Wang Suxin Huang Taidun
Illustrations are pictures inserted in books and newspapers. Mainland illustrations have a long history, and modern and contemporary illustrations are extremely influential, including Zhang Guangyu, Ye Qianyu, Zhang Tong, Han Yu and so on.
Mr. Han Yu, who is in his nineties, engaged in comics in his early years, and then specialized in drama painting, and has illustrated a variety of books, including his own articles. Mr. Wang Chaowen, an art theorist, once said of Han Yu: "The interest of works is often unexpected, so its interest is also strong." Hua Junwu, a cartoonist, said: "The national folk style of Han Yu comics is interesting and natural, as if it is brought out of the womb of the mother, and many paintings make people feel that it is a combination of the lower riba and the white snow of Yangchun." ”
This article is excerpted from the newly published "Selected Illustrations of Han Yu" by Hebei Education Publishing House.
Mr. Han Yu
With the acceleration of the pace of life, people's reading habits are also changing unconsciously. I don't know when the "era of reading pictures" has become a generalization of the current reading characteristics of some people. Today, this word is not only widely popular and used, but also leads to many people's analysis and interpretation of it. Here, the author will not talk too much about it for the time being, but only try to take out the important category illustrations that the "figures" in the "era of reading pictures" must contain for a special discussion.
According to Ci Hai, illustrations refer to "pictures inserted in books and newspapers." Supplement the text or for artistic appreciation. The illustrations of literary works are created by the painter on the basis of loyalty to the ideological content of the work, and have independent artistic value. ”
The West calls "illustration" "illustration", and the word is derived from the Latin word, which means illumination. In other words, illustrations can make the meaning of the text clearer and clearer. Whether it is Chinese illustrations or Western illustrations, they are not only annotations and supplements to written text, but also help readers who are not good at reading to better understand the content of the text; They not only enhance the interest of the text, but also make the text more vivid and more vivid and vivid in the reader's mind; They not only help to highlight the thematic ideas of the article, but also enhance the artistic appeal of the literary work.
In the long history of human painting, illustration has been as long as other forms of painting. Some scholars believe that the oldest surviving picture book is the Book of Death in ancient Egypt more than 3,000 years ago, and the pictures in the book are drawn on papyrus paper, which may be the earliest illustration in the world known.
After entering the Middle Ages, illustrated manuscripts became popular in Europe, and many amazing works appeared, among which the Celtic manuscripts the Book of Douro, the Book of Lindisfarne, and the Book of Kells are the most famous.
At the beginning of the nineteenth century, with the development of newspapers and books, the art of illustration gradually developed. In the 1950s and 1960s, in the United States, illustration began to enter the Golden Age. At that time, illustration had become a separate category in fine art. Illustrators are mostly professional painters, and the illustration style was first figurative, and later influenced by the Abstract Expressionist school, from figurative to abstract, until the 1970s, when it returned to the realistic style.
Mainland illustrations have a long history and have their own unique style. The earliest surviving illustrations on the mainland are the illustrations of the Warring States period excavated from the Chu Tomb in Changsha in 1942, which are the pictures painted on the books. The extant ancient painting "Luoshen Futu" is considered to be the first painting adapted from a literary work, which is an illustration drawn by Gu Kaizhi of the Eastern Jin Dynasty based on Cao Zhi's "Luoshen Fu" of the Three Kingdoms. In the Tang Dynasty, engraving and printing were widely used, and the process became more and more mature, creating the mainland and the world's earliest surviving print with a clear date, the Diamond Sutra Title Painting. By the time of the Song, Jin, and Yuan dynasties, book illustrations had made great progress and the scope of application had gradually expanded. The Ming and Qing dynasties can be said to be a period of great development of ancient illustration art, and different artistic styles were formed in different regions. Among them, the well-known illustrated picture books include the four great strange books of the Ming Dynasty, "Golden Bottle Plum", "Romance of the Three Kingdoms", "Water Margin", "Journey to the West" and so on.
Lu Xun paid great attention to illustration throughout his life, and had a special love for book illustration, and in Lu Xun's diaries, letters, and articles, there are many discussions about book illustrations. Lu Xun said in the article "The Defense of "Comic Strips":"The illustration of books was originally intended to decorate books and increase the interest of readers, but that power can subsidize the reach of words, so it is also a kind of propaganda painting." He also said: "I remember that at the end of the nineteenth century, the illustrated "Liaozhai Zhiyi" was published, and many people bought it and were very happy. And some children also go to see articles because of pictures, so I think that illustrations are not only interesting, but also beneficial. ”
Lu Xun not only edited and published and introduced the illustrations to the reader, but also drew the illustrations himself. At that time, there were not only modern literary artists Such as Ye Dingluo, Wen Yiduo, Feng Zikai, etc., who not only drew illustrations for other people's works, but also wrote their own paintings.
After this, Zhang Guangyu, a master of modern Chinese illustration art, blended Chinese and Western styles, boldly innovated, and created the Chinese modern decorative painting school. Painters who painted illustrations at the same time or later included Lu Shaofei, Ye Qianyu, Xia Tongguang, Zhang Leping, Lu Zhiyu, Huang Miaozi, Te Wei, Liao Bingjie, Ding Cong, Zhang Tong, Huang Yongyu, Han Yu, etc.
