Yu Guanyou, born in 1947 in Hangzhou Shuxiangmen, settled in Hong Kong in the 80s, is now an academician of the Chinese Art United Academy of Painting and Calligraphy, the president of the Hong Kong Han and Tang Dynasty Painting and Calligraphy Academy, and a member of the China Huang Binhong Art Research Association.
Yu Guanyou, born in 1947 in a scholarly family in Hangzhou, settled in Hong Kong in the 1980s. He is currently a member of the Chinese Academy of Painting and Calligraphy, the Dean of the Hong Kong Han Tang Academy of Painting and Calligraphy, and a member of the Chinese Huang Binhong Art Research Association.
Mr. Yu Guanyou has been deeply taught by Ai Qing, Wang C. Chiqian and other predecessors. From 68 to 75 years, during the work in the Liujiaxia Water and Power Department, he was passed on by Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, Zhao Zhengyi and other famous families, and then went to Japan to study at the Tokyo Academy of Arts.
Mr. Yu Guanyou has received profound teachings from predecessors such as Ai Qing and Wang Jiqian. From 68-75, while working at the Liujiaxia Water and Electricity Department, he was passed down by renowned figures such as Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, and Zhao Zhengyi. Later, he went to the Tokyo Institute of Arts in Japan for further studies.
Grandeur and magnificence are genuine, and learning and talent are wonderful
Both grandeur and magnificence come true Education and talent are at their best
Compared with art, life is very short, hand to heart chasing, pen farming, flick of fingers, for decades, the most gratifying thing for the artist is: Danqing expresses his feelings, records the state of mind, and leaves eternity.
Compared to art, life is very short, with hands touching the heart and chasing after it. The pen never stops, and with a flick of the finger, it lingers for decades. What pleases artists the most is that the painting expresses emotions, records the state of mind, and leaves eternity behind.
Yu Guanyou was born in Hangzhou in 1947 in a scholarly family full of cultural atmosphere, his father advocated the way of Confucius and Mencius, in the influence of family culture, Yu Guanyou was free to like traditional culture, especially painting. As a teenager, Yu Guanyou was taught by cultural celebrities such as the famous poet Ai Qing and the famous collector Wang Jiqian. After graduating from Hangzhou Water Conservancy University, Yu Guanyou planned to immerse himself in the cultural world and become a cultural person like his father, but from 1968 to 1975, he was catching up with the vigorous "going to the mountains and going to the countryside" activities, so Yu Guanyou responded to the call of the country and actively devoted himself to the fiery social construction. Yu Guanyou was assigned to work in the Ministry of Water and Power in Liujiaxia, in those years, he worked diligently, while attracting attention because of his love for painting, and successively received the instruction of famous artists such as Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, Zhao Zhengyi, etc., under the guidance of many art masters, Yu Guanyou made rapid progress, not only laid a solid foundation for pen and ink, but also broadened his artistic vision. Later, Yu Guanyou went to Japan to study at the Tokyo Art Institute, settled in Hong Kong in the 80s, and is now a member of the Artists Alliance, a member of the China Huang Binhong Art Research Association, and the president of the Hong Kong Han and Tang Dynasty Painting and Calligraphy Academy,......。 Yu Guanyou has held exhibitions in many countries and regions, and many of his works have been published or reprinted by national media reports, and have attracted the attention of experts and scholars. Of course, Yu Guanyou's works have also become treasures in the eyes of collectors, the objects of national cultural palaces and cultural art institutions, and the popularity of various auction houses. He himself was praised by the public as "the masterpiece of contemporary splashing color" because of his beautiful splashing colors, and he was also named the 2008 earthquake relief model for his enthusiasm for public welfare. Although Yu Guanyou has already achieved fame, he is still carrying out the "ten-year cold window" in the year of the sixtieth year.
