Source: Global Network - Cultural Tourism Channel
【Zhang Guishou, special author of Global Network Cultural Tourism】On the occasion of the winter and spring of Gengzi, the sudden epidemic situation confined Mr. Li Jianchun to his home. When reading a book, I saw the sentence "Poetry can be called wonderful in the painting side, and the painting can be integrated into poetry is strange", and the idea of trying was born. Therefore, in response to the saying that the spread of the epidemic originated from "bats", I thought about the topic of "harmonious coexistence between humans and animals" under the same sky as the wind and moon. Borrowing the classics of "Shi Tao Painting Quotations", "Xuanhe Painting Notation", "Mustard Garden Painting Biography", and "Sanxitang Painting Treasure", and referring to the paintings of the Yuan, Ming and Qing dynasties, while learning, copying, and creating. For 100 consecutive days, every day with an animal, a poem was composed, and it was expressed in calligraphy and painting works, forming a collection of poems, books and paintings as one of the "Anti-epidemic Daily Lessons / Protection of Wild Animals Hundred Frames Of Inscription Poems".
Inscription poetry painting is an art form. Regarding the inscription painting poems, most of them come from literati paintings, also known as "scholar-doctor freehand paintings", which have special aesthetic standards: painting beauty, calligraphy, and poetry are a kind of painting form that contains the interests of the literati in the painting, and the outside of the painting reveals the literati's thoughts, and has the three characteristics of literary heart, poetry and painting.
【Inscription poem】 YingfuTu
Fu Zi Indiscriminate Bat Yan,
The temple is placed in the middle of the sky.
The fool is fed by righteousness,
Karma should be a sad year.
During the epidemic at the beginning of this year, Mr. Li Jianchun independently completed a comprehensive work of art integrating poetry, books and paintings in the genre of wild animals for 100 consecutive days. It is also valuable in the uniqueness of his perspective in his cultural vision. He expresses his love, concern and concern for wild animals in the form of poems, books and paintings, and from a cultural perspective, he not only embodies the social and cultural form, but also touches the deeper cultural psychology of people.
First, the beauty of the artistic conception of the painting with poetry. Poetry is an invisible painting, and poetry is the meaning of painting. Poetry and painting are two categories of literature and fine arts, poetry is a language art, giving paintings emotions and artistic conceptions; paintings are visual arts, reflecting the emotions and artistic conceptions in poetry. Wang Wei, a great poet of the Tang Dynasty, was the founder of "painting with poetry", and Su Shi called him "painting in poetry" and "poetry in painting". On the basis of inheriting the wisdom of his predecessors, Li Jianchun made an organic integration of poetry and painting on the spiritual level and artistic conception. For example, "Crane": "The stream frequently asks about the peaks of the mountain, and the long sigh is always not the same." Suddenly I saw a pair of white cranes on the shore, accompanied by a green pine without words. "It's a picture of a crane by a stream. Through the display of paintings and the interpretation of poetry, it not only reflects the static stream, mountain peak, green pine, and double crane, but also conveys the sound of the stream whispering to the mountain peak, making the still and silent picture come alive. Another example is "Snow Leopard": "How can you see the whole leopard, and who in the four seas has the speed?" Thousands of waves are still in the book, and the sky is full of wind and rain. The picture space is limited, but the imagination of the poem will not be limited by the picture, the poet through the contrast between "a spot" and "four seas", "ten thousand acres" and "full of heaven", the image of a brave, majestic, fast leopard is portrayed to the fullest, and its "heart travels outside the heavens and the earth, intended to have no space" The sentiment and reverie are like the artistic conception of "wanting to take advantage of things to swim in the heart" expressed in Zhuangzi's "World on Earth".
