Zhi Yingqi
In traditional Chinese culture, poetry, calligraphy and painting are integrated. Ink writes the poetry of the ancients, and the picture says the feelings of the literati, which is the elegant thing that the painters of all generations have enjoyed tirelessly. The poetic scene is pleasant: Gao Shi is sitting in the Panasonic Spring, there are flocks of birds flying in the rain and fog, winding mountain paths come to carry the old friends of the piano; or, a leaf boat swinging under the cliff, leaving no trace of the white place, the mountains and clouds are already like a tremor... There are paintings in the poems, so the high mountains and rivers flow, and the winding paths are quiet; there are poems in the paintings, so the flowers are low and the bamboo leaves have sharp edges. The poetic brush and ink blend give the Chinese a spiritual paradise that takes the cause of each other, the natural life of man and all things, and the blessing of spiritual exchanges under the world.
After watching such a picture for a long time, I unconsciously walked back to the ancient literati attitude, knowing that I could not do the fishing tree in the painting, and I was also obsessed with the kind of walking in the mountains and forests, and I was willing to settle my soul in the poetry and painting. At the same time, such a picture is seen more, and many worries will arise in the depths of the heart: the same meaning of words, the same brush and ink, after the rubbing and rendering of successive generations of painters, gradually became a stylized composition. In particular, the poetic intentions of the ancients painted by today's people are still there, and the graphics are like this, but they lack the spiritual and spiritual thoughtfulness of the culture, and they also lack the connotation of emotion and the vane of personality. It's like hearing a guqin song in a noisy shopping mall, the rhyme is like, the mood is gone, and the heart is finally confused.
I am helpless in my heart, and I look forward to seeing the poetry danqing that makes people shake, and I can listen to the inaudible sounds in the poems and paintings, sprinkled like light and wind, and still can enter my eyes and my heart.
Maybe it is the wish of the heavens, Gengzi in late autumn, and Mr. Wang Mingming and other friends travel with Fujian and Zhejiang, wandering between the mountains and the sea every day, watching the streams and streams, birds flying and falling, listening to the wind in the depths of the years into the forest, trance, has followed the trail of the streams and mountains, and walked back to the poetry of the Tang and Song Dynasties. At noon that day, we strolled along the Yandang Mountain Trail, the autumn colors were clear, the birds went to the forest, and Mr. Mingming took out the IPAID he had brought with him and showed me the 100 ancient poetry album he had just completed. The pictures unfold one after another, even across the electronic screen, the long-lost literary atmosphere has been dripping with the ink color. In the quiet empty valley, the little dragon's ticking waterfall is like someone chanting:
People idle osmanthus flowers fall, and the night is quiet in the spring mountain sky.
The moonrise frightens the mountain birds, and when the song is in the spring stream.
What a beautiful picture: the valley in spring is silent, and the osmanthus flowers unconsciously wither their petals. The moonlight fell like a waterfall from all directions, and the moonlight rose with the light of the water, alarming the birds that inhabited it. Birdsong in mountain streams? Is it the sound of water? Or the Westerner Debussy's Moonlight Song? In the hazy moonlit night, tenacious thorns can still be seen, growing wildly among the rocks, symbolizing the power of life.
——This is Wang Mingming's "Birdsong". He uses capitalization techniques to create a kaleidoscopic waterfall form, and then harmoniously incorporates birds, mountain streams and vines into the viewer's vision, the objects are rich and not complicated, the pen and ink are dense and beautiful, giving people a quiet and long-distance, quiet and idyllic spiritual enjoyment. Here, he does not simply use ink to imitate Wang Wei's poetry, but uses ink painting as language, and in the depths of emotion and the high place of culture, the time and space dialogue with Wang Wei is the spiritual resistance and integration of ancient and modern literati. In his pen, poetry and painting are two stalks of orchids in a world of incense, flying with the Tao, corresponding to each other, and escaping transcendentally in the silent valley.
In the emotional depths of contemporary painter Wang Mingming, he is similar to the Tang Dynasty poet Wang Weiling.
In the history of Chinese culture, Wang Wei's most important achievement is to create a realm of poetry and painting, and the fusion of poetry and painting in the artistic conception has formed a vivid sense of beauty. Starting from Wang Wei, the sentiment of poetry entered painting and gradually became one of the important aesthetic standards. Here in Wang Mingming, he integrates poetry into the painting realm, and the connotation of poetry is simple and far-reaching, and it is transformed into the subtle richness of painting, forming the beauty of the clear and distant artistic conception. In another poetic poem he painted Wang Wei, "Zhuliguan", the scene of Gao Shi practicing the piano under the moon and the scene of bamboo spring Fushu blends with milk, and the mood of dust seems to have long been washed by the bright moonlight------ such a picture situation is consistent with Wang Wei's poetic aesthetics: light, harmonious, deep, like mountains and wild heavens, and there is no lack of fireworks in the world, behind the tangible image, is the world of infinite meaning.