Illustration of Han Yu
Referring to Han Yu, He Manzi wrote humorously in the article "Proposed "Rose Without Flowers": "There have always been paintings with poems and writers, such as "Tang Poetry Painting Notation" and "Roselle Painting Scroll". There are also poems and paintings, such as poems with inscriptions and paintings. Nowadays, comics with short texts are popular, and there are self-matched people, Huang Yongyu and Han Yu, and this kind of painting and text is from one hand, which can be simulated as 'narcissism'. There are also people who invite people to accompany the painting, such as Chen Siyi to ask Ding Cong, and the contemptible people also ask Fang Cheng to accompany the painting, which can be simulated as 'marriage and love'..." The so-called "narcissism", to make a metaphor, is like the play on the stage "Liang Shanbo and Zhu Yingtai", Liang Shanbo is me, Zhu Yingtai is also me, the two I am happy to match, I know myself and know the other, and I am better than the two small no guesses of the green plum bamboo horse. I have made a rough statistic that there are far more "narcissists" in Han Yu's illustrations than "marriage lovers".
Illustration of Han Yu
The scholar Wang Luxiang once questioned the neglected cartoons, illustrations, and decorative paintings (or miscellaneous paintings) in modern Chinese painting: "The highest achievement of new literature is not poetry or novels, but essays and essays. So, can it also be said that the paintings of the same period as the new literature may not be oil paintings and Chinese paintings, but those "short, flat, fast" miscellaneous paintings? ”
The benevolent see the benevolent, the wise see the wise, and not everyone can agree with this view, but I think what Mr. Wang said is not unreasonable. Questioning the "neglect" of miscellaneous paintings (comics, illustrations, decorative paintings) is worth pondering. Oil paintings and Chinese paintings are of course huge, and they are ink sprayed, attracting people's attention and moving; And miscellaneous sketches can also be coiled and danced, cups of water turning waves, with the change of miscellaneous, interesting. The ruler is short, the inch is long, and the line is out of shape, which is "ignored" and cannot be underestimated. Moreover, the quality of the painting does not depend on the classification of the painting type, such as the height of the painting by the painting type, which is tantamount to taking people by appearance and drumming with rubber pillars. Scholar Wang Luxiang, as mentioned above, is also afraid of this.
Illustration of Han Yu
Han Yu engaged in comics in his early years, and then specialized in drama. He has illustrated a variety of books, including his own articles, the earliest of which was an illustration for Ren Daxing's children's story collection Dragon on the Street in 1963. The illustrations in this book are quite popular with Mr. Zhang Tong, who wrote in the article "Han Yu's Paintings": "He drew illustrations for children's books in the same style, and there is a book called "Dragon on the Street", which is a popular reading, I put it on the shelf of rare books, occasionally took it down and turned it over, every time there is a sense of freshness, like listening to children tell stories - I like it, and my children like it." Han Yu also illustrated Lao She's "Tea House", "Divorce", and "Zhao Ziyue", of which the illustration for the book "Divorce" won the Excellent Illustration Award of the 1981 National Book Binding Art Exhibition. He has also painted illustrations for "Liaozhai Zhiyi" and "Dream of the Red Chamber", but for various reasons, they have not been completed in the end. The cartoon "Three Monks", designed by Han Yu, is a household name and is still talked about by people until now. The film has won seven awards at home and abroad. For his contributions to the cause of Chinese comics, Han Yu was awarded the Honorary Award of the 3rd Golden Monkey Award for Chinese Comics in 1994.
Illustration of Han Yu
Mr. Wang Chaowen, an art theorist, once said of Han Yu: "The interest of works is often unexpected, so its interest is also strong." Hua Junwu, a cartoonist, said: "The national folk style of Han Yu comics is interesting and natural, as if it is brought out of the womb of the mother, and many paintings make people feel that it is a combination of the lower riba and the white snow of Yangchun." ”
The highest award for essays is the Lu Xun Literature Award, and the painter Han Yu's self-written and self-drawn "Han Yu Essays Self-Selected Collection" won the first Lu Xun Literature Award. This is not only reminiscent of the passage quoted above by Wang Luxiang, but also makes people feel very interesting that the painter actually won the literary award.
By the way, let's take a look at the illustrations of "narcissism" or "marriage" in the self-proclaimed "wild multi-habitat animal" of "scattered soldiers". To taste the whole thing and know the whole thing, here are a few examples:
Let's start with naughty ghosts.
Naughty ghost
The illustration in the book "The Dragon on the Street" listed by Mr. Zhang Ling in the rare book shelf should be Han Yu's earliest illustration work, and it is interesting that the illustration we see now has three versions so far. The first is "The Dragon on the Street", published by the Hundred Flowers Literary and Art Publishing House in May 1963, with the illustration text: Two brothers are reviewing their homework. The second was Dragon on the Street, published by Sunray Publishing House in July 1980. The third is the picture included in the article "I Paint Naughty Ghosts" in "Han Yu Ji • Painting Qiankun". The latter two pictures do not have illustrations.
At the snap of a finger, this illustration is nearly the "year of the flower armor", and the twin brothers in the picture have not only experienced the same ups and downs as the author, but also have more or less new changes in the author's pen, but the only constant is the "naughty look" of the clever and mischievous "naughty ghost".
There is a cloud in the "Xuanhe Painting Notation": "Zhang Xuan, who is good at drawing characters and can write about babies, is particularly difficult." Cover the baby's appearance attitude is a family, and it is necessary to determine its appearance as childish between the ages. "From this point of view, it is not easy to draw children. The two children that Han Yu wanted to draw were even more demanding. "One look, two personalities". "One look" is good to draw, and it is enough to draw two identical children. "Two personalities" is a lot of thought. The so-called "two personalities", one refers to "honest rules", the other refers to "naughty", how to use the brush to distinguish between these two images with the same appearance and different personalities? It is easy to draw a "well-behaved" child, but it is not easy to deal with "naughty ghosts". Why is it that "naughty ghosts" are not easy to deal with? Let's take a look at "naughty ghosts": "naughty" is also "naughty", according to the Dictionary, children who "love to play and love to make trouble, do not listen to persuasion" are "naughty". If you ask why such children "love to play and love to make trouble, and do not listen to persuasion", the reason should be that such children are smart and will come up with crooked ideas, which can not only be happy for a while, but also take advantage of others and be profitable. Ask the child "Are you naughty?" He certainly wouldn't admit it, firmly saying "no." Because he also knows that the word "naughty" is not a good word.
