Wang Xuquan

"Flying elder brother write trees, I draw mountains. Brother Fei knows I'm black. If you are happy, do you know what a blustery storm is? " This is a dialogue between writer Fei Jinxian and painter Liu Yunquan on a piece of propaganda paper. This landscape painting full of ink and wash rhythm is an excellent work completed by a writer and painter. Writers write trees with lofty aspirations and full of poetry; Painters paint mountains with no distractions and far-reaching artistic conception; Knowing white and keeping black, you can know that white is precious, the reality and the reality coexist, the ink of light and shade, the connection of light and shade, the charm, harmony and accessibility, and the hazy aesthetic feeling. In this work, the shades of dry and wet coke are used freely and the brushwork is vigorous and extraordinary. Following the aesthetic principle of "knowing white and keeping black", the thatched cottage, secluded path, bright and dark light and virtual and real effects in the painting are perfectly displayed through the shades of pen and ink. Therefore, appreciating this landscape painting, looking closely at the brushwork and looking at the artistic conception from a distance, the soul will be inspired by beauty. In addition, the artistic conception of the work is also reflected in a large blank space in the upper left corner. The effect of filling the blank is that you can describe it as a distant mountain shrouded in dense, or you can turn it into a river and let it wander in your heart.

Similarly, Meng Haoran's poem "Prepare chicken and rice for me, old friend, you entertain me on your farm, we watch the green trees around your village and the surrounding mountains, the light blue of the Kaixuan Garden, talk about mulberry and hemp with cups in our hands, and wait until the mountain holiday, I will come back in chrysanthemum time" properly appears in another landscape painting by Fei Jinxian. This work was also written by a painter. It's a bit messy at close range, but it's poetic at a distance, which is better than the artistic conception under Tao Yuanming's hedge of picking chrysanthemums, and it's memorable. The painter integrates the skills of sketching and sketching into pen and ink, and writes cheerfully, heartily and magnificently; Its overall layout is reasonable, the space is distinct, and it presents a three-dimensional aesthetic feeling. The meaning follows the wish, and the scene is born from the heart, paying more attention to the shape rather than the shape. This is exactly what Shen Kuo, a scientist in the Northern Song Dynasty, said when commenting on Dong Yuan's paintings in "Talking about Meng Xi": Inadvertently using a pen, myopia is not like anything, and the scenery is awkward from a distance.

? Fei Jinxian was a film artist in his early years. He studied western painting and gained the beauty of picture layout and structure. Later, he gave up artistic creation and specialized in literature, becoming a famous writer. Now, Fei Jinxian has regained his brush and turned to landscape painting. Fei Jinxian said that writing novels is a kind of thinking activity and pure mental work; Painting is different, mental and physical strength, both physical and mental. Secondly, the visit of friends' old friends, friends' appreciation of tea, and the concern and courtesy of people from all walks of life are also the sources of his ink splashing. In order to exercise his weak body, Fei Jinxian put a picture and Four Treasures of the Study in his study, and hung up the encouragement motto of literary friends: "Don't pitch all the time, don't be complacent." (Wang Meng) "Poetry is in Youzhoutai, and its name will remain in future generations" (Liushahe). From then on, he began to create freehand brushwork landscape paintings. Fei Jinxian named his study "Guest Road", which was inscribed by his friend Ceng Laide and entrusted by his soul: I didn't know that he could do his best until I met Brother Jinxian for more than ten years, and his fasting number could be called Guest Road. I hope it is a place in the world. Here, Ceng Laide regards "Hakka Road" as "Hakka Road in the World", which leads to Su Shi's metaphor that "West Road is everywhere". It means that people in the world can understand the true meaning of their lives by spending all their talents: that is, the body can retire and the mind can be released from the world, thus reaching an ideal height. With the care of literary friends and the care of relatives, Fei Jinxian not only wrote novels, but also pinned his spiritual feelings between mountains and rivers, and became a veritable literati painter out of control.

Literati painting began with Wang Wei in the Tang Dynasty. Prosperous in the Song and Yuan Dynasties. Do not seek neatness, shape, purpose and value; Literati painting is named because of its literary heart, poetic feeling and artistic meaning. As a writer, Fei Jinxian has won the essence of literati painting and knows how to choose and how to lay out. Like many literati painters, he often does whatever he wants. For example, the work "Impression of Guizhou" follows the ink-accumulating technique, and uses large pieces of thick ink and Jiao Mo to dye the picture, creating a grand scene of strange peaks, rocks and mountains. This work is mainly in black ink, and the layout of the picture is exquisite and elegant. It is amazing to use blank space to form a clear spring waterfall in a ravine between mountains, and to set off the spatial level of the picture with accumulated black ink. The fate and trend of the ink group are elegant and handsome, emitting a strong humanistic atmosphere, and at the same time showing an ethereal atmosphere of retreat. Shi Taoyun: "There is a dark mass in the ink mass, and the world in the ink mass is wide" is the truth. Although the world is wide, it is easy to turn black if the balance between ink and rice paper is not mastered. Keep black, and you will know that white is more valuable; This is the touchstone to test the painter's pen and ink skills.