Originally, Wang Mingming was a painter with strong traditional cultural concepts, and he insisted on exploring the pulse of the development of modern Chinese painting art in the context of traditional culture. Over the years, he has looked back at the ancient times by ignoring the present moment of the flag waving, and found the perch of the ink spirit in the life scenes of the literati sages. In his 100 ancient poetic intentions, this nostalgic sentiment has become a cultural dialogue tracing back to the past: Li Bai's romantic Gao Tao, Du Fu's feeling of nostalgia for the world, Su Shi's free and heroic, Tao Qian's seclusion and leisure, and has become a character with distinct personalities in his pen and ink. Those images, more like a concrete and perceptible old friend, as if clapping their hands, can come to life: late to the day want snow, can drink a cup of nothing?
Therefore, after drinking the newly baked hot wine of Du Gongbu, Wang Mingming was drunk with Li Bai's "Will Enter the Wine":
You see: the gushing yellow river water, pouring down from the milky way in the sky, the picture is full of the ripples of the rolling years. On the boulders on the shore, Li Bai stood as a sculpture, he raised a glass to the blue sky, from the Tang Dynasty to the present, intoxicated by a thousand years of time------ on this painting, the Yellow River water accounts for three-quarters of the upper space. The painter placed Li Bai in the space environment of the turbid waves, and with simple lines and powerful rubbing, he baked out the spiritual space of the poet's romantic Gao Tao, and the image of "will drink three hundred cups" and was unrestrained------
Many years ago, I used to stand at the Yellow River Hukou Waterfall for a long time, allowing the splashing water mist to coolly wet my body. I felt the sound of the wind of the years, the breath of the great river, and the natural sounds of life in the depths of those so lonely that I couldn't stop crying. In Wang Mingming's poetic intention of "Will Enter the Wine", I once again felt the touch of the Yellow River, and felt the waves that hit the wall of the heart - this is the real inner feeling that those pretentious schema productions cannot bring to me.
The French writer Jacques Maritten once said: "Poetry is the mysterious life of all art." "Poetry can inspire the artist, a good poetic intention to create, will mobilize the emotions of poets, painters and viewers, produce aesthetic resonance, poetry is painting, painting is poetry, people in painting, painting in rhyme." It's a wonderful aesthetic treat.
Mr. Wang Mingming is undoubtedly well versed in this way, and in his ancient poetic works, he is always full of profound cultural care and romantic and transcendent poetic spirit. He fully realized the important value and significance of "poetry" in the creation of Chinese painting, paid attention to "introducing poetry into painting", and carefully studied the masterpieces of poets of previous generations, during which he added his perception and experience of history, society, life and nature, and integrated into the immediate self-spiritual emotions. In his creation, Wang Mingming is happy to deepen the artistic conception of poetry through his own composition, and strengthen the poetic realm through painting. In this way, his paintings present a poetic atmosphere and philosophical realm that cannot be separated in the upper stage of intention and creation.
The beautiful aesthetic mood of poetry, the romantic lyrical tone and the strong subjective expression color constitute the unique characteristics of Wang Mingming's paintings. This "poetic and painting" trait of his is presented through rigorous creation.
Unlike literati painting in the general sense, Wang Mingming rarely "brushed sloppily". One of the most prominent features of his works lies in the profound spiritual connotation expressed through rigorous brush and ink. For example, in Jia Dao's "The Seeker Does Not Meet", the pine tree is the protagonist of the canvas, he uses thick ink to rewrite the ancient pine of the curve and climb, and sketches out the two children under the pine tree with a thin brush, and the gesture of the old man's jaw asking is in contrast with the appearance of the child's serious answer. And in the direction of the boy's fingers, with indifference to dye a deep cloud, there, is a world of emptiness and tranquility------ this work, the shape is rigorous but ethereal, the law in it does not lose degree. It can be said that each of Wang Mingming's works is the crystallization of clever design, he uses his pen casually, the ink is calm, the pen is concise and complete, and the lines are powerful and flying. He pursues a subtle and rich picture charm, with a clear and beautiful artistic conception, subtle and long-term.
