What is the story of Wang Wenjie in history?

Mr. Wang Wenjie is a professor at Shanghai Academy of Fine Arts.

In the VIP passage of the World Expo Performing Arts Center, several atmospheric and profound decorative paintings attract people's attention, and their author is Wang Wenjie, an associate professor at the Academy of Fine Arts of Shanghai University. Through these paintings, we can taste the lines and tension of Chinese painting, and at the same time appreciate the infectious colors of oil painting, which interweave a harmonious and beautiful space with the charm of the East and the heroism of the West. Originally, because the organizer's request was oil painting, oil painting should be a little abstract, a little ideological thing that everyone can accept, and then it is natural to think of China's high forest springs and Chinese attitude towards landscapes, so find this feeling. So at the same time, a kind of line of Chinese painting, a method of moving the brush, and the structure of Chinese painting pictures, slowly find this, then the World Expo venue, it is a modern building, marble, right angles, very tough kind of architecture, so in painting, if it is purely ink painting, and the structural contrast between it, the tension of ink painting is relatively weak, then I think of using the structure of Chinese culture, the idea of Chinese culture, but with oil painting, with Western materials, materials to express, Then the result is a very good effect, which matches the whole building very well, and at the same time achieves a sense of atmospheric profundity and visual infinity of Chinese culture. Wang Wenjie's childhood was spent in the old city near the City God Temple in Shanghai, and when he was a student, he developed a strong interest in painting, and his outstanding talent also attracted the attention of his teacher, and one ordinary afternoon, the teacher walked into the lively street where Wang Wenjie lived. At that time, if the teacher came to visit the house, it must have been the teacher who came to complain, because the place where I used to live near Fuyou Road and called Jiucang Street was a house in the old city at that time, and the density was very high. The neighbors gathered around to watch a tragedy that they were accustomed to, but to the disappointment of the audience, the teacher was full of praise this time. You see the pomegranate tree in front of you is now so thick and thin. It is very interesting that Mr. Ye Ming came to our house to persuade his mother to give Wang Wenjie more time, Wang Wenjie is a person who likes to paint very much, and may become a painter in the future. However, the additional expense of learning to paint seemed a little extravagant for the poor family at the time. At that time, paper was still relatively rare, so he gave himself a knife of paper, a pencil, and a notebook, and he said that if you go to Yu Garden, go to the City God Temple, and draw ten sketches for me, you have to draw ten sketches by yourself every day, so you will draw sketches every day, because there are not many classes in school. Under the careful cultivation of his teacher, Wang Wenjie really embarked on the road of learning painting. The joyful childhood life in the old city is still unforgettable for Wang Wenjie, and at the same time inspires him to create. This group of vivid stone sculptures reproduces the bits and pieces of his mind, and it is not so much a sculpture as a three-dimensional diary. As for "Passing Landscape", in fact, one is because I used to live in the old city, and I have experienced all the living conditions and habits of Shanghai citizens in the old city, and I have also experienced the bitterness of the old city and the joy of the old city. Let's recall it now, it is a very nostalgic, not to be remembered, but it is very worth remembering a past, a kind of civic life in our past. After graduating from high school in 1974, Wang Wenjie joined the Shanghai Paper Machinery Factory and became an ironworker. Because my father is an intellectual, he is also very happy, he said that we are workers, we have to do a good job, he said that there will be six workers, eight workers, to study hard, his master is also an old blacksmith, he said that ironwork is the best, in the past, iron, boat, grinding tofu is the hardest work, now the technical content of ironwork is also very high, you have to learn from him. Although he is accompanied by hammers and stoves every day, Wang Wenjie is not willing to put down the brushes in his hands. As soon as I had a break, when the iron was burning, I would immediately take out a sketchbook and draw the workers in front of the furnace, like steelmakers, and describe the state of these people's work, including the way they talked and laughed and joked during their rest, or their state of life. This is in the factory, in the machinery factory when the sketch was drawn, this person should be driving, the sky of the "crane", the female workers are basically driving the "crane", when resting, everyone is sitting and chatting or something, then they will paint, whether it is a female worker, a male worker, and their relationship is quite good, they say that Xiao Wang is a good person, the painting is also very good, everyone is quite hearted, because a few times down everyone is familiar, of course, these people are the same as the iron workers, are very rough, I can say all kinds of foul language, swear words, and jokes, and I feel that I have a very good sense of character. Every night until half past eleven, they went to take a bath, and then returned to their studio, at that time in the factory had already done propaganda work, then in the studio to paint, basically every day until two to three o'clock in the morning, just in the canteen steamed out of the big buns, is to do the morning shift everyone to eat, steamed buns, hot buns, five cents a piece, or a dime two, anyway, buy two buns to eat, then take a bath to sleep, the next morning to go to work as usual. In order to enrich the vision of painting, in 1982, Wang Wenjie rushed to Xuzhou Datun Coal Mine to experience the life of a miner. Originally, we lived in the surface world, everything was controllable and discerning, so when we got to the coal mine, we stood in the roadway, and after a few hundred meters of the roadway, the whole world changed, this world has no direction, you can't see the south, south, west, and northwest, and there is no sunlight, only a lamp on the head, where the light shines, I know where I live, what about that person, all the coal miners' faces, only the teeth are white, the mouth is a living person, the mouth is closed, It's as black as coal. So what about this, in fact, they were all sketches under the mine at that time, so these people are very strong, in Shanghainese terms, they are a man, a mold. So every day with them high-intensity work, they even kneel on the ground, with a pickaxe prying coal, you feel a sense of primitive power of people, I respected them very much at that time, very revered them, in such harsh