That is to say, "naughty" children have two sides, superficially well-behaved, pretending not to be "naughty", but when encountering the right occasion, they will always intentionally or unintentionally show the tail of "naughtiness". Only by drawing these two aspects at the same time can we say that it truly shows the "naughty look" of naughty children. Let me compare this naughty child drawn by the author: you see two children holding books in their hands and reading intently, of course, they are the same rules and honest children. But if you look closely, you will find that there are differences, the difference is the posture of sitting in a chair, one is sitting upright, the other is sitting upside down, not to mention the sitting, only talk about this sitting upside down, what do you think this looks like? Like on horseback? Is it fun to ride a chair as a horse? Is this called "naughty"? He was concentrating on reading, and accidentally revealed his "naughty" tail. The word "naughty" is difficult to draw, but the author only let the child sit backwards in the chair, and solved the problem with a show of hands. Bring a well-behaved, a mischievous, two children with very different personalities vividly presented in front of you. In fact, this "Jane" is not only expressed in the technique of using the pen, but more importantly in the choice of details, which is often referred to as the "painting language" concise and concise. Is this something that can be easily obtained? In the article "I Paint Naughty Ghosts", the author said: "Such a simple painting took me several days of work. ”
After saying "naughty ghosts", let's look at "when I was a child, I liked to listen to ghost stories the most".
When I was a child, I loved to listen to ghost stories
I remember when I was in elementary school, the most memorable and fun thing was to study at night in winter, and a few bold classmates took advantage of the teacher's absence in the classroom to tell ghost stories together, and the female classmates next to them were scared to cry, and for this matter, they were not less disciplined by the teacher, and the training was returned, and the ghost story was still the nephew playing the lantern - as usual (uncle). To tell the truth, I was afraid in my heart. Especially in the evening self-study home from school, and classmates as companions to the mouth of the hutong, everyone scattered, leaving only themselves looking at the long alley of black and dirty is the more you think about it, the more scared you are, the harder you look at the scalp left and right, you will run, and when you run into the house, your heart is called solid.
An article titled "Talking about Ghosts" reads: "When I was a child, I knew that I was afraid of ghosts and I always liked to listen to ghost stories, and this funny situation later learned that others were the same as me." Another article called "Talking about Ghosts" also said: "When I was a child, I was most afraid of people saying 'ghosts', but I liked to hear people say 'ghosts'. "The great writer Su Dongpo also likes to hear people talk about ghosts. This ambivalence should be said to be "people have the same heart, the same heart."
Unexpectedly, Han Yu actually had a painting to paint this ambivalence of "being afraid of ghosts and liking to hear people talk about ghosts". Looking at the small hands of the child sitting on the small bench on the chest, the tightly folded legs, the upside-down hair, and the small mouth that had not been closed for half a day, I thought that the fear was extreme. Then you just avoid listening, no, he's still sitting there, probably reluctant to go, and want to listen. Isn't that self-inflicted? I couldn't help but laugh. After laughing, I wondered: Why does the words "both afraid of ghosts and like to hear people say ghosts" not make people laugh, why do they make people laugh when they are painted? The ancient Deng Chun said: "Painter, Wen Zhiji also." "As long as you can draw to the point, painting will be more vivid and visually impactful than abstract language." If you look at the child's "fear", abstract language cannot be concretely and subtly presented. This is the superiority of figurative painting over abstract language.
But from this painting, we must also see the shortcomings of the painting, this child only shows "fear", and can not show his "like", which can only rely on words to help, so there is a title of "I liked to listen to ghost stories the most when I was a child". In order to echo the painting and the text, the posture of the child in the painting must be sitting on a stool, and since it is sitting and not walking, of course, it is "the favorite to listen".
What is this "waiting" for?
holding one’s breath
Seeing the illustration "Waiting for", I unconsciously gushed an inexplicable sense of intimacy, which was the two children holding dung baskets in the picture, which evoked the author's good memories of his life in the countryside when he was a child.
Today's children may not be able to understand this painting. This is not only the author's life experience when he was a child, but also a portrayal of the life of children in the entire northern countryside. There is a folk proverb: a crop is a flower, and it all depends on dung to run the house. At that time, there was no fertilizer, and the growth of crops depended on soil fertilizer, and animal manure was the best soil fertilizer, and collecting manure became the work of everyone in every household. Of course, the girls refused to pick up the dung, but they also had their own way of contributing, that is, on the day when the autumn wind rose and the leaves began to fall, they found an old chopstick, sharpened the thin end, carved a shallow ditch in a circle with a knife, tied a long rope for the soles of their shoes, and called on their companions to wear poplar leaves under the trees outside the village, playing while wearing, and soon wearing long bunches of leaves, and then, each of them dragged it, like dragging a big tail that swayed left and right, and ran home happily, and put all the leaves into the pigsty to accumulate fat. It's a lot of fun.
Speaking of collecting dung, don't underestimate this job, it is also quite learned. You see the cow's tail in the picture, which has been slowly cocked, which is the precursor to the cow pulling dung, so the two clever children immediately rushed to the bottom of the cow's ass with the dung basket, and the other children followed closely behind, you squeezed me, I squeezed you, full of joy waiting for the moment when the cow dung fell into their own dung basket.