Yu Guanyou was born in 1947 in a scholarly family filled with cultural atmosphere in Hangzhou. His father admired the teachings of Confucius and Mencius, and under the influence of family culture, Yu Guanyou freely enjoyed traditional culture, especially painting. During his youth, Yu Guanyou received education from cultural figures such as the famous poet Ai Qing and the famous collector Wang Jiqian. After graduating from Hangzhou Water Conservancy University, Yu Guanyou originally planned to immerse himself in the cultural world like his father and become a cultured person. However, from 1968 to 1975, he was caught up in the grand "going to the mountains and going to the countryside" activity. Therefore, Yu Guanyou responded to the national call and actively participated in the hot social construction. Yu Guanyou was assigned to work at the Liujiaxia Water and Electricity Department. During those years, he worked diligently while also attracting attention due to his love for painting. He received guidance from famous artists such as Chang Shuhong, Guan Shanyue, Li Xiongcai, Zhu Naizheng, and Zhao Zhengyi. Under the guidance of many artists, Yu Guanyou made rapid progress, laying a solid foundation in writing and expanding his artistic horizons. Later, Yu Guanyou went to Tokyo Academy of Arts in Japan for further study. In the 1980s, he settled in Hong Kong. He is now a member of the Artists Chinese Revolutionary League, a member of the Chinese Huang Binhong Art Research Association, and the president of the Hong Kong Han Tang Calligraphy and Painting Academy. Yu Guanyou has held exhibitions in many countries and regions, praising him endlessly. Many of his works have been published or reprinted by national media, receiving rave reviews and attracting the attention of experts and scholars. Of course, Yu Guanyou's works have also become a treasure in the eyes of collectors, a sought after object for national cultural halls and cultural and artistic institutions, and a hot topic for various auction houses. He himself was praised by the public as the "masterpiece of contemporary watercolor splashing" for his magnificent watercolor splashing, and he was also named a model for earthquake relief in 2008 for his enthusiasm for public welfare. Although Yu Guanyou has already achieved great success and fame, he is still undergoing a ten-year study in his sixties.
Because, compared with honor, the most proud thing for Yu Guanyou is his works, each work has a rich connotation, there is confusion, confusion, joy, intoxication, each work also seems to silently pour out the endless heart, quietly expressing the emotional ups and downs of life.
Because, compared to honor, the most proud thing for Yu Guanyou is nothing more than his works. Each work carries rich connotations, including confusion and confusion, as well as joy and intoxication. Each work seems to silently express endless thoughts, quietly expressing the emotional ups and downs of life.
So, the author took a peek at the leopard and tried to analyze Yu Guanyou's artistic appearance, trying to throw bricks and stones to attract pearls.
So, the author caught a glimpse and attempted to analyze Yu Guanyou's artistic appearance, trying to use it as a way to throw bricks and stones to attract jade and pearls.
"Colorful weather, vast carelessness"; Zhang Daqian's Illusion World";" The sea of colors, the ethereal fairyland", ,......, and so on, are too numerous to mention, and the harsh and critical audience did not hesitate to praise the words. These depictions do highlight the visual beauty of Yu Guanyou's splash of color, but if Yu Guanyou's splash of color is only attributed to the visual sense, it is obviously not accurate enough, or not comprehensive enough. Then, as a professional art critic, the author believes that Yu Guanyou's splashes of color are the abstraction in the artistic appearance, the surging emotions under the visual form, and the spirit of the concrete meaning, just like a steep and thick mountain across the contemporary painting world, giving birth to a broad and profound cultural connotation, so quiet, so solemn, and so verdant.
"Colorful weather, vast expanse"; "Zhang Daqian's Illusionary World"; The ocean of colors, the ethereal fairyland, and so on are countless comments, and the demanding and picky audience does not hesitate to praise them. These depictions indeed highlight the visual beauty of Yu Guanyou's splashing of colors, but if Yu Guanyou's splashing of colors is only attributed to visual perception, it is obviously not accurate or comprehensive enough. As a professional art commentator, the author believes that Yu Guanyou's splashing of colors is an abstraction in the artistic representation, an emotion surging under the visual form, and a spirit that represents the meaning of concrete representation. It is like a towering and profound mountain spanning the contemporary painting world, nurturing a profound and profound cultural connotation. It is so calm, so solemn, and so lush.