Second, the beauty of the mirror into the painting. Painting is the poem "writing shape", and the poem is the painting "reaching the meaning". Painting is tangible poetry, painting the shape of the writing. Li Jianchun uses fu, bi, xing and other artistic expression techniques, cites the scriptures, and transforms the painting into a poetic realm, which not only gives animals a personified emotion, but also makes the image of each animal more vivid, interesting and cute, and also becomes a mirror for human beings to reflect and learn from. Inscription poem "Black-winged Long-legged Sandpiper": "Sandpiper clams compete for the benefit of fishermen, and dragons are in danger of water masters? Listening to Tao GuanHai ask about the present and the past, success or failure rises and falls and blinks. "Sandpiper and Clams Fight" canonically published "Warring States Policy Yan Ce", and the poet used the parable of "Sandpiper And Clams Fighting" to tell people: In all kinds of chaotic and complicated contradictions and struggles, if the opposing sides cannot fight, the result will only be a lose-lose situation. "Jiaolong Gets Water" canonically produces "Pipe Situation". The metaphor of talented people always has a chance to show it. The inscription poem "Deer Ming" is based on the artistic conception of "Youyou Deer Ming, Eating Wild Apple" in the "Poetry Classic, Xiaoya Lu Ming": "The deer in the creek drink the zhizhi, and the apple tree that eats the wild is decorated with red." Waiting for the guests to gather together, you a drunken spring dream. Looking at the picture and reading the inscription poem, an ancient, melodious, wilderness, and idyllic pastoral scenery is displayed in front of the eyes. The inscription poem "Shrew (Yangzi Crocodile)": "The drum is every time there is a beautiful music, and the beach of the Yangtze River is the hometown." Chinese customs are better than in the past, drunkenly leaning on reeds and reeds lying in the sunset. In the poem, "The Drum Meets the Occasion" is a classic of the "Poetry Sutra Daya Lingtai". The Yangtze crocodile was called "shrew" in ancient times. The tail drums its belly, and its sound is beautiful. The poet praises Chinese customs in the tone of an ancient shrew, which is intriguing. The poems are exquisitely conceived, light and tasteful, straight and curved, and full of freshness and elegance.
【Inscription poem】 Cat butterfly diagram
Flowers and butterflies play around children,
The most favorite cat in the eye.
Only afraid of spring returning to this realm,
The glare locked on a branch of red.
Third, the linear beauty of the painting with books. Chinese literati painting, which combines poetry, books and paintings into one, has set a precedent for the combination of literature and visual art, which is unique in the history of world aesthetics. Chinese literati painting is not only interesting and noble, but also alludes to calligraphy in painting. Li Yu, the lord of the Southern Tang Dynasty, painted bamboo with golden calligraphy, and realized the meaning of close integration of "calligraphy and painting with the same origin" with art. Su Dongpo has a more unique understanding, putting forward the views of "invisible painting" and "non-verbal poetry", and he said in the poem "Han Ganma": "Shaoling Hanmo invisible painting, Han Gandanqing non-verbal poetry." "Completely break the opposition between poetry and painting to achieve the effect of interchangeable positions." Zhao Mengfu of the Yuan Dynasty's "Xiushi Shulin Tu" self-titled painting poem: "Stone is like flying white wood, writing bamboo also requires eight laws." If anyone can do this, it should be known that the calligraphy and painting are the same. "Li Jianchun", "into the painting with books", his hundred paintings contain the spiritual core of "brush" writing shapes, "flying white" painting stones, and "eight methods" writing bamboo, and the picture is thick, light, dry, wet, square, turning, fast and slow, and galloping, all of which show the author's profound calligraphy skills. He not only perfectly presents the Chinese painting of "seeing and seeing" in front of our eyes, but also transforms the picture into an art of "feeling" through the vigorous calligraphy inscription and poetry.
Famous people commented on Li Jianchun
Jian Chunjun has long been famous for his poetry, and as a judge of the "First Shen Peng Poetry Calligraphy and Painting Competition" held by the Chinese Poetry Society and a specially invited editor of the album, there are many poems. The poems and paintings created during the epidemic to protect wild animals must be titled by each painting, and each question must be considerable, and it is interesting to chant. For him, painting never lacks poetic expression, and Mr. Li Jianchun, as a calligrapher and painter, is essentially a poet. He is famous for his seals, so he uses the lines of the seals to paint, which is strange and clumsy. His paintings are unique in ingenuity, he describes things with an almost original sense of shape, giving the viewer an extremely strong natural beauty, classical beauty, and schematic beauty, all of which originate from the unique ear of the sexual spirit. He can also take the knife to engrave the seal, and after looking at it, he is a typical literati painter who combines the "four absolutes" of poetry, books, paintings and printing.
------------------
Inscription poetry painting is an art form of literati painting. Tang originated, Song arose, hereditary. However, in history, there are inscriptions and poems with wild animals or animals as the theme, or poems, or paintings, or inscriptions, and there are few people who complete poems, books, and paintings independently. Mr. Li Jianchun's move is not easy, chewable, can be observed!