Boys often quarrel about picking up feces, originally just went out and laughed, but when a bubble of feces is close at hand, it depends on who reacts quickly, who grabs it first. Sometimes for a bubble of feces to fight for a red face, unhappy and scattered, but after all, it is a child, and it is okay to turn your face again. I heard the old man talk about such a thing, they are on the way to the field to work, who sees a bubble of dung, and there is no man with feces in his hand, what to do? He kicked some dirt with his feet and buried it first, so as not to let others see it, and then quickly ran home to get the dung basket and the dung fork, picked up the dung and sent it home, and then hurried to work in the field.
It turns out that it is not only children who are waiting for them, but also adults. This bubble of feces not only picks up the innocence and naughtiness of children, but also picks up the sourness and hardships of people's lives.
After talking about things, and then talking about painting, this painting has two brilliant points. One is the tail of the ox, a look at the appearance that is just about to be cocked, it shows that it is working hard, the author if not in life careful observation, absolutely can not draw such a tail, which shows the importance of careful observation of life to creation. Another is the title of the painting "Waiting", "Waiting"? It turned out to be a bubble of cow dung. This painting, on the surface, makes people want to laugh, but in fact makes people want to cry.
What does "the hearts of all" depict?
The hearts of the people
I heard that the book people talk about the ancients, which is the most enjoyed time for the country people in their leisure time. Especially in the agricultural leisure season or in the market, the bookstore is a good place for children and villagers to go after tea and dinner. The storyteller's authentic performance with a strong local atmosphere brings people a momentary but unforgettable happiness.
The most "uncomfortable" thing about listening to books is that the storyteller is always at the most wonderful place or key moment, and the drum of "bang" suddenly stops, leaving a sentence of "want to know what happens later, and listen to the next decomposition". In the end, "what happens later", the curiosity of the listener who "wants to know the aftermath" hangs in the throat. Old Master Han was a book listener when he was a child, and when he was old, he still recalled the scene of listening to books when he was a child, and in order to keep a thought, he suddenly wanted to paint a storyteller (famous money Daxi), so he painted it.
And copy a passage of his "Master's own way":
"When I was a child, I used to 'listen to the rubbing book' at the market. When the storyteller Qian Daxi said a commentary, he rushed forward to listen, and when he picked up the basket to collect money, he ran away. Man has run away, and his heart remains in the pulpit, but it is why, because of one of his words: 'I want to know what will happen next, and listen to the next decomposition.' ’”
"Picking up the paintbrush, I immediately remembered the scene of running away with my legs, people running, and the heart still remained in the storytelling field. Yes, just write from here.
"I painted the storyteller smoking a cigarette, copying his hands, and stomping on Erlang's legs, looking like he wasn't impatient. But how do I draw the heart that remains in the storytelling field? Think of punctuation in books'? Isn't it the image of the heart that is anxious to 'know what will happen to the future'? Thinking about it again, why don't the hearts of the listeners who didn't 'throw their legs and run' in the book field at this time be exactly the same as mine, and they will use it all'? 'On behalf of me and them are good. So the storyteller's surroundings were painted with densely packed '? ’。 Will '? 'Into the painting, is it not the same?' I have heard that Han Mou's painting is 'Wild Fox Zen', which is also 'Wild Fox Zen'? ”
Unexpectedly, the author actually drew the invisible and untouchable "curiosity", but it was very simple, borrowing only a punctuation mark. It is not in line with the common sense of painting, or it is "wild fox Zen", but there is no doubt that once this "symbol" arrives at the storytelling field and is placed around the storyteller, it is no longer just a "symbol", but a "curiosity" one by one.
There is a saying: regardless of black cats and white cats, it is a good cat to catch a rat.
Look at the "fog" of winter on the painting
fog
Of these illustrations, The Mist should be said to be a special one, because it is only a blank piece of paper. Regarding "Fog", the author wrote in the article "I Paint Fog":
"For example, instead of oil painting or watercolor paint, just a tube of brush, try painting 'fog'."
"Once I illustrated Mr. Lao She's "The Englishman". This is a collection of essays, and due to printing conditions, only ink lines can be used. ”
"The person or thing in the fog is vague and hazy. This is easy to do, and the shape of a person or thing can be dotted with ink into a blurry shape. But can this ink spot be definitively foggy? If someone says: This is not 'fog', this is 'rain' is 'sand', what do you do? In order not to be misunderstood as raindrops or sand dust, I simply dotted the ink into a 'fog' word. On either side of the word 'fog', two more blurry human figures appear. Because there was fog in the middle, neither of them could see each other clearly.
"Again, I was illustrating my own essay,"Night Road," which was still foggy. Use ink dots to point again? It's 'birthday star singing song - old tune'. I don't want to repeat the same cliché. Come to think of it, since you can't see anything in the fog, you can't see what else you can draw, just don't paint..."
So it became a blank piece of paper.
A blank piece of paper, can it be a painting? It seems that the basis can also be found in the ancient painting theory. For example, "blank, non-empty paper, blank is also drawn." (Zhang Shi", "Painting Tan"), such as "Virtual reality is born, and everywhere there is no painting, it becomes a wonderful state." (笪重光 ,画筌), such as "The heaviest blank space in Chinese painting." The blank space is not a vacuum, but a place where the aura flows back and forth to life, and the emptiness can be simplified, simple and practiced, and it is full of humor and stripped of form. (Zong Baihua,"Art Realm")
Is it really "blank, non-empty paper, blank is also painted"? Not necessarily. Because all things under the world exist relative to 'conditions' by 'conditions', if there is no "condition", the blank can never become a "painting". The key lies in whether the "conditions" can be created. For example, "I Paint 'Fog'", the author said: "So I drew a border on the paper, the inside of the border indicates that it is a picture, the picture is blank, and outside the border is the title: 'The sky is foggy, and nothing can be seen.'" This title is the key to turning "white paper" into a "picture", and people read this title and suddenly realize that all the blank spaces in this painting are fogs that people can't see anything.