If we discuss Yu Guanyou's splashing of color from the aspect of art form, we can find that Yu Guanyou does have the same magic as Zhang Daqian, such as the majestic and magnificent beauty, the hearty blend of color and ink, as well as the change of figuration and imagery, the blend of shades and reality, and other visual senses, Yu Guanyou can completely achieve seamless connection with Zhang Daqian. However, in addition to the formal beauty of Zhang Daqian's splashed colors, Yu Guanyou also has his own uniqueness, such as the depiction of details, light and shadow, perspective, light and shade, and modeling, Yu Guanyou can be just right, which is more realistic and expressive; His free-flowing brushstrokes seem to be without a word, but they are full of grace, and his bold and flexible colors seem to be without a single stroke, but the rhyme is wonderful. From a distance, the realm is broad and goes straight to the heart, fine taste, clear and pure and ancient dust, the collision of color and pen and ink, empty but not empty, silent but not extinguished, simple and can be far, light and tasteful, the picture gives people a kind of "as subtle, to the broad, and as subtle but very bright, to the vast but very beautiful" aesthetic experience, wandering in the meantime, such as the breeze blowing on the face, relaxed, lingering in it, like autumn water to see the bottom, refreshing and bright.
If we discuss Yu Guanyou's splashing of colors from the perspective of artistic form, we can find that Yu Guanyou does have similarities and differences with Zhang Daqian, such as the magnificent and magnificent beauty, the seamless integration of color and ink, and the transformation of concrete and imagery, as well as the fusion of strength, lightness, virtuality, and reality. Yu Guanyou can seamlessly connect with Zhang Daqian in terms of visual perception. However, in addition to the beauty of Zhang Daqian's colorful form, Yu Guanyou also has his own uniqueness, such as the depiction of details, light and shadow, perspective, light and shadow, and shape. Yu Guanyou can all be just right, appearing more realistic and lifelike; For example, in large areas of color blocks, Yu Guanyou also exhibits extraordinary expressive power. His free and unrestrained brushstrokes seem to be without a single word, yet they are all elegant. His bold and flexible color choices seem to be without a single stroke, yet they are full of charm and brilliance. From a distance, the realm is grand and straightforward, refined, pure and ancient, free from dust, the collision of color and ink, empty but not empty, quiet but not extinguished, simple but able to be far away, light and flavorful. The picture gives people an aesthetic experience of "being as subtle as possible, reaching the vast, yet as subtle yet very bright, reaching the vast yet very beautiful". Strolling through it, it feels like a fresh breeze brushing the face, light and loose, lingering in it, like autumn water seeing the bottom, refreshing and bright.
Looking at Yu Guanyou's splash of color, it can be found that Yu Guanyou is good at depicting concrete images with subtle brushes, rendering images with bold brushes, fine, meticulous and lively, bold places, full of color and high and vast, at the same time, he is also good at making the transition between concrete and imagery through subtle brushstrokes, the pen contains yin and yang, and the color hides the virtual reality, so that the concrete and the image reflect each other, so that the scene in the eyes and the realm in the heart are traced, and the visual power of the eight wildernesses of the universe and the haze of Vientiane is in full view, giving people a kind of " It must be artificial, and it is natural". The expression of this realm is no longer after Zhang Daqian's later years of change, influenced by the body, or affected by the lack of shape, light and shadow, and perspective, but gives people a sense of obstruction that is all good and beautiful, but there is always a sense of obstruction that is not a little unhappy, Yu Guanyou is not the style of literati landscapes in the traditional sense, but a state that can be more subtle and more able to express emotions. Of course, the author is not saying that Yu Guanyou must be better than Zhang Daqian, however, Yu Guanyou has indeed taken a step forward on the basis of Zhang Daqian.
