magic line drawing has its unique simplicity and abstraction, as well as the mutual penetration of calligraphy and painting, forming his unique form of magic line drawing artistic expression. This form of magic line drawing not only has the function of imitating the object, but also has the abstract potential of extremely convenient and free play, and also helps the painter to extract the shape, temperament and charm of the object to be expressed according to his own experience of life, and draw his own perception and experience in all aspects of the appearance and dynamic.

Chinese painting pays great attention to the function of the line, and for the shape of the protruding line, it is usually rarely or even not at all colored. We divide it into 3 categories: First, the thick brush of the brush type "line drawing". The freedom of its pen, the strengthening and diversification of contrast techniques have been developed, and the composition law of the line is similar to that of the pen, but with the basic characteristics of the pen. The second is to break the composition law of the line of the brush stroke, only retain the basic requirements of the Chinese style "line drawing", change the type of "line drawing" according to the needs of the processing of the pen, and pursue the new law of composition, thus enriching the type, expressiveness and form beauty of the line, making it conducive to the play of the author's feelings, giving full play to the strengths of the "line drawing" of the pen, strengthening the personality of the "line drawing" of the pen, and eventually developing into a large system parallel to the "line drawing" of the pen. The third type is the extension and expansion of the brush intention of the line, becoming a large freehand and splash ink painting composed of lines, points, blocks and surfaces, which is a high degree of reinforcement of the law and personality of the "line drawing" of the pen, with a strong subjective self-awareness in the performance, forming blocks, surfaces and points with the artistic characteristics of the line, and entering the "line drawing" system of the pen. Therefore, there are also differences and differences in the field of technique and aesthetics. Freehand "line drawing" is an explosive and improvisational completion on the basis of confidence, and the "line drawing" of the brush requires rational thinking, careful planning and arrangement. They are the "line drawings" of two different systems, different forms of expression formed by two different aesthetic consciousnesses, but they can complement and learn from each other.

Yu Changyu's magic line drawing is a way to express the most direct chest, express emotions and reflect personality characteristics. He uses monochromatic lines to express the painter's aesthetic feelings about objects, focusing on the structure of the form itself and on the study of the spiritual essence of the object caused by these structures. In the expression of objects, the pen and ink are taken straight, breaking the traditional people's understanding of line drawing lines, and the richness of the meaning and dry and wet changes covered by its magic line drawing pen and ink has formed the unique aesthetic characteristics of its magic line drawing, and has become an independent painting form with philosophical concepts and aesthetic ideals.

The author is convinced that if Yu Changyu can further refine his pen and ink, refine his lines, and build his own theoretical system, his magic line drawing will be of epoch-making significance for the development of Chinese painting art.

Shang Hui (Director of the Theoretical Committee of the China Artists Association, President and Editor-in-Chief of Fine Arts Magazine)

Appreciation of works