Full of paper
Text/Seamount
Two years ago, Jing Ge left Wujiang to live by Dushu Lake in Suzhou, and I wanted to hold a formal exhibition for him in Wujiang. He has been living here, forty years of creation of literature and art, to go to home and abroad, enhance the contemporary Wujiang literary and artistic taste and popularity, the wall blossoms outside the wall incense, the wall should also smell the incense. But there are no conditions. Now, Wu Jiang Wenlian has its own art space, and Brother Junliang and I have thought of a piece, and finally got our wish.
Jing Ge's first solo exhibition of calligraphy and painting was held in 2014 on the shore of the West Lake, sponsored by Jiangnan Literature Magazine, I went to shanghai to see the exhibition, Mo Yan, Jia Pingwa and others all congratulated with calligraphy and paintings, and Mai Jia and others also had wonderful speeches. I told the curator Yuan Min that from Han Han's novels to Jing Ge's calligraphy and paintings, it may be considered her planning transformation. Since then, Jingge calligraphy and paintings have been exhibited in Suzhou, Chengdu, Beijing and other places, and "writers' calligraphy and paintings" have gradually become trendy nationwide. In 2008, Jing Ge, Psyllium, Tao Wenyu and other six contemporary Talents of Suzhou jointly organized the "Six Memories of Fusheng And Ink Painting Collection", which should be an indiscriminate pursuit of calligraphy and painting by writers and poets. They are now the representatives of Jiangnan literati calligraphy and painting. His works are widely favored by calligraphy and painting collectors and elegant Confucian merchants.
■ Jingge paintings, the same below
Jingge's calligraphy and painting are the words of the literati and the paintings of caizi. Tao Wenyu once said that Jingge is a contemporary ancient, which means that the learning and skills of the ancient literati are complete in him. He continued with the literati tradition of the early 20th century and even more ancient, but it was not simply to inherit and restore the face of traditional calligraphy and painting, but to express the spirit. Jing Ge's calligraphy, returning to writing, is as frank as his paintings. This is a calligraphy and painting from the source of literati taste and aesthetics, and it is naturally very different from the works trained by professional skills.
Unlike some people's perceptions, Jingge's words and paintings are not passive water. He was well trained at a young age, and it was precisely because of his long-term artistic immersion and innate talent nature, independence, freedom, and arrogance that he got rid of the ancient tradition of mud, and only then did he highlight the characteristics of his calligraphy and painting, that is, he was unique. In the 1980s, I hung a seal book written by him in my study, and the seal on it was also engraved by himself. Anyone who has seen the manuscripts of his literary works will find that the consistent personality of natural writing is clearly presented in his calligraphic creations.
Jing Ge said: "There is no literati calligraphy, Chinese calligraphy is literati calligraphy." This is consistent with what professional calligraphers say about the return of calligraphy to writing.
His "writing and painting" contrasts with writing, and he is able to make qi, talent, and book volume qi appear. A lake of stones, a teapot, a cup of bowls, a table and chairs, a flower and wood, can all be painted, can be painted, a few strokes, unrestrained, the artistic conception has come out, elegant and interesting.
This is to mention the name of the exhibition, "full of paper", a special and interesting word, immediately associated with Cao Xueqin's "full of paper absurd words", or the words and phrases "full of paper full of Fangfei", Fangfei is too boastful, and a little fat powder, I think "full of paper absurd" is better. There is no "absurdity", where is the good of "Dream of the Red Chamber"? If you compare "blank space" with "full paper", it is the virtual and real relationship in artistic expression. The combination and symbiosis of virtual and real, and the wonderful places where the virtual spirits are, are the highest level of aesthetics in artistic creation and appreciation. "Full of paper" can also be seen as a unified whole of virtual and real. With this concept, it is even more interesting to see a word, a painting, and even an exhibition art space.
"Full of Paper", the Jingge Calligraphy and Painting Sketch Exhibition, is my second curatorial exhibition, which makes up for a deficiency. In 2015, encouraged by Jing Ge, I planned a calligraphy and painting exhibition called "Book Business Spirit, Boudoir Feelings", which gathered the works of more than ten talented and beautiful people, prepared to go to Shanghai, printed the booklet, and implemented the most prosperous venue on Nanjing West Road. The preface written by JingGe, which I left behind, is appended here, and the most appropriate:
"Is the calligraphy and painting of today's writers, literati and Xiangge beauties that we want to show today a touch of red light in the depths of tradition, or a few wisps of breeze in the forests of Jiangnan? How many people recognize this elegant and interesting, its heritage and value? Spring flowers and autumn moon, summer rain and winter clouds, floating like dreams, multiplying things and swimming hearts. Sending love to the grass and trees, dreaming of pen and ink paper. It is not informal, the rules and regulations are harmonious, but the elegance is free and spontaneous. Less wins more, paper short and long. The back of the late Ming dynasty is far away, but the quaint spirit is clear. ”
Jing Ge set aside thirty of the hundred paintings and calligraphy to be exhibited in other places, giving Wujiang 2256 literary and art space as a monthly display, which can also be regarded as a return of calligraphy and painting to his hometown. Friends take the opportunity to gather, are not happy?
Source: Haishan Literary Journal