This painting is "painting without painting", "not painting" is precisely for "painting", the purpose is to "make something out of nothing", and "to have" is born from "nothing". It is exactly the same sentence in Lao Tzu: "When it is not, it is useful to have an instrument." "Crooked, this painting is actually a bit "skilled in the Tao".
There is no good feast
There is no good feast
"There is no good feast" is a well-known saying in the world, but it is not easy to draw it. But when I saw this illustration, I suddenly had a feeling of déjà vu. Oh, come to think of it, it turns out that Feng Zikai once painted a similar painting. He was illustrating a passage from Lu Xun's Hometown that read: "On the second day, I asked him to catch birds." He said, 'This can't be. It must be snowing heavily. We were on the sand, it was snowing, I swept out a clearing, propped up a large bamboo plaque with a short stick, and sprinkled the grain, and when I saw the birds and finches coming to eat, I pulled the rope tied to the sticks from a distance, and the birds and finches covered the bamboo plaques. Everything: rice chickens, horned chickens, partridges, blue-backed...'" What a familiar scene, all the children of the countryside, will catch birds like this. Because it's just a game they play every day.
However, this illustration is the same as the one in the Yuanyuantang, but it is very different. The paintings of Yuanyuantang are full of the strong atmosphere of rural childhood. And this painting, the picture seems simple, but it is actually full of killing chances. The stupid bird in the picture did not know that he was in danger. Exactly in response to the inscription in the painting: There is no good feast. But what is even more unexpected is the other sentence next to it: China's "food culture" is often "food weaponization". The content of this small painting has developed to a deeper level. Just think, is this a painting of birds, or a painting of people?
I paint and I write
I paint and I write
People say that Han Yuwen is interesting and the painting is interesting, but in fact, the root is that "people" are interesting. The text is like its person, and the painting is like its person! Say nothing else, just one thing. It is said that books should be published in an orderly manner, which is already a convention. When people write prefaces, they always have to write large articles with poetry clouds, or people who are humming and coughing. However, one of Han Yu's books, "A Collection of Gossip and Idle Paintings", is a self-prologue, and this self-prologue is a painting. As the saying goes: rely on the mountain to eat the mountain, rely on the water to draft water. He painted, and even the preface was "painted.". Isn't that fun?
Looking at the painting again, it depicts a blind man carrying a cripple on his back. Meaning, you have eyes, I have legs. Learn from each other's strengths and cooperate more interestingly. If you look more closely, you will find that the blind and lame people are all brain doors, and they are like Han Yu himself, painting himself, appearing on the stage, and making a scene. What do you think? More fun.
Han Yu has painted himself more than once, and the illustration in his essay "The Return of "I" Xi" is that he paints himself. He was dumbfounded, looking around, with a sentence next to him: "I'm looking for me." "Hey, wouldn't it be funny to lose yourself?"
Like a gourd
Then look at him with a paintbrush to paint, and when he draws and draws, he even draws himself into a gourd, just like a silkworm cocooning itself. There are four words next to it: "Like a gourd". After seeing this painting, can you not laugh, and can you think about it after laughing? To be able to paint without realizing: "painting like a gourd" is actually "cocooning oneself."
Looking at these paintings reminds me of Chaplin in the movie.
Paint Mrs. Lin
Paint Mrs. Lin
Han Yu's character paintings often make people laugh. He occasionally drew a plum blossom, and it even made people laugh. Why laugh? Only because he inscribed four big words on the painting: Painting Mrs. Lin. How did a plum blossom become "Mrs. Lin"? It's chilling, and then it's enlightening, haha: got it!
Han Yu mentioned this painting in an interview, he said: "I have never painted plum blossoms, in order to give my own small article "Plum Blossoms Can't Be Peaceful", I painted a plum blossom, what is the inscription? 'Pretty does not compete for spring', has been inscribed on the painting by many people, 'happy on the plum shoots', and has lost its teeth. After thinking about it, I suddenly remembered Lin Hejing, he did not have the saying 'Plum Wife Crane', so he inscribed four words: Paint Mrs. Lin. ”
Han Yu saw the scenery and was in love, making a scene and gaging. Replacing "wife" with "wife", although the meaning of the word has not changed, it always seems to feel a bit of a string. Who can stop laughing? But laughing, but I don't know who to laugh at, is it laughing at plum blossoms? Is it the Laughing Lonely Mountain Hermit? Or the naughtiness of the laughing inscription man? No wonder Mr. Huang Miaozi said that Han Yu's "bowl head" "contains humor and cunning."
It seems that the "defamiliarization" of language has a lot to say.
Liu Qiao'er's mulberry basket
Liu Qiao'er's mulberry basket
Seeing this painting reminds me of the "Liu Qiao'er" on the screen who carries a basket, is industrious and kind, has the courage to resist the world, and pursues a happy life. Speaking of Liu Qiao'er, everyone will think of Xin Fengxia, but what comes to mind in the author's mind is a lyric of Qiao'er: "Qiao'er, I pick mulberry leaves to raise silkworms, and silkworms make cocoons to wrap themselves." "She's going to break out of the cocoon and pupate into a butterfly."
The real-life "Qiao'er", after experiencing the unforgettable years, fell from glory to the bottom, but the stubborn "Qiao'er" did not give in, she refused to bow to fate, she used her half-crippled body to fight against fate, but more and more frustrated and courageous. Although she lost the stage of her performance in the twilight of the day, she was reborn from the fire, found another way, fought back, and finally, she suddenly rose up and shined in the literary world and the painting world.
These words were written by the author, and Old Master Han did not write them, he painted them. He only painted Liu Qiao'er's mulberry basket, and the basket was no longer filled with mulberry leaves, but books and paintings. This basket put all these words of mine into it, and one basket depicted the extraordinary life of Xin Fengxia from the theater to the painting world, and from the painting world to the literary world.
