Kasumachi Organizing
"Flowers of water, land, grass and trees, very cute." Traditional Chinese flower and bird paintings, with small views of the big, reveal the true chapter of life, let people "breathe". "The Paper, Art Review" (www.thepaper.cn) learned that the "2021 National Art Museum Collection Exhibition Season: Embroidered Feathers - Exhibition of Modern and Contemporary Flower and Bird Paintings collected by the Art Museum of Nanjing University of the Arts" is currently on display. The three chapters of "Thing I", "Zhi Xiang" and "Dezhi" include the works of Famous Artists such as Li Kun, Zhu Menglu, Ren Xuan, Wu Changshuo, Zhang Dazhuang, and Tang Yun.
Due to epidemic prevention requirements, the exhibition is not open to the public, and through the cloud appreciation of works, you can see the beauty of grass, trees, insects and fish.
At the exhibition hall site, the pictures in this article are provided by the Art Museum of Nanjing University of the Arts.
Flower and bird painting - painting of flowers, vegetables and fruits, birds, fish and insects, animals and other animals and plants as the object of depiction, together with figure painting, landscape painting and called the three major painting families of Chinese painting. Zeng Yun of the Xuanhe Pictorial Notation of Flowers and Birds: "The poet Liuyi knows more about the names of birds, beasts, plants and trees, and at the fourth hour of the law calendar, he also remembers his glory and dryness and silent waiting, so the beauty of painting things is more interesting here, and he is in harmony with the poet... Exhibited in the picture, there are those who have the intention of raising people, and the rate can seize the creation and move the spirit, and the reverie will have to gain if you climb the view. It can be seen that flower and bird painting can "raise the meaning of people", so successive generations of flower and bird painters have lingered among the grass, trees, insects and fish, and have made keen observations and highly summarized and refined these vivid lives, creating countless classic flower and bird images with "both shapes and gods".
"One flower, one world, one leaf, one bodhi." Different from the vast and magnificent and mysterious and distant pattern of landscape painting, the content of flower and bird painting is often specific and subtle. The painter pins his aesthetic taste, value pursuit, and understanding of natural life on the touchable things in the reality around him, sees the big in a small way, reveals the true chapter of life, thus arousing the resonance of the viewer, and achieving the "changshen" realm of "seizing the creation, shifting the spirit, promoting reverie, and finally having it".
According to the Collection Department of the Art Museum of Nanjing University of the Arts, the exhibition is divided into three chapters: the "Thing I" part that explores the relationship between people and natural things represented by the painter, that is, the rigorous "Lattice" attitude of governance and the concept of "Qiwu" of the equality of all things revealed in the paintings; the "Zhixiang" part from the creative intention of flower and bird paintings, and the "Dezhi" part of the painter's self-expression. While appreciating the artist's artistic characteristics and skillful techniques, the audience can also try to understand the painter's insistence on his heart, positive and optimistic emotional spirit and unswerving and enterprising pursuit in these flower and bird images. This mind can transcend time and be timeless, and it is connected to everyone's heart.
Showroom scene
The first part of the exhibition is "Things And I".
Since the Tang and Song dynasties, the Confucian idea of "grid objects" has profoundly influenced the development of flower and bird painting, paying attention to sketching and natural observation, and rigorous and realistic modeling. In particular, the paintings of flowers and birds in the courtyard of the Five Dynasties and two Song Dynasties reached their peak, the shape was cautious and rigorous, the pen was neat and rigorous, the color was calm and bright, and it showed a rich and subtle artistic style. On the other hand, the rise of literati painting is not limited to the shackles of objective images, does not seek similarity but seeks god-likeness, emphasizes "sending happiness", "self-entertainment", "writing the heart", and expressing the air in the chest. In fact, no matter what kind of technique and style, it is inseparable from the painter to observe and explore all natural things with the spirit of "lattice objects", and on the basis of "object pictograms", it is either accurately reproduced or exaggerated deformation, and finally creates a novel and unique artistic image with "vivid charm".
In addition to the one-sidedness of metaphysics, the "View of QiWu" from Zhuangzi expresses the concept of the equality of all things in life. Embodied in the painting of flowers and birds, the grass and trees in the painter's pen all reveal this idea of "qiwu" that looks at all things equally.
