Yu Fei Yandang Spring Snow Figure 139× 58.5cm
This frame "Spring Snow of Yandang", in the non-Min using traditional brush sketching, with the hood dyeing method layer by layer, the plant color is mainly white powder, supplemented by the light mineral color of the color method of boneless rendering, etc., making the picture vivid and lively. The painting method of each feather of the bird and finches is a whole connected by a small arc, and at the junction of its neck and chest, the upper part of the feather is combed with dry brush thick ink and then mixed with the next part, which makes people feel that the bird and the bird are flying. The bamboo and stone lines are certainly powerful, the flower brushwork is flexible, and the graceful posture is not floating, highlighting everyone's method. The water mouth and the birds and finches have become the factors of "moving", adding a lot of vitality to the spring snow.
Inscription: Ding Ugly In the middle of February, the return of the Wild Goose Swing Mountain is full of mountains through the rooftop spring clouds, when the peach blossoms are king, the red face and white snow are really miracles also. Non-min writing.
Shitang: Yandang Chunxue Mr. FeiChang made his paintings in 1937 from the Song Dynasty, and he has his own magic. Ding Hai's autumn, Xiao Ping.
Yu Non-Min Yandang Spring Snow Map Partial
In March 1937 (that is, the second month of the lunar calendar), after Yu Feimin, Zhang Daqian, Xie Zhiliu, Huang Junbi, Fang Jiekan and others finished the "Second National Art Exhibition" held in Nanjing, they toured Yandang Mountain together, read the beautiful scenery in the mountains, and traveled to Tiantai Mountain in Zhejiang On the way home. Later, after Fei Min, Zhang Daqian, and Fang Jiekan returned to Beijing, on the occasion of the "Seven Seven Incidents", Zhang Daqian was trapped in Beijing, bored, and once wrote the "West Shiliang Waterfall Map" to mention the matter of wandering geese, and the inscription contained "So far, everyone has been scattered, but yu and Fei Min jude have to see each other day and night."
The outbreak of the "May Fourth" new cultural movement in 1919, the openness of the Western modern and modern cultural trend of thought, and the fierce criticism of ancient Chinese thought and morality, gave a great impact on Chinese culture and art. From the 1920s to the early 1930s, Western philosophy, aesthetics, literature, etc. were widely introduced, and the fusion and conflict of Chinese and Western cultures became a powerful driving force for the development of fine arts. Like most cultural youth, Yu Feimin's thought was also influenced by these new cultural trends, with the ambition of reviving the traditional cultural belief of the nation and revitalizing the tradition of flower and bird painting, he drew on the excellent western art methods, focused on learning Western drawing, watercolor and other painting methods, used sketch observation, comparison, analysis and modeling methods to strengthen the texture of lines and objects, obtained more realistic records on the spot, and then used brushes to complete his image of flowers and birds according to the real lines of the object, which is also what his flower and bird paintings can achieve." The basics of "wow".
While studying Western painting, Yu Feimin also drew the essence of tradition from the ancient painting heritage. He most admired the flower and bird paintings of the two Song Dynasties, believing that the Song people had both flowers and birds and gods, and created nature. Therefore, he put a lot of effort into the traditional imitation of Song painting, and he could imitate the paintings of the Song people, whether they were colored or brushed, and sometimes copied a beloved painting many times to learn its advantages. Works such as Cui Bai's "Double Happiness Map", Zhao Chang's "Four Happy Pictures", Zhao Yao's "Red Indigo White Goose Diagram", Song Ren's "Cuizhu Plume Diagram" and other works, from the content to the form and expression techniques, he has studied them one by one, which has had an important impact on his use of color, pen, line, composition, artistic conception of the work and coloring process. Therefore, this painting of Mr. Xiao Ping's inscription: "Mr. Fei An made in 1937, his paintings were integrated from the Song Dynasty, and they have their own magic." ”
Yu Feimin also particularly emphasized the study of calligraphy, he believes that a major feature of Chinese painting is that it can not be completely separated from calligraphy, Chinese calligraphy painting in the process of occurrence and development has an inseparable relationship, the principle of calligraphy and the method of calligraphy can be used as a reference for painting, it is this association that triggered the use of books into painting. As a result, he studied the seal book of Li Yangbing in the Tang Dynasty in order to obtain the strength and roundness of the pen; Huai Su's "Self-Narrative Post" made his pen passage tortuous, thick and dry, imposing and changeable; in 1931, he began to write the "Thin Golden Book" until his old age, which is also the style of the book used in most of his works. In this frame of "Yandang Spring Snow", the inscription of "Thin Golden Book" is used: "Ding Ugly In the middle of February, the return of Yandang Mountain to the tiantai, the peach blossoms are the king when the spring snow is full of mountains, and the red face and white snow are really wonders, and the non-nunnery is written." "The book is tight and energetic, and it is unique and sharp. Read it carefully, and it will be very interesting.
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