In history, what is the story of Liu Jude?

Mr. Liu Jude is one of the most important contemporary Chinese artists, a famous contemporary artist, painter and art theorist.

In 1985, Shanghai Fine Arts Film Studio produced the animated film "Clip to Save the Deer", which was a film with the style of Dunhuang murals, which won the reputation of the audience with its vivid and smooth story and exquisite pictures. Art designer Liu Jude is also known for this. There are a lot of Dunhuang shapes, especially the shape of deer, trees, and mountains, and this shape is generalized when I use it, because the work is a relationship between man and nature from the whole mood, that is, the whole film is very simple, very elegant, very pure, pure to a big, concise and subtle relationship.

In 1983, Liu Jude was still a teacher in the Department of Decorative Arts at the Central Academy of Arts and Crafts, and one day, an editor of a publishing house was welcomed in his office. There is an art editor named Gong Yunwen at the Shanghai Children's Publishing House, he took a script called "The Clip Saves the Deer", and found that it was a Buddhist scripture story on his head, and asked him to draw it, and he was very touching after reading the story.

Illustration belongs to the decorative arts, has a long history in the mainland, the ancients said, with books and said, where there are books must have pictures. From the late 70s to the 80s of the twentieth century, illustrations were widely used in various publications, and many painters devoted themselves to the creation of illustrations and comic strips.

The word decoration will prompt us to go deeper, the observation of the surrounding life, the observation of nature, are going deeper, this is my own great experience, for example, when I painted "The Clip Saves the Deer", the clip has an image in my heart is alive, these are my own experience, to feel it. "Clip to Save the Deer" is based on a legend in the Buddhist scripture story "sacrifice to save the deer", a child named Clip, in order to protect the deer from being shot by the national jade, put a deer skin on himself, luring away the pursuing hunters, but he was shot to death by a bow and arrow, and later the small animals found fairy grass to save the clip. Liu Jude was deeply moved by the kindness of the protagonist clip, and he went all out to devote himself to creation. I overturned the image of this clip six times, and every time I painted it, I always felt as if I had seen this image somewhere, or his mental state, his appearance, it was not the character I imagined, so I have been pondering, this child must be, he grows naturally in the mountains, runs in the forest every day to pick wild fruits, is definitely not fat, is thin, is a thin man, barefoot. When I was a child, I often went barefoot, even naked, running in the grass, the grass was very high, at that time I saw the grass was much higher than myself, and then when I went back, I felt that the grass was not as tall as me, the tallest grass, the citrus grass, now it was taller than myself, I remembered that it was very tall, just that feeling, I felt that the child must be very thin, running every day, barefoot, so I drew a child, it was thin and barefoot, but his headdress was very shaped, he was a Bodhisattva, A hairstyle for the scholar. In the final draft, Liu Jude fused four images, the Bodhisattva statue and Buddha statue of the Wei and Jin dynasties, the scholar of the Ming and Qing dynasties, and the skinny mountain child, creating a kind clip image. In 1984, the book "Clip to Save the Deer" was released and won the first prize of the National Book Outstanding Painting Award in one fell swoop. They invited themselves to create a cartoon, which they didn't expect and were very unexpected, and they had never done animation themselves, but they also liked Zhang Guangyu's "Havoc in Heaven" at that time.

Founded in 1957, Shanghai Fine Arts Film Studio has launched classic animated films such as "Little Tadpole Looking for Mother", "Shepherd Flute", "Havoc in Heaven", and this time they found Liu Jude to do the art design of the cartoon "Clip to Save the Deer", Liu Jude also hopes that he can create an excellent animated film. After I went, in this production process, because it was modeled after Dunhuang, its mountains, trees, and scenes, everything was recalled by me, and all the creations were based on the colors, trees, and mountains, and then I imagined to paint. Liu Jude carefully pondered every scene, props, and the 360-degree turn of the clip. In 1985, "Clip to Save the Deer" hit the screen and became one of the most popular animated films at that time. Following "The Clip Saves the Deer", Liu Jude also successively designed illustrations for books such as "Nine Colored Deer", "Five Brothers of the Liu Family", and "Embarrassing Romance". In the late 80s, Liu Jude began to shift his creative focus to ink painting. People who draw illustrations turn to painting this kind of ink, it is very natural, they are very accustomed to drawing silently, sketching, silently observing, after observing, they draw on the book, they often have two methods, at the beginning, I was questioning, testing whether I could draw it myself, what I saw, including when I took a bath, I saw that those human bodies were very good-looking, I took a bath for a long time, but I actually didn't wash much there, more often I looked, looked at those people, Because they are all kinds of movements, they look at those human bodies by themselves, and when they go back, they draw silently.

In 1991, the "Wu Guanzhong Teacher and Student Works Exhibition" was held at the China History Museum, and Liu Jude, a student of Wu Guanzhong, also participated in the exhibition and was collected by the National Art Museum of China.

In 1970, Liu Jude graduated from the Department of Ceramic Art of the Central Academy of Arts and Crafts, he thought that he could stay in Beijing, but he was assigned to Yunnan. Menghai in Yunnan, which is an area close to the primeval forest of ethnic minorities, is not visited by ordinary people, rarely and very difficult to go, there is no road and no traffic, so we went there.