Both of these concepts show how the painter deals with the relationship between the person represented by the painter and the natural thing, the "thing and me". "When Fang Qi's pen was written, I didn't know that I was a grass worm? Grass worms for me yeah? Only by injecting this sincere love emotion and prudent spirit of exploration into painting can we achieve the supreme realm of "forgetting things and forgetting" and "the unity of heaven and man".
"Gubai Wisteria Peony" Li LiQing
Inscription: Qianlong Ninth Year Jiaping Moon, Futang Chagrin Daoist Li Li wrote.
Suzu Seal: Ma Yizhi's Seal (Bai Wen), Nanping (Zhu Wen), Zhuxi Resident (Bai Wen)
Li Li (1686-1762), a native of Xinghua, Jiangsu, was one of the "Eight Monsters of Yangzhou". Painted in the year of Li Eel's flower armor, "Gubai Wisteria Peony" is full of pen and ink, longitudinal and horizontal, dripping and spicy, and full of fun. Wisteria is entangled, stringed in clusters, containing buds and flowers, with purple qi coming from the east of the longevity meaning. At this time, Li Eel had left the court, he gradually abandoned the ethical consciousness, the consciousness of the subject of art returned to the pen to live and unrestrained, the rules were simple and mao, the extensive seeking of truth and the law, although life was uninhibited, but he insisted on sticking to the idea of painting, showing the realm of the integration of his material and self.
"Banana Goose" Li Li 1746
Inscription: In the spring of the eleventh year of Qianlong, Li Li of futang was drunk and pointed to ink in Pingshan Caotang.
Bell Seal: Zong Yang (White Text), Bird Seal (White Text)
Li Qi's "Banana Goose" refers to the pen, with the momentum, dripping and cheerful, with the combination of ink and water in different proportions, drawing geese, flowers, stones, rivers, bananas, etc., bananas are scattered and elegant. The goose line is simple, under the light ink, and the flowing water is one of the typical works of his later years that emphasizes the use of "water". Between the pen and ink should be pictographic, the author under careful observation, rigorous soji to express themselves. At this moment, the pen is me, and under the fusion of ink and water, I have gradually found the fun of nature and the recklessness of wantonness.
Zhu Menglu (1826-1900), a native of Jiaxing, Zhejiang, was first known as Chen, Zi Menglu, And Juewei, and in his later years, Xushan Qiao Shuo, one of the pioneers of the Shanghai School.
"Flowers and Birds" Zhu Menglu Qing
Inscription: Open to the begonia spring just right, Jiang Bo plumbing duck prophet. Xin Weiqiu's hope in July, Dream Lu Zhu Wei.
Suzu seal: Picture of The Dream (white text)
Zhu Menglu's "Flowers and Birds" is vividly shaped, one branch and one leaf and one flower and one bird, the fragrance of flowers and birds can be heard and felt, between the main body, the density is appropriate, the weight is appropriate, the pictogram should be shaped, and the foreign sprinkling is thoughtful, more than a stroke is excessive, less is lacking. The technique is skilled, rubbing and dyeing, staggered, thick and wet, easy to use. "Blooming to the begonia spring is just right, jiangbo plumbing duck prophet", begonia blossoms, set color pale red, duck play jiangbo, bright and cheerful, concise and lively. Between movement and stillness, it contains the beauty of natural harmony, highlighting the author's natural interest.
Tang Yun (1910-1993), a native of Hangzhou, Zhejiang, was nicknamed "Medicine City", "Medicine Dust", "Medicine Dust", "Medicine Wong", "Old Medicine", "Dashi", "Dashi Weng", "Dashi Zhai", "Mountain Lei Xuan".
"Myna Plum Blossom" Tang Yun 1948
Title: This year, throw away the plums in the old garden, imagine the starlings sounding graceful. Peng Zi Twilight, Hang ren Tang Yun.
Bell Seal: Tang Yun Private Seal (White Text)
Tang Yun's "Myna Plum Blossom" painting style is beautiful and elegant, complex colors blend, the starlings are soft and delicate and elastic between the hairs, and the shape and spirit are both. On the large structure, it unfolds with plum, fully mobilizing artistic techniques such as opening, closing, hiding, and exposing, so that the picture has some ups and downs. Between movement and stillness, the purpose is lively, and the whole picture is harmonious and unified, and the tension is measured. The title points out that the mynah was made according to the retrospective, which shows that the author has long been aware of the grass and trees in the old garden.
The second part of the exhibition is "Zhi Xiang".