Looking at Yu Guanyou's splashing colors, it can be found that he is good at depicting concrete images with delicate brushstrokes and rendering images with bold and unrestrained brushstrokes. He is meticulous and lively in every detail, bold and unrestrained in every aspect, and can freely apply colors with high and vast expanses. At the same time, he is also good at transitioning between concrete and image through subtle brushstrokes. His brushstrokes contain yin and yang, and his colors contain virtual and real elements, allowing concrete and image to complement each other, thus transforming the scenery in his eyes and the realm in his heart into a visual force that captures the vastness of the universe and the haze of all phenomena, giving people a feeling that "it must be human made." And an artistic realm that is completely natural. The expression of this realm is no longer influenced by the body, or by the lack of shape, light and shadow, and perspective after Zhang Daqian's reform in his later years. It gives people a feeling of being both good and beautiful, but always with a bit of dissatisfaction. Yu Guanyou is not the traditional style of literati landscape, but a state that is more capable of handling subtleties and expressing emotions. He can open and close, has a modern style, a sense of the times, and reflects the new atmosphere of the new era, which is in line with the aesthetic feelings of the contemporary public. Of course, the author does not necessarily say that Yu Guanyou is superior to Zhang Daqian. However, Yu Guanyou has indeed taken a step forward based on Zhang Daqian's foundation.
Let's look at Yu Guanyou's splashing technique. Yu Guanyou often replaces the arbitrary flow and smudging effect of ink through splashing, dyeing, accumulation, and melting between color blocks, and adjusts the rhythm and rhythm of the picture with the contrast relationship between color difference, color temperature, and hue, so that large pieces of color can replace or suppress the proportion of ink rhyme, presenting a colorful effect, so that the traditional aesthetic single ink rhyme-based solo is transformed into a color-based symphony. Of course, from Yu Guanyou's splash of color, it can also be seen that he expresses the flowing tones through the natural blending of colors, and uses the large fusion of colors as the center of the whole work, as the focus of the picture, so that the large area of color presents a vast space that seems to be dynamic and static, giving people a kind of visual tension overflowing outside the painting. Obviously, the association between stone pigments such as stone blue, stone green, and cinnabar, Yu Guanyou has been proficient in the bottom of his hands, forming muscle memories, and the method of blending color and ink color, he is also familiar with it, free hair, and full of fun. The mind and the image of the mind are transmitted to the color through the pen in his hand, and he deals with all kinds of changes between the concrete and the abstract in a targeted manner, sometimes it seems that there is no pen, but there is a pen in the victory, sometimes it takes the color as the shape, and the color is written in color, but it is full of color and vitality. Presumably, it is a high degree of control of the new era of artistic expression techniques such as modeling, light and shadow, perspective, color, etc., and it is also a high degree of integration of aesthetic interest and mental emotion.
Let's take another look at Yu Guanyou's splashing color technique. Yu Guanyou often uses splashing, dyeing, accumulating, and blending between color blocks to replace the arbitrary flow and halo effects of ink, and adjusts the rhythm and rhythm of the picture through the contrast relationship between color difference, color temperature, and color tone, allowing large areas of color to replace or suppress the proportion of ink rhyme, presenting a colorful effect, thus transforming the traditional aesthetic of solo music dominated by ink rhyme into a symphony dominated by color. Of course, from Yu Guanyou's splashing of colors, one can also see that he expresses flowing tones through the natural halo of colors, and uses the large blending of colors as the center of the entire work and the focus of the picture, presenting a vast and static space with large areas of color tones, giving people a visual tension that overflows beyond the painting. Obviously, the association between stone pigments such as stone blue, stone green, and cinnabar has become familiar to Yu Guanyou, forming a muscular memory. The method of blending color and ink has also matured in his heart, allowing him to freely grow hair and be full of wit and humor. The mind and image are transmitted through the pen in his hand to color, and he deals with various changes in the relationship between concrete and abstract in a targeted manner. Sometimes it may seem like there is no pen, but it is better to have a pen. Sometimes it takes color as the form, writes color with color, but it is filled with a style of vibrant colors and vitality. Presumably, that is a high level of mastery of new era artistic expression techniques such as form, light and shadow, perspective, and color, as well as a high degree of integration of aesthetic taste and emotional emotions.