Tube peep chart
Tube peep chart
There's a joke that if you look up at the sky, in a few moments there will be many people looking up at the sky with you. In fact, this is not funny, because people are born with an instinct, one is curiosity, the other is curiosity.
Han Yu's paintings even took into account people's "curiosity", you see this "tube peeping map": a "between" word, even primary school students recognize, what is strange. But he drew another person wearing glasses, like a learned person, staring at the word "day" in the word "between", what is the rare thing in this "day" word? Can you not move, can you not get together and look? When I think about it, I'm in the middle of it.
If you want to see something subtle in this painting, I am afraid that you will be disappointed, but if you can get a sneak peek at the article with this illustration attached, I think it is a good idea.
Illustration of The Poor Mouth of the Angler
Illustration of The Poor Mouth of the Angler
Looking at the old photos, I saw the photos of Yuan Shikai on the Huan after he left the wilderness in the "Orient" magazine in Shanghai at the end of the Qing Dynasty and the "Beiyang Pictorial", and the photo of Yuan Shikai wearing a bucket hat, wearing a cloak, placing a fish basket next to him, a pair of entertaining landscapes, fishing trees and feet, transcendent things, and the appearance of no dispute with the world, and self-titled "Fishing Boat Portrait": "The old man in the wild chest bears the armor, and the little prince under the eyes of the fisherman." The leisurely posture seemed to have a fight with Tao Yuanming.
Han Yu has an article "The Poor Mouth of the Angler", accompanied by a painting, which happens to be the situation in Yuan Shikai's photo, and the Yuan Shikai in the painting is also wearing a bucket hat, wearing a cloak, holding a fishing rod, and looking leisurely and self-satisfied.
If you put that picture together with this painting, it will make people laugh out of their teeth. But why? Because there is a small difference between the two, the fishing wire and the hook of the fishing rod in the photo must be sagging, and the fishing wire and the hook of the fishing rod in the painting are straight up and stretched, what is the strength of the fishing hook that can break free of the gravitational suction? You see the direction of the fishing hook, it has four words on it: Great Qing Dynasty.
It was this fishing hook that punctured the photo to the bottom of the sky, and it was this fishing hook that made Yuan Shikai's mind into the well-known sima Zhao's heart, and it was this fishing hook that made Yuan Shikai laugh and be generous again.
In fact, in this painting, this "fishing hook" is no longer a "fishing hook", it has become Yuan Shikai's heart, according to painting terminology, it is the visualization of Yuan Shikai's "heart".
A conversation between Ximen Qing, who was killed, and Ximen Qing, who was not killed
A conversation between Ximen Qing, who was killed, and Ximen Qing, who was not killed
Han Yu painted Ximen Qing, a dead Ximen Qing without a head and a living Ximen Qing with a head, and the two Dead and Alive Ximen Qing fought and started to fight. What mouth of the bucket? Alive Ximen Qing said why he should live, Dead Ximen Qing said why he should die. All are reasonable. You see how funny this picture is. Why tease? Han Yu explained the clue in "Confused understanding of the common moment -- Answering friends" and copied it:
"There are Ximen Qing in Both Water Margin and Jin Ping Mei. Ximen Qing in "Water Margin" was killed, and Ximen Qing in "Jin Ping Mei" is still alive, living until the evil is full. Whether they should be killed or should they be alive, it should be the book critic who explains the truth. It's normal for book critics to have a lot to blame. But it is too normal, but it is tasteless. I declined the book critic and let Ximen Qing speak for himself. A living Ximen Qing and a dead Ximen Qing opened their mouths, and the living Ximen Qing said: "Why can't Wu Song kill me in "Golden Plum Bottle"? Dead Ximen Qing said, "In "Water Margin", Wu Song will definitely kill me." At the end, he also threw out a sentence, and even more loudly: "Who does not say that the killing is good, the killing is relieved!" You said Ximen Qing was not funny, why was he funny? Just one thing: speech misalignment. "People who shouldn't talk say things they shouldn't say.
Seeing the illustration of "Chatting with the Mud Ghost of Zhizhi", people can't help but think of the sentence that Han Yu often said: "The relationship between illustration and literature is not inseparable." ”
Illustration of "The Mud Ghost of Chatting with Zhiyi"
"Chatting with Zai Zhiyi Mud Ghost": "Yuxiang Tang Tai Shi Jiwu, when he was a few years old, had a cousin in the temple with him. (Little Child Ji Wu) see the mud ghost glass eyeballs in the middle of the room are very bright and huge, love, yin with fingers to decide, and return with arms. Having arrived home, (cousin) a violent illness is silent (the mud ghost is retaliating). ......”
The mud ghost is soft and afraid of hard, obviously it is the child Jiwu who secretly gouges out its eyeballs, but he is angry with his cousin. The mud devils are afraid of being officials, and even the children who are destined to be officials in the future are also afraid.
Looking at the illustration again, the child's hand is playing with the eyes of the mud ghost, which seems to be inconsistent with the text description, but it is also true, "play" is not "love", not "yin with fingers to take, pregnant with it" and how to "play"?
The mud ghost in the painting does not look for children to ask for, but drags the braid of his cousin so-and-so, points to his own empty eye sockets, and seems to be shouting "return my eyeballs", which is more inconsistent with the narrative of the text "both arriving at home, a violent illness does not speak", try to ask how to draw "a certain violent disease does not speak"? Without the later textual narrative, how do you know that the mud ghost is angry? What a mud ghost dragged the braid of his cousin to be more straightforward and more graphic. This is the inseparability of illustration and literature. Only in this way can we merge the two things that happen in different time and space in the story told by the text, so as to more vividly and vividly depict the snobbish face of the mud ghost.