China's long historical and cultural heritage has produced many symbolic visual symbols and patterns. Especially in the context of farming culture, many natural objects such as animals and plants have been given fixed semantics due to religious myths, folk customs, harmonic sounds and other reasons, which provides rich and flexible possibilities for flower and bird painters to express themselves and pin emotions. Painters often rely on different combinations of these objects to pin their beautiful visions and expectations for life, such as birthday celebrations, prayers for wealth and peace, and other themes abound. As a result, keywords such as longevity, auspiciousness, wealth, meritorious name, and marriage in traditional Chinese civilization have become the enduring themes of artistic creation in the art of Chinese flower and bird painting.
Ren Xuan (1835-1893), a native of Xiaoshan, Zhejiang, also known as Shunqin, also spelled Fuchang, was influenced by the Yangzhou School, and was the main representative painter of the early "Maritime School". "Rich Immortals" is elegant in penmanship, with strong colors and strong contrasts, and the posture of daffodils is standing up, which is very funny. The lines are clear and thin, strong and flowing, and the shape is slightly exaggerated. The stretched composition is close to the edge, the heavy color coloring, the tone is unified, making the scene of the picture more magnificent, and the elegant and customary appreciation reveals the ancient meaning.
Rich Immortals Ren Kaoru 1872
Inscription: Rich and Noble Immortals Tongzhi Nongshen Early Summer Fu Chang Ren Kaoru wrote in Wumen.
Suzune: Ren Kaoru (Bai Wen)
Wu Changshuo (1844-1927), a native of Anji, Zhejiang, later lived in Shanghai. At the end of the Qing Dynasty and the beginning of the People's Republic, he regarded the four absolute heroes of poetry, books, paintings and prints as a key figure in the transitional period of the development of modern and contemporary Chinese painting and calligraphy.
"Peony Four Feet Hall" Wu Changshuo 1918
Inscription: Guishou Wuji Wine is full of gold, rich and noble flowers bloom, and Yonghua lacks green lotus talents. In April, Wu Changshuo.
Lingyin: Wu Junzhi's seal (Baiwen), Wu Changshi's (Baiwen)
Wu Changshuo's "Peony Four Feet Hall" is titled "Guishou Wuji", the peony is bright and dazzling, echoing with the stones and inscriptions, and is a large freehand flower. Diagonal oblique, meteorological splendor, bold color, strong sense of volume on the block surface, pen power to carry the top, painting style is old and spicy, simple, ancient, very vibrant. Peony, also known as "the rich and noble of flowers", symbolizes wealth, happiness and prosperity. In the painting, the peony branches are luxuriant and the vines are intertwined, and the shoushi group is pictured, which means "long life and wealth", and the author prays for wealth and longevity.
Zhang Dazhuang (1903-1980), a native of Hangzhou, Zhejiang, was one of the "Four Great Huadans" on the sea today. "Bamboo Curtain Chrysanthemum Crab" is thick and moist, spontaneous and free, the overall picture is concise, there is a distinction between near and far, which adds to the sense of depth and space of the picture. Red crab is bright and bright, vivid and vivid, quite "modern", indulgent and relaxed, full of shape and spirit, showing the innocence of life. As the saying goes, "chrysanthemums are yellow when crabs are fat", holding a chelch drinking chrysanthemum has always been a custom and elegant event in the golden autumn, and the painting is a typical seasonal festival painting.
"Bamboo Curtain Chrysanthemum Crab" Zhang Dazhuang modern
"Persimmon Squirrel" Wang Xuetao 1942
Title: Mr. Quinoa Qing Yazheng. Noon exhibition Chongyang, Snow Tao.
Lingyin: Chi Yuan (Zhu Wen), Wang Xuetaoyin (Bai Wen)
The third part of the exhibition is "Dezhi".
Flowers of water, land and grass, very cute. Jin Tao Yuanming loves Juju alone. Since Li Tang came, the world has loved peonies. Give the only love lotus out of the mud and not stained, Mao Qing Lian and not demon, straight in the middle, not vines and branches, fragrant far away, pavilion pure plant, can be viewed from a distance and can not be blasphemed.