In fact, Yu Guanyou's splash color also has a strong modern atmosphere. In his early years, Yu Guanyou followed Chang Shuhong and Zhu Naizheng to learn typical oil painting color techniques; followed Guan Shanyue and Li Xiongcai to learn the typical Chinese painting brush and ink taste; then, he went to Japan for further study, learning the color method of aestheticism, and when he reached middle age, Yu Guanyou was in the era of a hundred flowers blooming, the West moved from classical to modern, and China moved from tradition to pluralism. As the subject of art, and when it is put into pursuit of the goal, he does his best to integrate it, and he strives for perfection. First of all, he relied on what he had learned, felt, and thought in the past, and began to focus on traditional Chinese brushwork. He followed Li Keran to chase Huang Binhong, followed Qi Baishi to take Wu Changshuo, and took the method to explore the expression of ink and ink, and then, he combined the colors of Western oil painting, the color method of Japanese aestheticism, and the ink and color of Chinese painting to carry out the brewing of scene integration. At the same time, he unconsciously combines the figuration and imagery of Chinese painting, and the realism and abstraction of Western oil painting, so that the concreteness, imagery, realism, and abstraction can each have their own truth and place in the subtle colors, so that his splash of color world is full of smoke, the morning light is ready to move, the sun is steaming, and the mountains are like green. In the painting, figuration, imagery, realism, abstraction, at first time and at first, gathering or dispersing, the state of things is pleasant, the magic is like moving, not only has the taste of traditional Chinese culture and Chinese landscape aesthetics, but also has the romantic feelings of Western expressionism, the rich harmony of impressionism, with the artistic conception, space and interest of strong traditional culture, and has the foresight to develop to modern aesthetic form. It presents a majestic, magnificent, vigorous, broad and profound artistic realm, highlighting the artistic state of the chest, learning, talent and skill.
In fact, Yu Guanyou's splashing of colors also has a strong modern atmosphere. In his early years, Yu Guanyou learned typical oil painting color techniques from Suichang Shuhong and Zhu Naizheng; Following Guan Shanyue and Li Xiongcai to learn the typical charm of Chinese painting's brushwork and ink; Subsequently, he went to Japan for further studies, learning the aesthetic method of using colors. In his middle age, Yu Guanyou lived in an era of diverse art, with the West moving from classical to modern and the Chinese from traditional to diverse. Therefore, when he aspired to make "splashing" and "color" the themes of art and put them into his pursuit, he devoted all his efforts to integration, and he searched up and down to achieve perfection. Firstly, he relied on what he had learned, felt, and thought in the past, and began to focus on traditional Chinese brushwork. He followed Li Keran to catch up with Huang Binhong, followed Qi Baishi to follow Wu Changshuo's method, and explored the expression of ink and wash in different colors. Then, he integrated the colors of Western oil painting, the color methods of Japanese aestheticism, and the ink and wash in different colors of Chinese painting into his pen, brewing the integration of scenes. At the same time, he unconsciously combines the concreteness and imagery of Chinese painting with the realism and abstraction of Western oil painting, allowing concreteness, imagery, realism, and abstraction to each have their own truth and place in subtle colors, thus making his colorful world clear with the morning smoke, the morning light moving, the scorching sun steaming, and the mountains towering like green. In the picture, there are concreteness, imagery, realism, and abstraction, which come and go at first, either together or apart. The physical state is joyful, and the spirit is as moving as moving. It not only embodies the taste of traditional Chinese culture and Chinese landscape aesthetics, but also embodies the romantic sentiment of Western expressionism and the rich harmony of Impressionism; It not only carries the rich artistic conception, space, and interest influenced by traditional culture, but also has a forward-looking development towards modern aesthetic forms. Presenting a grand, magnificent, profound, broad, and profound artistic realm, showcasing the exquisite artistic state of mind, education, talent, and skill.