In the creation, Wang Mingming pays special attention to the emotional connection between the characters and the scenes, dyes the inner emotions of the characters with the scenes, and at the same time, "infects" nature with the mood of the characters, giving the scenery vitality. In his poetic works of the ancients, the figures, no matter how big or small, are the center of the work. Therefore, he paid special attention to grasping the inner emotions of the characters, placing the vivid and conveying images in the natural environment, and properly displaying the idea of the unity of heaven and man in Chinese painting. In "Chibi Nostalgia", a heavily forested stone wall stands on the right side of the frame, allowing the gushing river to continue to impact. A small boat comes from a misty distance, and the people on board are calm, looking into the distance, thoughtfully----- the vast river sky, the silent stone wall, the moving boat and the chanting people constitute a harmonious world. In the painting, Su Dongpo has a clear and comfortable face, a resolute look, showing an optimistic and heroic attitude towards life and a rich and profound inner world. In this painting, I also seem to see the painter Wang Mingming's hidden thoughts and super-maturing feelings - you see, the prosperity, richness, and temptation in the distance of the clouds and fog, Su Dongpo has abandoned, and he chooses to get rid of the stagnation and travel freely without constraints. Life is full of ups and downs, the world is unpredictable, I ride a flat boat, let the wind blow, shake with the waves, sing the wind and the moon, and feel free to go west and east. The freedom of the spirit, the constancy of the will, and the fullness of the spirit are all complete here, and the roar of the sky is "the great river goes east, the waves are exhausted, and the characters of the ages are flowing."
What a pleasant situation, the artist Wang Mingming is really drunk, he is intoxicated in the Tang poetry and Song Ci Langyuan, and the old friends who have been friends with god for a long time, or the bamboo forest qing talk, or the fishing hidden Tingzhou, or the pine looking at the moon, or the wine as a song. In such a vain realm, all the glitz of life begins to retreat, and the soul enters the great tranquility of the silhouette.
However, Wang Mingming, who wandered in the poetry of the ancients, like his friends who crossed time and space, was actually lonely in his heart, and they also missed home.
In China's excellent ancient poetry, nostalgia is an eternal theme. Life is a journey, and the advancement and retreat have always been the ideal choice for literati and doctors to return to the same place, and the hometown is their homecoming for their well-being. The hometown is the old wine stored by the far-distancers, and once it is drunk, it is the sword qi and moonlight that are chanted.
Wang Mingming's hometown is Penglai, Shandong, which is a place full of immortals, but he has never lived there. Penglai is his hometown. In his poetic works of the ancients, we can clearly see that he has been painstakingly searching for the hometown in his heart - he painted Tao Yuanming's "Return to the Pastoral Residence", a beautiful house in a good field, faintly in the rain and fog; he painted Wang Anshi's "Bodhisattva Man, Several Family Huts Idle near the Water", several huts stationed near the water, "What is the most concerned?" Huang Li one or two sounds"; he painted Wei Yingwu's "Chuzhou Xijian", a leaf boat, floating in the upper right corner of the canvas, the grassy wild ferry is not his starting point?
For the artist Wang Mingming, the hometown is not a clear geographical concept, but a spiritual homeland, his hometown is "when the bright moon shines on me" Guazhou, is the Chibi of "the waves have exhausted the ancient winds and currents", is the peach blossom creek where the cave is in Qingxi... He painted the pine of the "Bright Moon Pine Illumination", painting a school of lingering to meet the moonlight, which is a symbol of the high standard of personality in the old garden; he painted the bamboo that "stands in the broken rock", which is clean and upright, and has a posture, which is a symbol of the elegance and elegance of the old garden; he paints The Taishan of "overlooking the mountains is small", and the layered rocks are as strong as bones, which is the great husband he looks up to.
Wang Mingming, a contemporary artist who is immersed in the poetry of the ancients, has a cultural sobriety that is different from ordinary people. Through poetic scenes, he shows us the existence of a traditional classical culture, presenting a cultural homeland where nature and man are one and can settle the soul. With this hometown, no matter where you are, you are happy. And this may be the real meaning of Wang Mingming's poetic intention series of works.
In a noisy and impetuous season, watching Wang Mingming's paintings, it feels like walking into a natural mountain, the autumn water is clear, the moon is clear, and a lonely path leads to the forest where the birds return. At the end of the forest, the sky is like water, and the peach blossoms are brilliant. It is the material home that we have cultivated for generations, and it is also the poetic home of the spirit.
Return to Xi, the countryside will be Wu, Hu will not return?
The author and Mr. Wang Mingming (right) in Taishan
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