- Bamboo tip dew
【Inscription poem】 Panda
Visiting friends across the bridge a thousand snow,
The creek is sloping into the bamboo pole.
Crush National Treasure Can Be Cherished,
The messenger's shadow is all over the sea.
In the Tang Dynasty, inscriptions and paintings were prevalent. Li Bai's "Wushan Pillow Barrier": "Wushan Pillow Barrier paints high hills, and the trees on the edge of the White Emperor City are autumn. Towards the clouds at night into the nowhere, the water is not flowing. Du Fu's "Jiang Chugong Paints Horn Eagle Song": "Chu Gong painted eagle eagles wearing horns, killing Sen Sen to Youshuo." The viewer is greedy and throws his arms away, and the painter is not unintentional. This eagle portrait is on the left, but the real bone is passed on one by one. Liang Jian YanXiu was frightened, and did not hold the air for nine days. It was painted by Jiang Chugong as a horned eagle; the bird in Wang Wei's "Painting" is an inscription poem: "Look at the mountains from a distance and color, and listen to the water silently." Spring flowers are still there, and people and birds are not alarmed. "Only poetry can be read, and as for the paintings there are no reliable authentic handwritings that have survived. In the Song Dynasty, there were more and more inscriptions and paintings, and Su Shi famously "Evening View of Huichongchun River": "Three or two branches of peach blossoms outside the bamboo, the spring river plumbing duck prophet." Artemisia annua is full of short reed buds, which is when the puffer fish wants to go up. "It was painted for his friend Hui Chong's monk "Spring River Xiaojing". Su Shi himself inscribed poems and paintings are recorded in the annals of history, but no authentic works have been handed down. Therefore, it is indeed difficult to complete the inscription poem painting independently. Li Jianchun absorbed the wisdom of his predecessors, integrated poetry, books and paintings into one, did not delve into it, sank his heart, and stayed away from the hustle and bustle, but could not do it. ------------------
In history, animals are created in the genre, and poetry, books and paintings are independently integrated: Song Huizong himself is the pioneer of the integration of poetry, books and paintings from the form. He once painted a "Picture of The Birds of Lamei Mountain", leaving a blank space in the lower left of the picture, and he inscribed a poem of five musts: "The mountain fowl is relaxed, and the plum powder is gentle; there is already a Danqing covenant, and the thousand autumns refer to the white head." In the Ming Dynasty, Shen Zhou composed an inscription poem "Inscription Painting" for the creek bird he painted: "The blue water Danshan reflects the cane quinoa, and the sunset is still in the west of the small bridge." The slight groan did not frighten the stream birds, flying into the depths of the chaotic clouds and crying. Tang Yin of the Ming Dynasty wrote the inscription poem "Painting Chicken" for the rooster he painted: "The red crown on the head does not need to be cut, and the snow white walks in the future." In his lifetime, he did not dare to speak lightly, and told thousands of doors to open. "During the epidemic period, Mr. Li Jianchun independently completed a comprehensive work of art in the animal genre of poetry, books and paintings for 100 consecutive days, demonstrating his profound cultivation of traditional Chinese studies and outstanding artistic talent.
------------------
Li Jianchun, zi xiangyi, trumpet miaopi, qingmeiting, san xiuzhai, scholar, poet, calligrapher and painter. Vice Chairman of Beijing Municipal Calligraphers Association, member of Shen Pengchuang Research Class of National Academy of Painting of China, member of Chinese Calligraphers Association, member of Chinese Poetry Society, member of China Yuelian Society, etc. His calligraphy works have been awarded in national competitions such as the 3rd Lanting Award, the 1st Seal Book Exhibition, and the 1st Handwray Exhibition. Judge of the first Shen Peng Poetry Calligraphy and Painting Competition of the Chinese Poetry Society and specially invited editor of the portfolio. He was awarded the "2011 Top Ten Annual Figures of Chinese Calligraphy" and the "Beijing Staff Artist Title". He has published monographs such as "Poetry and Words" (co-authored with Mr. Shen Peng), "Li Jianchun Calligraphy Papers", "Deng Shiru Seal Book Thousand Character Literary Technique", "Rong Baozhai Book Genealogy Ancient Part Mao Gongding" and other monographs.