What is the story of Yan Li in history?

Teacher Yan Li is a poet, painter, writer, representative poet of hazy poetry, and representative painter of the Star School.

Yan Li, who began to write poetry in 1972, is one of the representatives of hazy poetry. In 1979, Yan Li was bewitched by a friend, picked up a paintbrush, and later became a painter. In the 90s of the last century, he participated in the establishment of two companies in Shanghai, but still painted and wrote as his main life, Yan Li said, he often traveled back and forth between Beijing, New York, and Shanghai, but his roots are still in his hometown and China. This is the situation in the exhibition that year, this person is Ying Yeping, who is also a painter and an old painter of the Shanghai Academy of Fine Arts, this is Yan Li's painting exhibition, in front of the exhibition hall in the People's Park, it has a sign. In 1970, after graduating from junior high school, Yan Li was assigned to Beijing No. 2 Machine Tool Factory as a worker, and by chance, he found that the basement of the factory dormitory was a locked library, so he picked the lock and entered the door every day to read a lot of foreign literature and copy a lot of Pushkin's poems. Back then, it was one of my girlfriends, she also painted, her family was very small, she would throw some painting things in her own home, and sometimes paint in her own home. In July 1979, I still remember, and then that day was fine, I took out a piece of fiberboard and started painting it myself, drawing the side of a person, and then one night, I painted it. The next day, my girlfriend came, and I said how the painting was, and she said who painted it, and she said the name of a friend. She said that the color is good, but the composition is a little simpler, and then she said that I painted it, and she didn't believe it, she said that you never paint, how can you suddenly do it, and she said, I have this desire, so you can do it, and she said that you should paint, you are very sensitive to color, and then she kept drawing. After painting for about two months, at that time they were going to set up a "Star Painting Club", and when they saw the paintings on the wall where they were, he said, these paintings are good, he said who painted them, your girlfriend painted them, and he said that they were not, I painted them, and he said that you must participate in our "Star Painting Club", and he said who they were, and which people he told himself, in fact, they all knew some of his writing friends and people in a circle, so naturally he also participated in the "Star Painting Club". In September 1979, an exhibition called "Star Painting Society" was held outside the fence of the National Art Museum of China, and Yan Li was one of the authors. So I painted in July, and on July 15th, I started to paint my first picture, and on September 26th, more than two months, we held our first "Star Painting Meeting", and I still remember that I took eight paintings to the exhibition. The works of the "Star Painting Society" are abstract, expressive, obscure, or cold, highlighting the author's own personality, and forming a sharp contrast with the way people are accustomed to painting, so it is said that the "Star Painting Society" has created a new art form in the field of Chinese art after the Cultural Revolution. In 1979 and 1980, when I was painting, I painted all the sheets in our house, because there was no cloth and the salary was very small, so to put it mildly, we even went to the construction site to pick up wooden sticks, which was called stealing, anyway, just to nail them into a picture frame. In this case, a lot of our efforts are based on conditions, just opening up, people don't know enough about new things, and they are a little scared. It was a bit difficult to hold an exhibition in Beijing, and this difficulty was nationwide, not alone, but painting modern paintings, which had just started at that time, was only four or five years old, and because of this situation, I always wanted to see when I had the opportunity to hold an exhibition. Yan Li, who has lived in Shanghai since he was a child, has been looking for an opportunity to hold a personal exhibition of his modern paintings in China, but he doesn't know how to start. This is in August 1984, when I was thirty years old in August, this is Li Yongsen, president of the Shanghai Watercolor Association, because Li Yongsen was also more supportive of this exhibition back then, and also helped himself make a few calls in the exhibition hall to help himself implement, at this time I met a student who went to the Central Conservatory of Music from Shanghai to study, he played the cello, called Wu Ximing, Shanghainese, so he often played with us, at that time there was also Ye Xiaogang, Ye Xiaogang was also at the Central Conservatory of Music, There are also Tan Dun and Liu Sola, he also knows these people, and these people are also his friends. I mentioned to him whether it was possible to hold an exhibition in Shanghai, and he said that I would help you ask, and at the same time, I asked me because I had relatives, uncles, and aunts in Shanghai, and I also asked them, and I replied that there was an exhibition hall in People's Park, and there was a possibility, so I started to contact, in fact, I started to contact them in 1983. But these paintings, at that time, how to transport was a problem, how to transport, I don't know, and then I used the most stupid method, that is, a conductor who met through a relationship, so every time he ran the 13th train from Shanghai to Beijing, he brought a few paintings. I brought a few paintings at a time, so that it might take half a year to bring over about 30 paintings, and slowly the exhibition could be carried out. On August 20th, because I gave myself 10 days, because this exhibition was more popular, there were many people who came to see it every day, and it was extended by five days to September 4th. The thing was left by myself at that time, the guest book at that time, and the guest book made a total of one, two, three, four, five, six, seven, eight, nine, and sometimes it was really interesting to look at, because the situation back then, it can be said that this exhibition aroused a lot of people's thoughts, at least it stimulated and made them think about why they could paint like this, because these paintings were completely different back then, so there were all kinds of opinions. Even after 20 or Chinese New Year's Eve years, looking back at these opinion books, you can feel the reaction of those people at that time, some people think that you are plagiarizing, but he doesn't know what to plagiarize, because people in the country rarely see foreign painting styles at that time. Most people think that this exhibition is very good, dare to innovate, and express their support, but there are still two out of ten opinions that they feel that they can't understand it. Maybe this thing is too liberal, compared to, in fact, there is a connotation in it, we don't have these things in China, how can these things appear in your paintings, in fact, there is, we suppress our feelings, we don't dare to speak our voice, we don't dare to judge things with our own eyes, to express things. The kind of education in the academy, we all think that the technique and the technique of painting can only start from sketching, starting from what, drawing perspective, but I think that any technique, just like cooking, as long as you are doing it every day, after a certain amount of accumulation, your technique of making certain dishes has your own style, because this technique, in the end, is restored to the beauty of a picture, the vividness of the picture, and the feelings it conveys, so I feel that all roads lead to Rome. The address card left by the Shanghai solo exhibition in 1984, at that time there were no popular business cards in China in 1984, not many, only a few people had business cards, so then we came up with a way to use this card, so everyone kept it, what is this called, Chen Lifan, he is now in Shanghai, some are from the Kunming Artists Association, the United States Film Studio, Fudan University, Taizhou Huai Opera Troupe, Jiangsu, you see. At that time, there were some media reports, such as the "Xinmin Evening News", which published a message, a total of more than 40 words, very simple, because this kind of exhibition itself many people are thinking, how can there be such an exhibition, because it is completely different from the paintings they have seen, so this itself is also a test for the media and the audience itself, the exhibition is a success, it is a success, it is a success, but it does not mean that our entire era or society has been opened to what extent. At that time, I came to Shanghai as a young worker from Beijing to hold an art exhibition, and it was only after many years that I looked back and realized that my exhibition in 1984 was the first solo exhibition of my own after 1949, which was an alternative, surreal, abstract, semi-abstract, or even puzzle, which was a relatively modern consciousness. In 1985, Yan Li went to the United States to study at his own expense, and for more than ten years in New York, Yan Li was thinking about the blood relationship between a person and his mother tongue, and he often improvised and recited his newly written short poems at parties.