Mr. Huang Miaozi said of Han Yu in the article "Great Coincidence and Humble - Han Yu and His Paintings": "He can string a belly of learning horizontally and vertically." For example: Guan Yu plays chess with Su Dongpo, Yang Guifei and Ximen Qing fool around... Any miracle that can be conceived can constitute his whimsy. ”
This is easy to pick up in Han Yu's text and paintings, and he said that the illustration in the article "Painting TalkIng About Jai No Coincidence" is said:
Illustration in the article "Painting Talking about Nothing"
An eastern official during the Kangxi dynasty of the Qing Dynasty arched his fists, and the other party was a Western Nazi who raised his arm in return for a Nazi salute, which was originally "wind horses and cattle, not in harmony", but this "horse" and "cow" actually traveled through time and space, and the "wind" came together. Kan sang the opposite stage with "Yang Guifei and Ximen Qing".
Some people may say, is this a "mess of Mandarin duck spectrum"? Take a look at the text:
"The movie 'Red Cherry': A senior German general pierces a fascist pattern with a steel needle and calls himself 'artistic creation'. However, this happened on the back of a girl (a captive), and in the eyes of the Nazis, a person, no longer a human being, was merely a material for him to make a 'work of art'. Its coldness, its insulting personality, should be said to be unique in the world.
"Recently, I watched "Chatting with Zai Zhiyi", which is unique and precisely coincidental.
"Liaozhai Zhiyi Jisheng": 'Kangxi Jia shu, Ichigo Keling Zhejiang Zhong, point to the prisoner. There are thieves who have been tattooed (in the face), and the case should be released one by one. Let the suspect 'stealing' word stick figure conform to the vulgar, non-official version of the orthography, so that scraped away, waiting for the creation (scar) flat, according to the word collection dot painting image another thorn. ”
Although the "horizontal and vertical strings" written and painted by Han Yu are "strange things and wonders", they are all well documented, and Mr. Miaozi's comments can be described as unique and insightful.
Tease the dog to draw the dog
Han Yu wrote an article called "Teasing the Dog to Draw the Dog", writing about his enmity and resentment with the dog, and it was the dog that caused him to draw again, so he drew an illustration, which had three pictures. The first picture shows a man in a ragged robe, and across from him is a black dog barking at him. The second picture: the man changed into new clothes and shoes, and the black dog wagged his tail and begged for mercy. The third picture: still the person, the upper body is a torn coat, the lower body is a new pants and new shoes, the black dog has no idea, I don't know if I should bark wildly, or should I wag my tail and beg for mercy? Interesting is the author's exclamation, he said: "The old saying goes: 'Drawing a tiger is not an anti-dog', has I become 'drawing a dog is not an anti-kind person'? ”
Illustrations are born of text, there is a close relationship between pictures and texts, because of the text of the picture, with pictures interpolated, forming a clever relationship between text and picture mutual interpretation and integration of pictures and text. In the process of interpretation, the directivity of language is combined with the intuitiveness of the diagram, which makes the text and the picture form a complementary relationship and further enrich the inner meaning of the work.
As mentioned earlier, as early as the early 1980s, Han Yu's illustration of Lao She's book "Divorce" won the 1981 National Book Binding Award. His illustrations for "Wusong Fighting Tigers" won the bronze medal at the 11th International Exhibition of Applied Fine Arts and Designs in Brno, Czechoslovakia, in 1984. In 1997, the illustrations "Divorce" and "Zhao Ziyue" were included in the compilation of the Complete Collection of Modern Chinese Art - Illustrated Volumes.
Han Yu often revealed his love for illustration and painting in small talk. Say that the illustrations he draws take more thought than the plays he paints. He said that Zhu Guangqian discussed poetry, saying: "The relationship between poetry and life and life is that it is not separated. Only its 'not far away', so there is a sense of reality, but its 'not is', so it is fresh and interesting. The relationship between illustration and literary works should also not be separated, too "away" such as a kite breaking a line, too "ie", then die under the sentence.
I once asked him, "What are the standards for good paintings?" ”
He said: "Painting is an intuitive visual art, and the objects it presents in front of people's eyes are concrete, subtle, and subtle, which is a strength. However, the objects in the painting are limited by space and time, that is to say, they are static, which is again a disadvantage. A good painting is due to many factors, but the most fundamental point is to see if you can make the painting adaptable to break through the limitations of time and space. ”
I made a rough statistic that Han Yu had nine and two discussions of the relationship between "time and space" and painting in "Qiankun in painting" and "East Laxi Pull" in "Han Yu Collection". In his 1991 essay "Reading Zeng Jingchu's 'Chinese Poetry and Paintings]", Han Yu elaborated on the law of assimilation of the different bodies between poetry and painting (time and space). In addition, in "Painting qiankun", there are ten places that carefully sort out and analyze the relationship between lines, shapes, and gods; In another ten places (including one in "East and West Pull"),the "not to be separated" and "similar and not to be similar" in the painting are illustrated and illustrated; There are also eight detailed discussions on the relationship between painting and inscriptions or texts, and on the principle of "pondering non-gold, but can be gold"; There are six detailed explanations of the painting's "raw and mature, mature and raw, mature and raw" and the "painting eye" and "catching people" in the painting (a total of three places). In fact, these are all many factors required to make painting break through the limitations of time and space, that is, to paint a good painting.
While editing while reading, while reading and writing, not to speculate on the shallow tried to write the above text, these words are in the reading of Han Yu's self-written self-drawn text and pictures with the feeling of hair, some of which, "Han Yu Collection" has more discussion, the author is only on this basis, added their own knowledge and understanding to do a rough analysis, this is just a peek at the leopard, a glimpse. Mr. Han Yu's illustration can be said to be a unique and interesting landscape, and the author has only picked up a few small leaves in this extensive scenery of the art sea and offered them to enjoy with everyone. If it can arouse interest in further reading of Han Yutu and Wen, it is a very happy thing.