Although the conditions of life in Yunnan were difficult, they also became the source of Liu Jude's creation. Because I lived in that village with their villagers, I could often hear that they were very happy, so I sometimes painted them, and I painted a number of portraits of old aunts, old ladies, and little Bu Shao, and they were all gouache paintings at that time. When I saw them, because in the whole surrounding area, in a green space, their bamboo building, stilted building, and the surrounding area is also a bamboo forest, so the light is all green, so the face looks either red, green, or white, or different from what you see in the city, so after I drew that person, it was very peculiar, and after I went back, our neighbors saw it, and they appreciated it very much. In 1977, after a ten-year hiatus, the college entrance examination was resumed, and colleges and universities restarted enrollment. In 1978, when the mainland graduate education system was restored, Liu Jude returned to Beijing with his paintings created in Yunnan to take the exam, and his paintings were appreciated by the famous painter Yuan Yunfu, who introduced him to the art master Pang Xunqin. One day, Mr. Yuan took himself and Wang Yuliang to Mr. Pang's house, and he remembered that Mr. Pang lived in a west-facing hut, a very small hut, Mr. Pang was full of silver hair and blushing, and then Mr. Yuan introduced him to Liu Jude, Wang Yuliang, and the two of them came to apply for your graduate school. Liu Jude has long known that Pang Xunqin is a master of painting and design in the history of modern Chinese art, Mr. Pang studied in Paris in his early years, and by chance, he learned about decorative arts for the first time. During his stay in France, he saw that there was a universal exposition in France, and there were many Westerners at the exposition, and there were many Westerners in the design of clothing, food, housing and transportation, and he was very excited after seeing it, at that time China was still very poor and backward in the early twenties, and after he saw this situation, psychologically he thought that the people of the motherland could also have such a life, so he originally wanted to learn painting, he wanted to study design, and enrolled in the Paris School of Décoratic Arts, but because he was Chinese, He was only 19 years old at the time, so he was very uncomfortable, and since then he has thought to himself, how good it would be if there was a design school like this in China.

In the thirties of the last century, Pang Xunqin returned to China, and he organized and initiated the "Dulan Society", which was the first modernist painting school in China, marking the beginning of the modern painting movement in China. After the end of the "Decisive Lan Society", Pang Xunqin turned to the study of decorative arts, and continued to run for the establishment of the Academy of Arts and Crafts. In 1956, the State Council officially approved the establishment of the Central Academy of Arts and Crafts, which is today's Academy of Fine Arts of Tsinghua University, Pang Xunqin served as professor and first vice president, which was the first arts and crafts school in the mainland. Arts and crafts have always been in China, what is the folk, but as education is not, then only some apprentices follow the master, these workshops, this kind of folk have, but to do a modern university, completely systematic, education, that is still the Academy of Arts and Crafts, that is as art and design education in the country is the first. After its establishment, he very much wanted to use traditional Chinese culture and Western modern art to cultivate a group of emerging Chinese modern young design artists, and then improve the living realm, quality of life and lifestyle of Chinese.

In October 1978, Liu Jude was admitted to the Department of Decorative Arts of the Central Academy of Arts and Crafts and became a graduate student of Pang Xunqin, this year, Mr. Pang was already seventy-two years old. As Mr. Pang's graduate student, we were very lucky, very happy, and very excited at that time, because he had just been liberated in his later years, and it was the first time for him to recruit graduate students. Liu Jude, who can be a student of Pang Xunqin, cherishes it very much, and the first lesson taught by Mr. Pang left a deep impression on Liu Jude. It is to let us copy those traditional terracotta figurines, such as the shapes of people and horses, these terracotta figurines of the Warring States, the Han Dynasty, the Wei, Jin, Southern and Northern Dynasties, and the Sui and Tang Dynasties, let us copy and draw them, including the gold, silver and bronze ornaments of ethnic minorities, such as the grassland culture of Inner Mongolia This kind of culture on horseback, including those bronzes, bull and tiger fights in Shizhai Mountain, Jinning, Yunnan, and those lacquerware in the Western Han Dynasty. Liu Jude has been studying painting for some years, and at first he couldn't understand why he had to start with copying. When he was in class, he called us one day, and he took out a lot of traditional Chinese patterns and shapes that he was in the period from the thirties to the forties during the War of Resistance Against Japanese Aggression, some of them were so big pieces of paper and matchboxes, some of them were 16 big and some of them were 32 big pieces, all of which were small pieces of paper, some of which were 16 and 32 of them, and they were all small pieces of them. It was the first time we saw it, and it was very shocking, because we used to see his oil paintings, but we didn't see his back, that is, when it was so difficult and displaced, he copied those traditional patterns and traditional decorative paintings, and he asked us to copy this thing, because he felt that he was in the process of coming, and he experienced the mystery of tradition, so he let us also use this way of copying to go in first. In this way, under the guidance of Mr. Pang Xunqin, Liu Jude began to enter the door of decorative arts.