Text/Qi Jinen

Jin Wen grew up in Jinhua, Zhejiang, served as a soldier, and then came to China Academy of Fine Arts to study Chinese painting. Now he lives and paints in the ancient city of Nanjing. The mountains, rivers, humanistic environment and traditional culture in the southeast have influenced him imperceptibly and guided him to March on the road of Chinese painting. Learning tradition is an extravagant hope for young students who live in a social environment where everything is "efficient" and "practical", because it can't give you an immediate "practical" effect. On the other hand, Jin Wen, I have seen many of his paintings in Yuan, Ming and Qing Dynasties. In my impression, he has a soft spot for Wen Zhiming and made great efforts to study and study Shi Tao. In addition, he also studied calligraphy hard, which can be seen from his inscription and postscript. I remember that when I was giving lectures to students, I repeatedly explained the important role of line in Chinese painting in view of many students' lack of understanding of the use and quality of line in Chinese painting. Chinese painting pays attention to pen and ink, artistic conception and interest, which are largely reflected in the use of pen and ink. Zhang Yanyuan said in the Tang Dynasty that "the image of a husband must be shaped, and the shape must be full of backbone, and the backbone is similar. All this is based on the will and depends on the pen." Therefore, the quality of a painter's pen and ink is directly related to the quality of his works. Jin Wen has a clear understanding of this point. He practiced using thread by drawing a circle by Lu. At that time, I called on everyone to learn from him. Wrist hanging, putting pen to paper, lifting pen and closing pen repeatedly played a very good role in improving students' hook line and understanding of pen and ink.

Some of his great works, which are more than eight feet long, are of high quality. Whether it is turquoise or ink painting, they are different from others in shape and form, unusual and not grotesque. Rigidity contains my own opinions, subjectivity, freedom and unique style. I once invited my good friend Zhu Jianzhong to look at his paintings in class. We both thought that his paintings had feelings, delicate brushwork and ancient meanings, which was very rare!

It's a bit of a cliche to end this essay with such rhetoric as "It's a long way to go, Xiu Yuan Xi, Xiu Yuan Xi". However, becoming a real painter is a very hard work. I'm afraid it's also an essential lesson to go up and down, and I'm willing to encourage Wen Jindi.

Qi Yu 12 was born in Nanjing on February 20th.

Literary talent overflows the copywriting, and the heart of the book is endowed with brushstrokes-Impressions of landscape painting

Text/Chen Kenian

The first time I saw the young painter Sheng's landscape paintings was a large-scale exhibition held by the Nanjing Military Region in Nanjing Museum last year. He exhibited two large-scale works, describing the sublimity and magnificence of mountains and rivers with rigorous and capable brushwork, which shocked and admired me. Later, at the exhibition held by Jiangsu Artists Association, I saw him win the prize with a picture of "Clouds in My Hometown". This landscape painting, which consists of six hometown scenes, not only depicts the scenery of the painter's hometown, but also fully shows the painter's ability to learn from nature and win people's hearts. Therefore, we have more communication. Later, I learned that we were born in the same year, and we all had military experience and the friendship of studying in the Chinese Academy of Fine Arts. But because we were both very busy, we didn't communicate much later, and the only few times were mostly chatting with friends. One day not long ago, Brother Jinwen came to my office specially and said that he wanted me to write some criticism. I readily agree to such a task. I think, apart from some emotional factors, I prefer to read his landscape carefully. I believe that in his works, there will be many different kinds of scenery to share our expectations.

Recently, especially after seeing a batch of his landscape works sketching Nanjing, I am even more gratified. These works not only vividly record the painter's deep feelings for Nanjing, but also reflect a feeling of life in his own way.