In October 2021 in Shijiazhuang
(Author: Wang Suxin )
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Selected Illustrations of Han Yu, Hebei Education Publishing House (edited by Huang Taidun)
Attached: Huang Taidun | editor's afterword
Han Yu was already a ninety-year-old man, and he often drank tea and chatted with my father, and I also sat on the side. One day I was painting a fish and he said, "I'll give you a few words for this fish." "It reads:
"Zhuangzi said: 'The catfish swims calmly, and it is the pleasure of the fish.'" Keiko said: "Zi is not a fish, but the joy of the fish." Zhuangzi said: "The son is not me, but I know that I do not know the joy of fish." ”
"Although it has slipped through the net, I am afraid that I will swallow the hook by mistake." The people know: 'The son is not a fish, but the worries of the fish are known.' I said, "The Son is not me, but I know that I do not know the worries of the fish." ’”
When I was a child, I liked to paint, and I have been painting for more than ten years now, I only know how to paint, and what I paint is like; I never knew what to "think" about what to draw. Grandpa Han here a puzzle, made me excited, he actually thought of "Zhuangzi", thought of Zhuangzi's "Fish Music", when I was in middle school, I already knew the story of "Fish Music", but I have painted "Fish" countless times, how can I not think of "Zhuangzi"? Grandpa Han not only thought of Zhuangzi's "fish pleasure", but also thought of the "fish worry" that Zhuangzi had not yet said. Here, this "fish" is not just a fish, but has become like a person with "happiness" and "worry". This fish is not only eye-catching, but also "thought-provoking" and more playful. It was this inscription that made me take a step forward in painting.
After this incident, probably the year before, it was still drinking tea and chatting. Grandpa Han said, "You said that Qi Baishi's paintings are good, can you tell me how good Qi Baishi's paintings are?" Not to mention that people have commented on it, such as "Frog Sound Ten Miles Out of the Mountain Spring", such as "He Calls Out every Day", "Tumbler"... Speaking of what has not been commented on, have you ever seen a small shepherd boy of old man Shiraishi holding a cow in "Cow Herding Diagram"? So we talked about the Cow Herding Chart, about the bell and the reins of the cow hanging around the shepherd boy's neck.
Grandpa Han asked me, "Do you think this shepherd boy is leading the cow into the field?" Or go home? ”
I said, "I think this shepherd boy is in a hurry to go home." ”
Grandpa Han asked again, "How did you judge this 'hurry' of going home in a hurry?" Can you find the basis for testifying for you from the painting? ”
I said, "The shepherd boy looked back at the cow and seemed to be shouting: Go fast, go fast!" ”
Grandpa Han asked, "Did you hear the shepherd boy's cry?" ”
I can't answer.
Grandpa Han said: "This is just your 'seems', and it can't be taken as conclusive evidence and then read on." ”
I looked at it, and there was no rut.
Grandpa Han said, "And I will point it out to you, what do you see in the shepherd boy's hand?" ”
I said it was the ox reins.
Grandpa Han asked, "Is the reins bent or straight?" ”
I said it was straight.
Grandpa Han said, "The reins are originally soft ropes, how can they stand up straight?" ”
I suddenly realized that the shepherd boy was walking fast, and the cow was walking slowly, so he straightened the reins, and the reins that were straightened out just showed the little shepherd boy's "hurry" to go home.
Grandpa Han said: "In the terms of painting: this straight cow reins is the visualization of the shepherd boy's mentality." The objects in a good painting are all 'tables' and 'inside', from the surface to the inside. For example, the reins in this "Cattle Herding Chart" are 'watches', which are just a bridle. But once it is straightened, it is not just the reins, but the anxious 'mentality' of the shepherd boy, which is the 'inside' of the reins. If the person who paints can 'paint' from the surface and the inside, the person who looks at the painting will also 'think' out from the surface and the inside. The 'table' is what the eye sees, and the 'inside' is speculative.
I thought again of the inscription of the fish that Grandpa Han had painted for me a few years ago. At that time, I took a step and understood that painting should not only "paint" but also "think". Now another step is "how to think".
It was another tea chat, and this chat was related to the book. Grandpa Han said one by one: "When I started working at the age of eighteen, I was painting, and after drawing comic strips for a year or two, I concentrated on drawing comics. The price of the whole day revolves around both 'unexpected and reasonable'. Fools have a thousand worries, there are also a gain, there are also blind cats meet dead mice, although there are many failures, less success, but also really train people, so that my paintings have benefited a lot. Zhu Xinjian's old friend asked me to draw a drama painting for him, I wanted to draw something he had not seen, for a moment I did not know what to draw, suddenly remembered the illustration manuscript I drew for my own essays, copied a large pile, it is said that he is quite interested, I think the reason why he is interested, is because there are 'comic' ideas in these illustrations. Now it seems that these illustrations are really a bit like Cao Cao's 'chicken ribs', eating without meat and discarding them with taste. ”
We said, "Don't give up." Wouldn't it be nice to print these illustrations into a book? Grandpa Han said: "I only have a part of the original manuscript in my hand, a part of the newspaper clippings, but what." I offered myself and was willing to collect and search for him, and Grandpa Han smiled and said, "Aren't you afraid of stepping on the iron shoes?" I said, "And try it." "I didn't want to try it for a few months, I went through the relevant books and newspapers, and I actually gathered my armpits into a coat." This time, drinking tea, I actually drank a copy of "Selected Illustrations of Han Yu".
Editor-in-Charge: Li Mei
Proofreader: Luan Meng