Online Exchange Exhibition of Calligraphy, Painting and Culture and Art in Paris, France - Duan Jiyu
Duan Jiyu, male, born in 1951, is currently the vice president of Shandong Provincial Calligraphy Association, Shandong Shengbang Academy of Fine Arts, member of China Railway Federation of Literary and Art Circles, senior painter of Shandong Painting Academy, vice president of Shandong Yunxuan Painting Academy, vice president of Laozi Painting Academy, deputy secretary-general of Xinhua Painting and Calligraphy Shandong Branch, and a representative of the 7th Cultural Congress of Shandong Province. In his early years, he studied under Mr. Guan Yousheng and Zong Weicheng. His paintings absorb the consciousness of the sparse space and quiet atmosphere of the Song and Yuan Dynasty landscapes, the lush and profound strictness of the Qing monk Shi Tao, the profound Huazi of Huang Binhong in modern times, and the freshness and handsomeness of Fu Baoshi, and become a family of their own.
Open the scroll, a sense of ease comes to the face, the texture of the mountain stone, the breath of the smoke and trees, the mountain breeze and pine waves, the waterfall turbulence, in the indulgent swaying of the brush and ink, let you have the illusion of being in the real landscape, taste carefully will find that his paintings are very particular about change, the vertical and horizontal opening and closing of the composition, the shade of the ink is dry and wet, the priority of the brushstrokes, under his pen are wrapped in vitality and aura, floating in the empty and changing light and shadow, each due to the difference in the structure of the brush and ink produces an unexpectedly fresh picture, there is no such thing as the same dull drawback of the current popular painter as the workshop production。 His calligraphy is either elegant and calm, with the atmosphere of two kings, or simple and mellow and ancient, like the Eight Great Hongyi, or vertical and horizontal and swift like a turbulent drunkenness, and there is also a natural agility in the movement of dots and lines.
I like the cursive script in his studio very much, the change is very natural, but there is a rapid speed and rhythm, the font strictly adheres to the cursive law, and there is no vanity and flashiness, it can be called a divine product, I asked how to write this work, and I replied; Drunk and drunk. It is also an anecdote in the art world. In his paintings and calligraphy, I have been obsessively looking at them for a long time, trying to find out from these works where the fresh and natural spirit comes from?
From it, you can feel the news of many ancient famous brushwork, the spatial consciousness and quiet atmosphere of the Song and Yuan Dynasty landscapes, the lush and vivid atmosphere of the Qing monk's remnant stone Tao, and the rich Huazi of the neighbor Huang Binhong, all of which have faint clues. However, copying the ancients will never have the aura and vitality in his paintings, his paintings have obvious uniqueness in composition, more is the true face of the natural creation itself, and less traces of the ancients, and he is very good at using light, good at reflecting the texture of brush and ink and the vivid change of artistic conception in the change of light and shadow, which is the reason for the spirit of his paintings. When it comes to art, he talks a lot and is a little impulsive. He said that art is discovery, and creation is the process of discovering and expressing beauty. To be a painter is to be observant, and a person with rough observation is by no means the material for a painter. For example, a small grass, creeping in the early morning, water droplets are evenly distributed on the leaves, the sun is rising, the grass gradually rises, and the small water droplets begin to gather into large water droplets rolling on the leaves, and there is a mist of mist, and the refraction of light color changes occur in the morning light. The painter should pay attention to this change when he expresses it. Some people think that Chinese painting oil paintings are not good because the artistic traditions of the East and the West are different, and it is not right! It is because our painters do not focus on the passion of life but hunt for curiosity when experiencing observation. The hunt for curiosity never produces a moving work. Working in the railway trade union, he often travels north and south because of the needs of his work, travels to famous mountains and rivers, lingers between the mountains and rivers, while photographing and sketching, he feels the true meaning of nature, and then compares the landscape photos with the landscape paintings of the predecessors, studies how the predecessors of the masters turn the landscape in their eyes into the landscape of the pen, and then compares their landscape paintings with landscape photos and master works, and analyzes whether they really express the true meaning of nature, what are the gaps between them and the masters in terms of expression techniques, how to avoid the trend of everyone, and find their own artistic language in the natural landscapes that everyone can see。 Undoubtedly, the natural spirit in his landscape paintings is inseparable from his sensitive artistic temperament, solid oil painting skills and long-term cultivation. For more than 20 years, he likes to read, travel, and paint silently alone, and rarely participates in social activities except for his own work. He believes that we should compete with the ancients, and we should realize that "the future is terrible", and there is no need to be short and long with the times. He liked the feeling of movement in Van Gogh's paintings, which were alive and not dead. He admired Qi Baishi's master style, and believed that the reason why Qi Baishi's disciples came out in large numbers was because Qi Baishi's works were pregnant with the essence and regularity of art, not only in appearance, contemporary people learned Qi Baishi, and got more of its shape, and failed to grasp the fresh breath of life in Qi Baishi's works and the creative spirit of those who had never been before or after, and the works of art were by no means copying and repeating themselves, but to be constantly abandoned, like a phoenix in the fire, constantly gaining new life in Nirvana. Unconsciously, it was past midnight in the endless trivial words, and when he was interested, he unfolded the plain rice paper and drew it with a pen. After a while, a few chrysanthemums leap onto the paper, the staggered composition is strange and harmonious, and the ink color and the shade of the brushstrokes are dry and wet, showing an empty and hazy poetic space level. With a few strokes, a pot and three cups are outlined with cyan and light ink. Tea and wine don't matter. What is touching is the spiritual feelings after the twilight of the wine.