—— "Ai Lian Said" Northern Song Dynasty Zhou Dunyi
"Gentleman's Bede" is an important philosophical thought and natural aesthetic concept of Confucius, which means to use the beauty of natural objects as a metaphor and symbol of the virtues of a gentleman. "Zhiwu Yanzhi" is also a common expression in classical literature. The "Four Gentlemen" of Mei, Lan, Bamboo and Chrysanthemum are the common objects of "Bede" and "Yanzhi" in traditional literati paintings, and the qualities they represent are: Mei, Tanbo Aoxue, Gao JieZhishi; Lan, Deep Valley Youxiang, the World's Xianda; Bamboo, Qing ya Po, Humble Gentleman; Ju, Ling Frost Flowing, And Hermit of the World. In fact, many animals and plants have been given a fixed personified symbolic semantics because of their own natural growth characteristics or historical and cultural allusions, such as the lotus flower that "comes out of the mud and does not stain", the pine that is "evergreen and tenacious", the horse that "strives for self-improvement and the spirit of the dragon horse", and so on. These symbolic visual images express the literati painter's pursuit and affirmation of certain specific aspirations, ideal personalities, and self-worth.
"Tianzhu Wax Plum" Wu Changshuo 1915
Inscription: Yellow glass between red corals In January, the pseudo-bamboo leaf pavilion is intended to be on the back. Wu Changshuo Old Miao
Suzu seal: Seal of Junqing (White Text), Chang Shuo (White Text)
Wu Changshuo's "Tianzhu Lamei" has a looming lamei on the left, and the right side of Tianzhu is full of red fruits, and the positive S-shaped composition is. In the title, "red coral" is compared to tianzhu fruit, and "yellow glass" is compared to plum blossom, the two are intertwined, dense, virtual and real are staggered, the overall layout is clever, and give people a surging dynamic enjoyment. The author made an inscription in the upper left corner and printed it in the lower right corner, creating a wonderful sense of balance in the weight of the picture. Lamei is recognized as the gentleman of flowers, proud of the snow and frost, ling han wafting fragrance. Tianzhu is also not afraid of the cold, and the fruit is insatiable red until it ripens in winter. The author once wrote in another "Tianzhu Map" that Tianzhu "does not change the color of the cold years, and can be compared to a gentleman." ”
Pan Tianshou (1897-1971), a native of Ninghai, Zhejiang, had been instructed by Li Shutong in his early years and later by Wu Changshuo, advocating that "Chinese and Western painting should be distanced". "Lotus" lines are vigorous and clumsy, the painting style is strong and domineering, majestic atmosphere, the picture is a large area of lotus leaves, but the lotus flower is the main body, it appears bright and prominent, there are far and near sizes, and the white space is flowing water. "The jade screen of the green trace is like water, and the bright light fan is red. After getting drunk, Rokuro was very depressed, and who helped him into the green veil. The poetry and painting are excellent, revealing the noble sense of "can be viewed from a distance and cannot be played with", just like he explored the development of Chinese painting in the struggle between Chinese and Western art, reflecting its lofty dignity of life and national spirit.
Lotus Flower, Pan Tianshou, 1959
Inscription: Jade jade screen with green marks, brilliant light fan fan red. After getting drunk, Rokuro was very depressed, and who helped him into the green veil. Early summer of 1959, Shou.
Suzu Seal: Pan Tianshou (Zhu Wen)
Ape Horse, Ni Mogeng, 1916
Inscription: Shi Bingchen in the middle of March Huan, Han Shang Ni Tian Ink Geng wrote in Bi Yue Luo.
Suzu seal: Mo Geng (Bai Wen), Qian Cheng (Zhu Wen)
"Lan Shi" Pan Tianshou Modern
Title: Wind Xiaoxiao, Yin Chu Sao. Drum (vegetarian) piano, frost moon high. Record verses from Miaoweng. Early summer of 1959, longevity.
"Drum" is stripped of the word "prime". Shou and remember.
Suzu Seal: Pan Tianshou (Zhu Wen), Pan Tianshou Yin (Bai Wen)
The artistic director of the exhibition is Li Xiaoshan, the academic host is Kong Liuqing, and the curator is Zhang Anping. Due to epidemic prevention requirements, the exhibition is currently temporarily open to teachers and students in the school. If there is any adjustment to the opening to the outside world, you can pay attention to the official WeChat public account of the art museum AMNUUA Vision.
Exhibition posters
Exhibition period: September 7, 2021 - October 27, 2021
Venue: Exhibition Hall 5, Art Museum, Nanjing University of the Arts (No. 74, Beijing West Road, Nanjing, Jiangsu Province)
Editor-in-Charge: Lu Sijia
Proofreader: Ding Xiao