All literary and artistic products are basically an extension of thoughts and feelings, and in order to carry them and then share them with others, you need a medium, and I think that some inspirations are suitable for me to express in poetry, and some inspirations have colors in them, and I think it is better to express them in painting. There are a lot of things that have been lost in human beings, and many things that need to be repaired, and this patch series is based on the fact that I wrote a poem back then. This is my time in New York, in 1999 and 2000, when I recalled the time I lived in a Chinese city, from the window view, and then to recall, this painting is called memory is longer than reality. We have lived in the city for a long time, we are completely unfamiliar with natural things, the younger generation, such as their daughter, they don't know that the frog is in the paddy field, or even the rooster gets up in the morning and crows, she doesn't know, she only hears it in the movie, and no one knows in the city, so we are getting farther and farther away from nature, so from the window view series to the bricks, and the modern society, I began to paint the brick series, from the window scene to the brick series. Some inspiration involves a lot of plots, such as my own life abroad, there are many specific plots, and it is difficult to express myself clearly with poems, so I began to try to write short stories, and later wrote long stories, and expressed the things that these poems could not express in novels, and those colors and structures, which poems and novels could not express, I used paintings to express myself. In this way, for yourself, you have more tools in your hands, tools to express your thoughts and feelings, for example, others have one, I have three. Let's briefly talk about an example, for example, I had a painting at that time, that is, I put the stylus of a record player on a straw hat, which is the song of laborers, so if I express it in words, it is very weak, and I use a picture to express it, a working person stands there, wears a straw hat, and a stylus is put there, he has a sense of image. Some things in language are still abstract, painting is very concrete, and it is difficult for you to express it, for example, if you talk about an image yourself, this image is about a person waiting. He waited for a long time, did not wait for this thing, and when he described this feeling, he remembered this poem as a fishhook in a pond, and after waiting for many years, there was no fish, and the hook swam on its own, and it swam and swam, and finally there was no fish, and finally swallowed itself. This is a kind of desperate and waiting expression for people, but it can't be expressed with pictures, and it is expressed in this poem.