After the Song and Yuan Dynasties, China's landscape paintings, with the participation of a large number of literati, paid more attention to the interest and aesthetics of pen and ink and its subsidiary and derivative. Therefore, pen and ink are the soul and core of Chinese painting, especially the landscape with pen and ink as the basic language after Song and Yuan Dynasties, which pushed pen and ink to a very high position. Therefore, Shi Tao would cry out like that: "Pen and ink should follow the times." In the Qing Dynasty, Wang Yi said in qinghui's Postscript on Paintings: "A painter's six methods focus on vivid expression. Everyone can talk, but everyone can't get it. They all grasp the vitality of nature when using pen and ink. Only the hills and valleys shrouded in mist got the news. Otherwise, although I have been caressing the ancient dharma all my life, I will be separated by several layers. " Looking at this batch of paintings by Brother Jinwen, we are really infected by his pen and ink. Every line of his writing is full of characteristics and interests, and he is confident and comfortable. Of course, it depends on his profound calligraphy skills. His calligraphy is very good and wonderful. It is said that when he was studying in the Academy of Fine Arts, he once studied a green landscape and wrote an inscription in Daqian's calligraphy style, which surprised the professors of the Chinese Academy of Fine Arts. Of course, there is a difference between China's paintings, good calligraphy and pen and ink. I remember when I was studying in the Academy of Fine Arts, I had a classmate who was very good at calligraphy, but I couldn't "convert" the pen and ink of calligraphy into painting for a while. At this point, Jin Wen seems to have performed very well, which is naturally a concrete manifestation of his ability. Another point is the charm and style of pen and ink. Therefore, the ancients put great emphasis on "vivid charm". Sheikh put "vivid charm" in the first place in painting, and Gu Kaizhi, a figure painter in the Eastern Jin Dynasty, called it "god", which is the spiritual temperament of the image. It can be seen that this is the whole spirit of a work, and of course it cannot be separated from the comprehensive performance of other aspects. Tang, a native of the Tang Dynasty, wrote in "On Painting": "Vivid charm is different from moistening smoke, and the whole world calls moistening smoke vivid and ridiculous. Those who cover the sky and the sun are full of pen and ink, imposing, bearing and energetic, which is called rhyme here, but expressive is not replaced by rhyme. The living are not poor, but far-reaching. People who move are active but not rigid, lively and likable. Everyone should be unknown and unknown. For example, the Map of Han Yun painted by Liu Bao and the Map of the North Wind make people feel hot and cold. Another example is to draw a cat killing a mouse, and draw a master crossing the sea to extinguish the wind, making the finishing point and flying away, also called. Wet as smoke, but there is no trace of ink. It' s not awkward at all, you can also mix and eat! " In his paintings, although there is no such scene of splashing ink, there is still a kind of vitality, whether it is quiet Shan Lan or flowing clouds, solemn or floating, pen and ink are each other's appearance, white and black, true and hearty, kind and natural. He wrote his own landscape image with delicate and heavy brushwork, which not only has the lofty and quiet brushwork of traditional landscape, but also has the vivid vitality of contemporary human brushwork.

A painter's ability in painting art is often a very important thing that distinguishes him from others, and even forms an important foundation for his personal language. Some people use pen and ink, such as Wu Changshuo's painting with books. It can be said that he opened the distance between his painting and his predecessors and peers with the lines of his seal. Ma Yuan, known as the "Horse Horn", Chen Hongshou of Amin Dynasty and others created unique artistic language schema. It's simple. When we see a painting, it must first be a large external structure. The ancients said that a distant view is powerful and a close view is qualitative. In fact, what we pay attention to is a law of painting appreciation. So many people will spend their whole lives trying to manage the screen form, but the fact is that not everyone is successful. Shen Zongqian, a Qing Dynasty man, said in "Painting of Mustard Seeds": "The layout is ups and downs, not for decoration, but for greatness." Honest and straightforward, straight up and down, big smile is also. The style of writing is elegant, good and picturesque. Slow and steady, mature waves, big intentions. Writing a house is seclusion; Writing characters has comfortable meaning; Writing firewood is hiding. When you write a lonely sail, you must first be a mountain man, and you will be interested in it with the intention of looking at things outside. Even if you can't catch the ancients, you will be superior. "However, in the landscape paintings of Jinwen, we have seen many works with traditional composition patterns. In these works, he pays more attention to pen and ink and some stylized things. Of course, we can't deny the value and significance of this tradition. For example, works such as empty mountains after rain, and even some green landscapes such as Fuxi Caotang and Chunshan seclusion are quite pure and refined. This has shown his interest in it. At the same time, it also shows that Brother Jinwen can draw big pictures. For a painter, I personally think that being able to draw big pictures is an ability. A big painting is not only a big picture, but also an emotional broadness and heroism. Otherwise, it may just be simple and complicated. In fact, I prefer to see something unexpected and fresh from him, especially some sketches. Although the picture scale is not large, each work shows a composition intention. It can be said that he is a painter who is very good at putting pen to paper in unexpected places, and at the same time he can arrange it safely and naturally, so that the relationship between the guest and the host, echo, truth, simplicity, density, concealment, concavity and convexity can stay in the picture naturally and harmoniously. He will let a large cloud wander freely in the picture and make the picture full of an ethereal poetic thinking. Such exploration and attempt will not only enrich the picture, but also naturally make our restless souls think more calmly. As a painter, Jin Wen, who has just passed the age of no doubt, is still very young, and the landscape painting already has a vast, fresh, heavy and agile artistic personality, which is very valuable.