Duan Jiyu, male, born in 1951, is currently the Vice President of Shandong Calligraphy Association, Shandong Shengbang Art Academy, and a member of China Railway Federation of Literary and Art Circles. He is a Senior Painter at Shandong Painting Academy, Vice President of Shandong Yunxuan Painting Academy, Vice President of Laozi Painting Academy, and Deputy Secretary General of Xinhua Calligraphy and Painting Shandong Branch. He is a representative of the 7th Shandong Provincial Cultural Congress. In his early years, he studied under teachers such as Guan Yousheng and Zong Weicheng. His paintings draw inspiration from the spacious and tranquil atmosphere of the Song and Yuan dynasties, the profound and solemn spirit of the Qing monk Shi Tao, the profound and elegant charm of modern Huang Binhong, and the refreshing and handsome style of Fu Baoshi, forming his own unique style.
Opening the painting scroll, a spiritual and elegant aura rushes towards you. The texture and texture of the mountains and rocks, the scent of misty trees, the wind and waves of the mountains, and the turbulent waterfall create an illusion of being in the real landscape. Upon closer inspection, you will find that his paintings are very particular about changes. The vertical and horizontal opening and closing of the composition, the intensity and humidity of the ink, and the urgency of the brushstrokes all carry vitality and spiritual energy under his brush, floating in the ever-changing light and shadow. Every unexpected fresh scene is produced due to the different structures of the brushstrokes, never missing. Popular painters are like the same rigid and repetitive products produced in workshops. His calligraphy is either elegant and composed, with a hint of two kings, simple and elegant like the Eight Great Hongyi, or swift and swift like the ups and downs of Zhang Zuishu. In the movement of dots and lines, there is also a kind of natural agility that permeates through it.
I really like the cursive script in his studio. The strokes and changes are very natural, but it has a fast speed and sense of rhythm. The font strictly follows the cursive style, without the drawbacks of being too sharp or flashy. It can be called a masterpiece of divine elegance. How did you write this work? The answer is:; What you do after getting drunk. It is also an anecdote in the art world. In his paintings and calligraphy, I have been admiring them for a long time, wanting to find out from these works where the fresh and natural spiritual energy comes from? His paintings can be seen from his lively brushstrokes that he has walked a solid path from birth to maturity in art.
From it, one can feel many news about the brushwork of ancient masters, such as the spatial awareness and tranquility of the Song and Yuan dynasties, the vivid and vigorous energy of the Qing monk Kun Can Shi Tao, and the rich and vibrant atmosphere of the nearby Huang Binhong, all of which have faint clues. But copying ancient people will never have the same spiritual and lively atmosphere as his paintings. His paintings have obvious uniqueness in composition, more of which is learning from the true face of nature and less of the traces of ancient people. Moreover, he is good at using light, reflecting the texture of ink and the vivid changes in artistic conception in the changes of light and shadow. This is the reason for the spiritual and elegant atmosphere in his paintings. When it comes to art, he talks a lot and feels a bit impulsive. He said that art is discovery, and creation is the process of discovering and expressing beauty. To be a painter, one must observe meticulously, and a person with rough observation skills is by no means a painter. For example, a small grass plant crawls in the early morning, with water droplets evenly distributed on its leaves. As the sun rises, the grass gradually rises, and small water droplets begin to gather and roll on the leaves. There is also a dense mist of water, which changes the refracted color of light in the morning light. Painters should pay attention to these changes when expressing themselves. Some people believe that Chinese oil painting is not good because there are different artistic traditions between the East and the West, right! It is because our painters, when experiencing and observing, do not focus on the passion of life but rather seek novelty. A curiosity mentality never produces touching works. As a worker in the railway union, he often travels north and south due to work needs, traveling famous mountains and rivers, wandering between mountains and rivers. While taking photos and sketching, he feels the true meaning of nature. Then, he compares landscape photos with the landscape paintings of his predecessors, studies how the predecessors transformed the landscape in their eyes into the landscape in their works, and compares his landscape paintings with landscape photos and works to analyze whether he truly represents the true meaning of nature. What are the differences in expression techniques compared to the masters, and how to avoid the trend of others and find his own artistic language in the natural landscape that can be seen by everyone. Undoubtedly, the natural and elegant atmosphere in his landscape paintings is inseparable from his sensitive artistic temperament, solid oil painting skills, and long-term learning and cultivation. For over twenty years, he has enjoyed reading, traveling, and painting alone, and has rarely participated in social activities besides his job. He believes that we should compete with the ancients and be aware that "the younger generation can be intimidated", without the need to compete with the times. He likes the feeling of movement in Van Gogh's paintings, which is alive rather than dead. He admires the master style of Qi Baishi and believes that the reason why many people under Qi Baishi emerge is because Qi Baishi's works contain the essence and regularity of art, not just in appearance. Contemporary people learn from Qi Baishi more than in form, but fail to grasp the fresh vitality and creative spirit of unprecedented and unprecedented in his works. Art works are not simply copying or repeating themselves, but constantly discarding them, like a phoenix in fire, constantly gaining new life in Nirvana. Unconsciously, it was already midnight amidst the endless chatter. With great enthusiasm, he unfolded his plain rice paper and began to draw with a brush. After a while, a few chrysanthemums leaped onto the paper, with a staggered and harmonious composition. The ink color and brushstrokes were rich, dry, and wet, presenting a poetic spatial hierarchy of emptiness. With just a few strokes, draw a pot and three cups with floral blue and light ink. Tea too? Alcohol? It's not important. What is touching is the spiritual sentiment of Dongli after drinking wine in the evening.