The press conference of "Dapu Bu Sculpture - Chinese Finger Painting: Origins, Case Studies and Comparative Studies" will be held in Beijing, sponsored by the China Copyright Association and the Chinese Painting Research Institute of the Forbidden City Academy, the "Invitation Exhibition of Calligraphy and Painting Artists in Yuanjifang", the first invitation exhibition of Yuanjifang, invited the works of 12 calligraphers in the calligraphy circles in Beijing: Shen Peng, Xie Yun, Su Shishu, Lü Zhangshen, Chen Hongwu, Yang Zaichun, Sun Xiaoyun and other 12 calligraphers to participate in the exhibition. The second phase first invited the exhibition of calligraphy and painting works of Dr. Wen Wei, a famous contemporary female calligrapher and painter, and held the launch ceremony of Wen Wei's monograph "Dapu Bu Carving- Chinese Finger Painting: Source Flow, Case Study and Comparative Research" (published by the People's Fine Arts Publishing House).
Cover of Finger Painting in China: Sources, Case Studies and Comparative Studies
Yan Xiaohong, chairman of the Copyright Association of China and a well-known contemporary copyright expert, will preside over the opening ceremony. Wang Yamin, executive vice president of the Palace Museum, on behalf of one of the organizers, the Institute of Chinese Painting of the Palace Museum, welcomed the calligrapher dr. Wen Wei to yuanjifang to hold a calligraphy and painting exhibition and a new book launch. He and Gao Shiyi, representative of the People's Fine Arts Publishing House, and others will deliver speeches at the opening ceremony. The second invitation exhibition of calligraphy and painting artists in Yuanjifang will display the recent works of the famous calligrapher and painter Wen Wei, including about 20 pieces of landscapes, figures and calligraphy masterpieces, presenting the diverse artistic styles of the painters. The exhibition includes Wen Wei's latest character paintings: The History of Chinese Women's Literature, a series of four talented women, including the ancient talents we know, such as Li Qingzhao, Xue Tao, and Guan Guansheng. The reason why Wen Wei chose this theme is that she wrote in the inscription of this work: "There are men and women between heaven and earth, the way of life, and the equality of men and women." In the old days, men were inferior to women, and women had nowhere to learn, even if they had the talent of heaven and indulgence. Even in the face of such a historical situation, these women have achieved extremely high achievements, and their fame has been very high, and their intelligence and tenacity have made me very admired, so I created this group of "History of Chinese Women's Literature" series. Wen Wei's latest works mostly focus on small paintings, and respond to the efficiency and impetuosity of contemporary life with the idyllic elegance of literati painting. In these ink sketches, Wen Wei tries to find a balance between water and ink in the landscape of the Northern and Southern Schools. Following the toughness of the Northern School's landscape and dry brushwork method, Wen Wei tries to depict the distant mountains and the background with full water vapor to create a situation of southern wind and material, and to achieve the communion of the north and south landscapes on the same screen. The exhibition also includes cursive works "Chibi Huaigu", professor of Zhejiang Academy of Fine Arts, famous painter Wu Shanming commented on Wenwei calligraphy and painting: Wenwei's calligraphy and painting like herself, like her name, very feminine unique perspective style, Wenwei's landscape is very good, the ladies are also good, and her calligraphy surprised me the most, now a landscape figure and calligraphy are good painters are too few, we are all painting, we all know that it is very difficult to specialize in one subject, and Wen Wei such a comprehensive female artist is even rarer.