Yu Guanyou's splash of color is an extension of traditional painting and a refinement of Zhang Daqian's art. When Yu Guanyou extended the ink and ink of traditional brush and ink into a colorful world, and when he carried out a more in-depth exploration based on Zhang Daqian, his splash of color not only stayed in the traditional "product" or Zhang Daqian's "view" category, but also "traveled" and "dwelled" in the reverie. Looking at Yu Guanyou's splash of color, we can feel that he pursues a far-sighted and expansive view, the subtlety and meticulousness of his pursuit, and at the same time, he is also pursuing feelings and experiences, in other words, Yu Guanyou is pursuing the integrity of art, and persevering to care for the aesthetic taste of contemporary people. Due to the influence of the fast-paced life of the contemporary public, fatigue and anxiety have always lingered, and the public needs exquisite "products" and "views" spiritually. Yu Guanyou seems to have no intention, however, his splash of color touches the most sensitive areas in the hearts of the contemporary public. Attention to Yu Guanyou's splash of color, thousands of miles away is amazing, thousands of miles of mountains and rivers are wonderful, quietly waiting in front of his works, eyes with the change of color and care for the heart, the mood is with the artistic conception of the wonderful and leisurely, as if living in a paradise, and as if a lonely boat floating in the vast lake, the heart is detached, the emotion is clear, lingering, expressive, wandering, daze, as far as the eye can see, the mind is clear, and the object and I forget. In the meantime, the elegant reverie arises spontaneously, nourishing the heart in the wonderful world, and realizing the Tao in tranquility. How can we understand the true taste of "taste" and "view"? How can we understand what "travel" and "dwelling" can say?
Yu Guanyou's splashing of colors is an extension of traditional painting and a refinement of Zhang Daqian's art. When Yu Guanyou extended the traditional ink and brush into a colorful world, and when he delved deeper into the exploration based on Zhang Daqian, his splashing of colors was not only limited to the traditional "taste" or Zhang Daqian's "observation", but more focused on the "travel" and "residence" in his mental imagination. Looking at Yu Guanyou's splashing of colors, one can feel his pursuit of farsightedness and broadness, as well as his pursuit of delicacy and meticulousness. At the same time, he is also pursuing feelings and experiences. In other words, while pursuing the integrity of art, Yu Guanyou is persistent in caring for the aesthetic taste of contemporary people. Due to the influence of fast-paced life, contemporary people are constantly tired and anxious, and they need exquisite taste and broad mindedness in their minds. However, subconsciously, they have been longing for "travel" and looking forward to a "home" with physical and mental freedom, because traveling can bring joy to the heart and mind, and living can bring a sense of belonging. Yu Guanyou seemed unintentional, but his splashing of colors precisely touched the most sensitive area in the hearts of the contemporary masses. Observing Yu Guanyou's splashing colors, the distance is extraordinary, and the mountains and rivers are marvelous. Standing quietly in front of his works, his gaze follows the changes in color and caresses his heart. His mood becomes extremely relaxed with the beauty of his artistic conception, as if he is living in a paradise, or as if he is drifting in a solitary boat among the vast lake water. His heart is lost in detachment, and his emotions are transformed into clarity. He lingers, expresses his emotions, wanders, and daydreams. As far as his eyes can see, his mind becomes clear, and I forget both things and myself. Immersed in it, ethereal daydreams arise naturally, nourishing the mind in a wonderful realm and understanding the Tao in tranquility. Is it true that "taste" and "observation" can truly comprehend the flavor? Can it be said that "travel" and "residence" can be clearly understood?
All art that touches the soul is a wonderful thing that is gradual, gradual, and sublimated. In the long river of art, Yu Guanyou has been exploring and working hard, for decades, from learning the ancient sages and sages with one stroke to the love of the sages, from the "teacher of the ancients, the heart of the teacher, and the creation of the teacher" to his own and outstanding self-reliance, Yu Guanyou has never been blinded and blinded by the clouds, and he is not deliberately flattered and flattered for profit, but based on real merit, with purity as the purpose of art, accumulating knowledge and cultivation, and integrating it, so as to cultivate a unique splash of color posture, which is really moving.
All art that touches the soul is a brilliant and gradual process, gradually realizing and sublimating. In the long river of art, Yu Guanyou has been exploring solidly, earnestly cultivating and cultivating. For decades, he has gone from learning from ancient sages and sages one by one, to pouring colors into his emotions. From "learning from the past, learning from the heart, and learning from nature" to becoming his own and standing tall. Yu Guanyou is never blinded by floating clouds, nor is he deliberately pleasing or flattering for profit. Instead, he is based on true achievements, with purity as the artistic purpose, accumulating knowledge and nurturing, and integrating them, thus cultivating a unique style of splashing colors. It is truly touching. Therefore, the author felt it in his heart and couldn't help but feel it. Prohibit, speak endlessly.
(Text/Sanggan)
(Text/Sanggan)