There has always been a theory in the mainland art circles that "calligraphy and painting have the same origin". For example, Zhao Mengfu said, "Stone is like flying, white wood is like a tree, and writing bamboo must also be eight laws." If someone comes here, you will know that calligraphy and painting are the same. Li Kuchan also pointed out that "the height of the book is the painting, and the painting is the extreme." "Throughout the ages, promising people in the Chinese painting world have all used calligraphy to paint, paying attention to the integration between calligraphy and painting. In view of this, Mr. Wei Zhilun, Chairman of Liaocheng Artists Association and Vice President and Secretary-General of Shandong Academy of Chinese Painting, deeply discussed the homology of calligraphy and painting, and strived to realize the feedback and optimization of calligraphy on his Chinese painting creation with the cross-border thinking of complementary sister arts, so that the artistic style of his painting has been continuously improved, and has been praised by audiences from all walks of life.
In terms of culture and art, Mr. Wei Zhilun has a wide range of interests, and has successively dabbled in many fields such as traditional Chinese medicine, architecture, gardening, poetry, couplets, guqin, calligraphy, painting, and cultural collection. For calligraphy and painting, he has been fond of calligraphy since childhood, delving into it and studying it at the same time, so that the two go hand in hand, so as to realize that he is good at both calligraphy and painting, and the linkage is mutually beneficial. Mr. Wei Zhilun took the road of literati freehand calligraphy, integrating reading, copying and creation, and driving creation with copying, from the Qin and Han dynasties to modern times, he wrote many famous tablets. He especially advocated stele learning, preferring the vigor and simplicity of the Wei stele and the simple and strict trend, and the calligraphy rubbings of the Wei stele such as the statue inscription, the stele stele, the obstacle cliff, and the epitaph of the Northern Wei Dynasty became the aesthetic object of his key study and method. Among them, he studied Zhang Menglong stele for extra hard work, after many years of repeated writing, absorbing the aesthetic posture and interest of this stele that is both dangerous and elegant, both interesting and agile and simple and elegant, and integrated into other stele meanings, so as to gradually form his own aesthetic personality of the stele calligraphy appearance.
Talking about calligraphy, Mr. Wei Zhilun said: "Calligraphy is a kind of pictogram that was born with the early civilization of mankind, which has always run through the five thousand years of Chinese civilization, and it is an important way to remember the history of Chinese civilization. Therefore, the pen walks the dragon and snake, contains ten thousand ends, and the pen Chen Yiyuan can be called the spring and autumn on paper. ”
In terms of calligraphy, Mr. Wei Zhilun is not limited to the integration of regular script, but also other fonts, and is the best at line letters. Roughly speaking, its calligraphy absorbs the essence of Wei Beibei, permeates the breath of the scroll, there is a beautiful state in the end of the square and the neatness, and the beauty of lightness is revealed in the calm and heavy, which can be said to be the law to see the ancient, still simple and still meaningful, and the majestic and beautiful, showing considerable calligraphy attainments. The pillar-hugging couplets and plaques of many buildings, that is, inscribed by him, are generous and generous, beautiful and appreciative. From the point of view of aesthetic logic, this is to pave the way for him to engage in the creation and promotion of ink freehand painting.
Relying on his solid calligraphy skills, Mr. Wei Zhilun has been steadily moving along the artistic track of painting with calligraphy and painting with the help of calligraphy, and has been improving all the way. He uses calligraphy to interpret the painting method, so that the painting text is more in line with the internal laws of freehand, which not only optimizes his imagery, but also deepens the painting environment, so that the painting pattern can also be broadened. He is well aware that the "brush" has always been regarded as an important part of Chinese painting, so he strictly follows the creative rules of Chinese literati ink painting, and creates images according to the regularity of "writing" and the implication of "meaning". It is not so much that he paints as he writes, which embodies the characteristics of "writing and painting".
"National Unity and Prosperity of All Generations"
"Drunk on the East Wind"
Whether it is portraying mountains, rivers and forests, or expressing feathers, flowers and trees, ripe fruits, insects and fish, Mr. Wei Zhilun grasps the unique ecological aesthetic characteristics and life morphology and signs of various aesthetic objects themselves. It can be seen that he is from the long-term calligraphy practice to extract a kind of bone force meaningful delicate lines, the bone method with the pen, the pen to write, not procrastinating, not sluggish, in its indulgent free and comfortable use of the pen, the shape of the image, the spirit of the sudden, the body is strong, the bone force is outstanding, which brings out the flowers and birds and the mountains and rivers are beautiful. In this sense, it can be said that Mr. Wei Zhilun's freehand painting practices a Tang Zhang Yanyuan's aphorism on art - "The image of the husband must lie in the likeness, the likeness must be all its backbone, and the backbone and the likeness are all based on the intention and the use of the brush." ("Records of Famous Paintings of the Past Dynasties")
"Grounding to the Sky"
"Drunken Spring Breeze"
"Mu Qiu"
"Yan"
In Mr. Wei Zhilun's view, good calligraphy is a painting in itself. To this end, he deeply appreciated the sophistication and sophistication of the calligraphy brush, and made the imagery and text layout of his ink paintings all work towards the aesthetic goal of refinement. Interestingly, the painter himself has a bold and open-minded temperament, but he strives to simplify the use of brush and ink and the placement of situations. Looking at its pen, whether it is flowers and birds, or landscapes, it is to imitate the refining of words and sentences in poetry and lyrics, condense the pen, sometimes a few brushes, so that the image is vivid; Ink is like gold, but the spirit of the picture has been reminded and strengthened because of it. Since then, his painting landscape has become more and more close to the beauty of simplicity in terms of aesthetic trends, removing the cumbersome and clutter as much as possible, and striving to come out of the paper with a refined state and a refined atmosphere beyond the painting. It can be seen that his paintings effectively draw on the refined aesthetic category of calligraphy, and thus transform them into his own artistic nutrition.
Zen
"Gentleman Carefree"
Regarding the combination of calligraphy and painting, Mr. Wei Zhilun said: "Whether it is inscriptions, classics, or portrait stones, all of them are recorded in history with their breadth and profundity, and they play an irreplaceable and indispensable role in promoting and promoting the Chinese national culture." Calligraphy and painting have the same origin, and the use of books into painting is a common topic in the calligraphy and painting circles. Due to its infinite combination with painting, it has derived exquisite paintings. The high degree of harmony between calligraphy and painting has created for us the beauty of fresh life, the beauty of objective real beauty and the abstract beauty of space, the beauty of the spiritual world and artistic conception, and the beauty of enlightening thoughts and warm feelings. As artists, we must firmly grasp the spirit of Qingshan and not relax in the spirit of in-depth study of the wonderful world of painting with books, let us fully realize the supreme truth of painting with books, condense the feelings of the family and country into the pen, improve our artistic cultivation, enhance our artistic vision, create better excellent art works with our own hard work and efforts, and demonstrate the power of China with our own unique painting context. ”
"Vermicelli"
"Muratsuki"
"Silence"
"Golden Autumn"
The use of books in painting is a fine tradition of Chinese literati painting and a unique value of Chinese painting aesthetics. Mr. Wei Zhilun attaches great importance to the calligraphy of freehand painting, and he is trying to dissolve the technical factors, and attaches importance to the naturalness of "writing", so that the artistic language of Chinese painting can obtain a kind of sublimation on the basis of the integration of calligraphy and painting, and achieve a good situation. The relationship between calligraphy and Chinese painting, as an important proposition with practical and theoretical significance in the development of Chinese ink painting itself, has been discussed and studied by Mr. Wei Zhilun.
Written by Shangguan Juewen
Revised April 15, 2024