? "The blue buds at the foot of the mountain are immersed in the stream, and the sand road between the pines is clean and mud-free, and it is raining at dusk. Who says life can't go back to adolescence? The water in front of the door can also flow west! Don't sing yellow chicken with white hair. " This work, which takes Su Shi's poems as the spirit message, expresses Fei Jinxian's heartfelt wishes. He was very ill when he painted this picture. Because his left hand and feet were not flexible, he insisted on splashing ink on rice paper with his right hand. When it comes to writing brush, my thoughts continue and I write happily. Wind, rain, rocks, vegetation and cliffs have all become props for his free expression of his mind, which, like dolls, breeds various amorous feelings in his works. This work expresses the romantic feelings and lofty aspirations of literati and painters in the form of ghostwriting. In the painting, light ink and wet ink are used to smudge, and the cliff wall with black ink is compared with the blank waterfall to contrast the spatial level of the picture. Freehand blue buds sprout flowers and trees with smiles, and Su Shi's poems stand on the cliff, echoing the cabin from a distance, and it is inevitable to climb high and look far.

The pen is born with the heart, and the phase is born with the heart. The ink image rises and falls with the heart, and naturally enters a good situation of "the pen can't express its meaning". Therefore, once Fei Jinxian's landscape paintings are touched by the heart of literature, his ink image will become more poetic, thus surpassing some statutes. For example, in "Mountain Temple", majestic mountains, majestic trees, gentle rivers, rows of tile houses and long bridges are all sketched by modelling technique ... Through undulating lines, rich brushstrokes and clever blank spaces, the level and artistic conception of the picture are highlighted, and a landscape map of shallow hills in the middle of Sichuan emerges from the paper. In 20 12, when Fei Jinxian's collection of short stories "White Eyes" was published, it was used as the cover, which filled with the writer Fei Jinxian's deep affection for his hometown. Another work, Jiuzhai Cabin, provides a glimpse of its sketching and printmaking techniques. Wet ink, thick ink and rubbing are used together, and the brushwork is vigorous and powerful, and the ink color is thick and moist. Three old trees, quiet, gloomy and mottled, like three ancient monks accompanying a quiet hut; Not far away, the green branches are facing the sun and growing brilliantly towards the sky. Perhaps it is because of the unyielding pride of the old tree that the new branches have a gentle extension. This forgotten forest is the place where the painter's soul is placed. Presumably, that hut must be a place where the artist's literary heart flashes and his wisdom shines.

? In Fei Jinxian's landscape paintings, there is a very obvious feature, that is, the location must be a hut. The hut expresses the painter's seclusion, a Zen life of returning to nature and everything in the world. In fact, Fei Jinxian doesn't want to be a hermit. He just wants to decompress his sinking body through painting, draw the scenery in his heart with pen and ink in his hand, and let his mind go on a long journey. So he had the beautiful scenery of into the badlands and Cang Shu, but what he saw was the endless, quiet mountains and gurgling rocks of Shan Ye.

But in Fei Jinxian's eyes, the scenery in his hometown is not limited to the bamboo forests in the fields and the autumn wind in the thatched cottage. The old wall is also a beautiful scenery. The work "Blue" follows the impressionist technique, uses the contextual layout of western paintings, and highlights the mottling of the city wall by dot dyeing; Using rubbings, freehand brushwork the light marks of gray-black stones; Outline the noisy street tile house; It made an independent pot of green plums, which bloomed freely with frost. It symbolizes the painter's strong will to life, is a chilly scenery standing in the cold wind, and tells people the story of the old city wall. City walls, tile houses, green plums and stone strips are the hometown elements in the painter's memory. Through the context of western painting, the effect of plane perspective is constructed, which makes his works more connotative. Similarly, The Western Cabin depicts the scenery of Jiuzhai in the context of western painting. The wooden house here is covered with a thin layer of snow, the ripples on the water surface are understated, and the yellow leaves hang down. That must be the scene of entering early winter. This work combines the techniques of oil painting, line drawing, ink painting and freehand brushwork, and gives the picture a sense of hierarchy and space through blank, wet ink and smudge, making the work more realistic.

The shade of pen and ink is the expression of the painter's spiritual track, and the emotion, strength, meaning, interest, momentum and sense of time and space it conveys constitute aesthetic elements. The pursuit of interest in literati painting is even more unconventional. Why are houses and cottages in Fei Jinxian's landscape paintings, not people? Obviously, the house has become an irreplaceable symbolic element and aesthetic photo of Fei Jinxian's landscape paintings, and it is also the "heart Zhai" of his soul. It is too shallow to interpret Fei Jinxian's landscape paintings with the philosophy of "poetry and distance". Only by observing the natural mountains and rivers deeply can the subjective description of mountains and rivers be expressed vividly, from which the painter's assimilation of mountains and rivers can be realized, and the materialized self can be integrated into the creation of landscape images, giving the works a deeper philosophy.

? Literature and art are an organic whole. In the words of painter Liu Yunquan, literature determines the artistic conception, realm and spirit of artistic works ... Works have no literary spirit and backbone, and their sincerity is not enough, which is unsustainable. Yes! Only a literary mind can shine the light of wisdom. Fei Jinxian extended the artistic conception and narrative expression of literature to artistic creation, making the theme of his works lively and interesting. The space of ink image accurately defines the pulse of spiritual image hidden in the depths of his soul. It is noble, quiet and mysterious, and it entangles many complicated emotions to form a creative impulse of self-awakening. Therefore, appreciate the mountains and rivers and gain insight into the way of everything in the world. It is the life philosophy of literati landscape painters to seek truth from the highest morality, achieve "harmony between man and nature", merge with "avenue" and return to "nature". Through the writing of the scenery, I let go of my mood and inspired the words. At the same time, it also makes the cost of living in a wheelchair perfect and realizes the long-cherished wish of climbing the mountain.

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