conditions, every shovel of coal, the sense of rhythm formed by the changes in his muscles is indeed very, very beautiful. This unforgettable life in the mining area also injected a tenacious force into Wang Wenjie's future creations. In 1985, Wang Wenjie went to Tibet alone, when he was already a student at the Academy of Fine Arts of Shanghai University, and he originally wanted to celebrate his painting dream through this snowy trip, but he did not want to experience a baptism of life and death. Originally, the sun was shining, but slowly the sky began to be gloomy, there was a group of yaks, I estimated that there were about hundreds of yaks, and the black pressure was pressed and made a very sad sound, so how did the herdsmen lead them, how to beat them, the group of yaks just refused to go. After a while, it was completely dark. Our team is a total of ten cars, the car I sat in was driven by an old driver in Shandong, the lights turned on in front of only three meters, five meters, you can see a point, see a point, immediately after the heavy snowfall, is the goose feather snow drifting, I saw the driver's face changed, he said that Xiao Wang is broken, this blizzard is coming. The horror of the blizzard is difficult to express in words, and the scene that unfolded afterwards made Wang Wenjie unforgettable for the rest of his life. It is estimated that at about three or four o'clock in the morning, the captain of the car came to scold, and scolded our driver, this driver may be surnamed Sun, he said you fucking get out of me, what are you doing with us, in fact, at that time, the team of ten cars, nine could not drive, so we could only wait in place, so our driver was waiting next to him. Those drivers and captains came to beat him, really, this is a real fight, not a fake fight, originally said two words, you go, why don't you go, when the time comes, it is really beating him, then I didn't understand at the time, why hit him, and later I saw that people were beating while crying, really tears, which made me very moved. Wang Wenjie was completely shocked by the scene in front of him, in his opinion, every punch is interpreting brotherhood, and every kick is a parting of life and death. In the end, the captain kicked him in the ass, kicked the driver to the car door, and got out, and the driver didn't say anything, which was actually a parting of life and death, and he was very impressed. When the driver got into the car, he said to himself, because he was sitting next to him, and he said Xiao Wang, there must be a dead man today, I don't know who is dying, it must be a dead man, alas, it must be a dead man. The next morning, I saw the sun come out, because the sun slowly rose from behind the snowy mountains, the sun is called a big, since I was a child, I haven't seen such a big sun, this sun has the feeling of wrapping the whole earth, blood red and bloody, a kind of brilliance, a kind of splendor, life came out again, it was originally a kind of horror, the horror of life and death last night, and it was warm again, and it was warm, and it was bright, and it was brilliant, and the whole world rotated, this Tao is Tao, it is really very Tao, I can't say it, How can it be born for a while, die for a while, brilliant for a while, miserable for a while? Whether it is life, art, or nature, its final ending is brilliant, and there are many of them, such as a lot of gloomy, miserable, or heart-rending cruelty, but in the end, it is a reincarnation, which gives people a very hopeful, confident kind of splendor, which I think I can find in the painting one is strong, the other is grand. In 2002, Wang Wenjie was sent by the Academy of Fine Arts of Shanghai University to Osaka Academy of Art in Japan for a one-year exchange lecture to teach the history of oriental art to Japanese students. This is actually a challenge for myself, why, I have to use their local mother tongue, the mother tongue of Japanese students, to talk about a theoretical thing, this is very difficult to speak, the first class is very impressive, because when I went, I brought a lot of materials, I also did some homework, I spent two days on the boat to write an outline, or handouts, handwritten handouts, this, because there were too many words at that time to type, because I typed very slowly, simply handwritten, After handwriting and then copying to them, then in fact, from the Chinese characters and Chinese patterns, then the Chinese characters, I have always emphasized, Chinese art is a structure, this structure is expressed in words, in the pattern, in the painting can be expressed, we look at the relationship between words and art from the text itself, this is a sacrificial sacrifice, this is a glyph, the glyph has a word meaning, the word meaning itself is a structure with various graphics, this structure is the structure of culture, what is the cultural structure, you open it to see, What is it, it is an activity, not a word, it is a big scene, or a big political connotation, here is a piece of meat, a piece of meat is placed here, here is the priest, the priest presides over this sacrificial ceremony, the sacrificial ceremony, the following is one, the following is this, what is this, the top is a tablet, the bottom is a tablet, then this sacrifice pours wine on this, the wine is poured on the meat, and the wine is offered to the ancestors, to the gods. What about the following two points, the original ancient writing method also wrote four points, so what are the four points, that is, the wine flows down, the wine flows down to complete this sacrificial process, the completed sacrificial process, that is, the shaman tells our personal beliefs and requirements to the gods, to the ancestors, and at the same time receives information from the ancestors, and completes it here, so what is this process, it is a transmission process, then art is also a transmission process, then the origin of art can also be seen from here, this artistic act expressed by this origin, It's a scene, it's a structure, not just a word as we think it. At that time, the classroom was very large, and there were more than 180 registered students at that time, and after the students read it, he said, you, a Chinese teacher, you speak very quickly, and I am a Japanese student, that is to say, what you say, I have to record it very quickly, it is very difficult to record, you have to speak more slowly in the future, and when you look at it yourself, the handouts sent by yourself are densely written with a lot of notes, all of them are full, and when you look at it, your heart immediately "booms", like a warm current emerges. I think that people are really coming to listen to the lectures, not to listen to the lectures, but to listen to the lectures, and they are really serious and religious. Wang Wenjie's earnest attitude deeply affected Wang Wenjie, and since then, his lecture notes have become thicker and more detailed, and the mysteries of Chinese culture have been vividly displayed in his mouth, so that all the Japanese students present are fascinated by it.