Brother Jinwen has a steady personality. He doesn't talk much, and there are few people who talk loudly or indulge in wild behavior. However, he has his own ideas on some issues. He is by no means a simple parrot. These characters are always rigorous and logical in his works. He never thought that he was deceiving the world with his so-called talent, and he always painted his own paintings seriously. Therefore, his paintings. In the final analysis, Chinese painting is the external embodiment of China people's connotation spirit, which always runs through the core spirit of justice and peace in China culture. So as a painter, personal accomplishment is as important as skill training. I have compared the scenery on the roof. Standing alone on the second floor, I can't see the scenery on the top of the third floor. Only when he is tall can he be suddenly enlightened. Brother Jinwen is very sober at this point. We look forward to his further comprehensive practice. On the basis of reading, sketching and thinking, he will continue to explore and enrich his pen and ink language, and draw a splendid Wan Li with a broader vision and profound brushwork.

Writing to Carry the Road and Pleasant Scenery —— Reading the Paintings of Jinwen

Text/Shao Xiaofeng

My friend Sheng's paintings in recent years are very successful, which can be roughly divided into two categories, one is cyan, and the other is ink painting. Personally, I am more committed to his ink landscape, and his personality and characteristics are better displayed in these works.

If we further study the painter Jin Wen's situation, there are several characteristics worthy of attention in the art world.

First, quiet and simple, painting people in one.

Jin Wen is quiet and introverted, with the temperament of oriental literati. Painting is like a man, and his works also abandon glitz and publicity, and have inherent beauty. Jin Wen's military experience and many years of military career make him have perseverance in his heart, which is also reflected in his works.

Therefore, whether painting landscapes or writing marble, its shaping methods are quite powerful. Mr. Hong Bei once said that people should have pride, but they should have pride. Jin Wen's pride is also obvious, and his people and paintings are reflected.

In the process of learning tradition, on the one hand, he studied deeply, on the other hand, he studied flexibly, and he was able to change the style of painting and manage the layout in combination with his own specialties. The scenery in the four seasons is different. Among the objects of learning from the scriptures, the landscape charm of the Song Dynasty and some ink paintings of the Song people became the source of its popularity. So although its lines are thin, it looks vigorous and powerful. The pavilion has a detailed outline, and its content and scenery are close to those of the Song Dynasty.

But the bronze inscription endowed him with a literati atmosphere and made a simple expression.

Second, pen and ink deepen and blend ancient and modern.

I think among Jin Wen's new works, a series of works depicting Nanjing scenery are the most valuable. In the scene display and description techniques, whether it is Yanziji, Xuanwu Lake, Purple Mountain or qixia temple, the ancient and the modern are organically blended, making the past serve the present. Take his "Swallow's Rock (Sketch 1)" as an example. Although this is the theme that Nanjing painters often express, he can use Gu Zhuo's skills and pure ink color to show the current landscape of Yanzi Rock School. In the meantime, pavilions, stone roads, lush trees, huge rocks, rivers and quiet clouds, and even the second bridge that flies in the air have all completed the description of the grand scene in a small picture. Its fine lines and rich ink colors constitute a harmonious blend, giving this ancient and famous Nanjing scenic spot a new machine.

In his huge works, represented by "Cold Garden Boxing Stick", the composition is complex and the scenery is rich, and the description of trees and rocks has its own personality language. The rocks are thick and vast, and the huge trees and branches distributed in them are very interesting, with an extraordinary spirit and a breath of "cold garden". Above the mountain road, there is also a picture of two people fighting, so it is named "Cold Garden Boxing Club". With the lofty sentiments of chivalrous men, this makes the lonely mountain scenery pay more attention to temperament, which is the prelude to the arrival of spring and Qingming.

Third, the text contains the road and the scenery is pleasant.

Among the major plastic arts in China, the relationship between them is complicated. However, if they are closely related, and you have me, I have you, and even have developed in parallel to the contemporary era, and they can prosper each other, then calligraphy and painting are unique.

Therefore, in the field of traditional culture in China, calligraphy and painting have always been inseparable. Painters are also calligraphers in history, and they can be seen everywhere. Jin Wen also practiced calligraphy hard, and his inscriptions were dignified and rigorous, harmonious and restrained, and the breath of this character was also integrated with his painting style. It is precisely because of this that Jin Wen can realize the simple reproduction of the scenery in his works with concise pen and ink and poor language.

It is worth noting that the names of inscriptions on bronze inscriptions can be explored, because China people have always believed that names are of educational significance to people. As far as political history is concerned, there was a rule of cultural scenery in ancient times, which created a great cause; As far as literary creation is concerned, splendid articles of past dynasties have constructed Chinese culture; As far as the painter Jin Wen is concerned, sincerity can be said to be that the text carries the Tao and the scenery (splendid) is pleasing to people. Cultural thought is the root of art, and creating a pleasant environment is the foundation of mountains and rivers. These all seem to be destined and admirable by bronze inscriptions, so bronze inscriptions' paintings can also create a world in contemporary painting circles.