2017 137x35cm cursive "Mountain House Autumn Dawn"
Cursive "Qing Ping Tone"
The publication of Wen Wei's monograph "Dapu Bu Diao - Chinese Finger Painting: Origins, Case Studies and Comparative Studies" fills the gap in the century-old art of finger painting without monographs. Finger painting is not well known to the public in China's unique painting art, also known as finger painting, finger ink painting, for one of the expression of freehand painting", finger painting specifically refers to the need to use nails, palms, fingers and other parts of the ink or color ghostwriting to make hooks, dots, wrinkles, dyes, can also be mixed with brushes, artistic style is rough, clumsy. What finger painting pursues is different from the special effect of painting with a "pen", the pen edge contains more water, and although the lines are wrinkled, rubbing, reversing, turning and other methods, they are still relatively smooth. Fingers are difficult to retain ink color, and must be painted with the hook, resulting in intermittent lines and unique fun. The "finger painting" in Chinese painting can be traced back to the Tang Dynasty Zhang Xuan, he mostly painted with ink landscapes, but also created the ink breaking method, he likes to use bald brushes when painting, sometimes painting to the fullest, will simply dye and wave it with his hands, over time to form a habit, it developed the "finger painting" of later generations, Zhang Xuan put forward the famous thesis of "foreign teacher creation, the source of the heart", and became an immortal saying of painting, which has great significance in the history of Chinese art and has a great influence on the painting theory of later generations. Zhang Xuan is the founder of "finger painting", but what makes this way of painting officially become a painting language is traced back to gao Qipei in the Qing Dynasty as a finger painting, he as the founding father of the mountain, his "finger painting" theme is all-encompassing, including landscapes, figures, flowers, insects and birds, some magnificent, some delicate portrayal, there are extremely high achievements. He was hired as a teacher by the "Eight Monsters of Yangzhou", and he was talented and able to write poetry and paint. In addition, there are Also Qing Dynasty Gan Huaiyuan, Zhao Chengmu, Li Shizhuo, Cai Xingzu, He Long, etc., are more typical finger painting painters. In modern times, it is Pan Tianshou who has carried forward "finger painting", who inherited and developed the Chinese painting tradition, whose pen and ink are ancient, condensed and spicy, and magnificent. He is the author of "History of Chinese Painting" and "Essays on Listening to the Heavenly Pavilion". In the development of finger painting throughout the ages, Zhang Xuan is the source, Gao Qipei is the originator of the mountain, and the real development of finger painting to a high degree of evolution into a mature painting, it should be Pan Tianshou, who has fully reflected the artistic conception of chaotic and simple and innocent Chinese painting in finger painting. Pan Tianshou has written two articles and talked about finger painting. Contemporary Chinese painting master Cui Ruzhuo has made outstanding contributions to the inheritance and development of finger painting, and his finger painting has been passed down as a strange flower in traditional Chinese painting, and finger ink art has been passed down to this day as an important form of Chinese painting creation. Through the promotion and development of Gao Qipei in the Qing Dynasty and Pan Tianshou in modern times, even the modern Cui Ruzhuo carried it forward. Wen Wei takes finger ink as the research object, examines the social background and individual cases generated by finger ink, examines and analyzes the rise and fall of finger painting school, summarizes the development of finger painting at multiple time nodes since the Ming and Qing dynasties by combing the historical changes and development of the painting school in the late Ming and early Qing dynasties, and wrote a paper "Chinese Finger Painting: Source Flow, Case Study and Comparative Research" for several years. In the paper, the finger painting genre explores the flow of artistic styles and creative ideas. Recently, the People's Fine Arts Publishing House launched the monograph "Dapu Bu Diao - Chinese Finger Painting: Source Flow, Case Study and Comparative Study" by the famous cultural scholar dr. Wen Wei, which has made a new monograph on finger painting in the past century and filled the gap in the field of "finger painting" by contemporary Chinese scholars.
Landscape strip screen
Wen Wei
Wen Wei's monograph was completed on the basis of her doctoral dissertation "Chinese Finger Painting: Origins, Individual Cases and Comparative Studies", which lasted several years to find and analyze the detailed historical materials and academic works related to finger painting in previous dynasties, combined with Eastern and Western academic methods, and carried out historical research and rediscovery of "finger painting" art from multiple angles such as painting ontology language and sociology. In particular, the case study of the creation of contemporary calligraphy and painting by Cui Ruzhuo finger painting has developed this traditional type of creation into a value of epochal significance in the new era. Through the study of finger ink art, Wen Wei also gradually tried the method of finger ink in her creation, and her creation will be presented to the audience with a more open and diverse appearance. 2080 words (Text: Chen Jie, Chen Fuchen. Photograph: Wen Xicheng)
Reprinted from Sina Collection