Liang Wei's Pale Brush and Old Ink

In recent years, Liang Wei's landscape paintings have begun to receive widespread attention in Shaanxi and across the country.

In the autumn of the year of the dragon, Liang Wei held the "Old Brush Liang Wei Landscape Painting Exhibition" in Shaanxi Fine Arts Museum, which was a great success. Cui Zhenkuan, a famous painter, commented at the opening ceremony that Liang Wei is a very famous old painter in Shaanxi and has been in the art for 50 years. His landscape paintings have old ink and brushwork, Chen Xiong style, high academic taste and distinctive personality style. Liang Wei is very influential in Shaanxi and in the whole country. Wang Xijing, president of the Shaanxi Art Association, said, "It may take only one hour to see Liang Wei's works, but it took him 50 years of hard work." Now, after half a century of artistic trekking, Liang Wei's landscape paintings have reached the height of individual ultimate. After the exhibition, "Old Brush Liang Wei" began to become a ****recognized name in and out of the industry. As a symbol, "Old Brush" has become a label for Liang Wei's artistic achievement in landscape painting.

Liang Wei received two stages of solid professional training and education in his early years at the Academy of Fine Arts and undergraduate, and after graduation, he continued to paint throughout his life. He first switched from painting figures to landscapes, and then from landscapes to cypresses. Especially praiseworthy is that, in the past 20 years, he used skillful, sophisticated, the most difficult and the most obvious power of the focal ink brushwork, the image of the cypress in the Northwest Millennium, full of feelings depicted on the rice paper. The main trunk of the twisted, cracked old skin, the roots of the coiled and the cypress is not afraid of the wind and cold, positive character traits, giving a person great aesthetic enlightenment and spiritual inspiration.

Throughout Liang Wei's landscape paintings, whether it is his landscape series or his cypress series, a kind of "atmosphere", "righteousness" and "grandeur" comes out, which is the most important difference between Liang Wei's landscape paintings and those of others. This is the distinctive feature that distinguishes Liang Wei's landscapes from others. Among the "three qi", "righteousness" is the bone, "atmosphere" is the form, and "grandeur" is the rhyme. The "righteousness" in the paintings is like the mist between the rocks and the smoke between the mountains, which breaks through the ink and overflows on the paper and goes straight to the hearts of the people. Liang's paintings of the Wei Bei Plateau, including the mountain beams and dirt mounts, barren plains and wild gullies, kilns and holes, and cows and sheep in the village courtyard, are all sketched out with tough lines. While he pursues the strength of the lines and the tension of the picture, the whole of the painting is very translucent and beautiful. Liang Wei is a man from Qin, a meter eight and a half, walking with a thud. This piece of land in his hometown has produced Wang Ding and Yang Hucheng. The mountains and rivers of his hometown have been harboring the vastness of the flood plains and the awe-inspiring atmosphere of heaven and earth since ancient times. In calligraphy and painting, this piece of land related to the hometown has produced Jing Hao, Guan Tong, and Fan Kuan of the Song Dynasty. Jing Hao and Guan Tong of the Northern School of Landscape injected Liang Wei's rough and bold modeling ink and brushwork into his landscapes, while Fan Kuan, a master and village sage who "writes the true bones of the mountains," made Liang Wei's heart and mind more noble and upright. In terms of brushwork, Mr. Liang was y impressed by Fan Kuan's "mountains and rivers are thick, and there is the weather of Heshuo, and the snow filled the mountains with the movement of thousands of miles away". In calligraphy, Liu Gongquan and Yan Zhenqing, the great local calligraphers of the previous generation, with their "Yan tendons and willow bones", uniquely gave Liang Wei the nourishment of a square and strong personality with a clear and majestic charm. Liu Gongquan's aphorism of calligraphy, "If the heart is right, the brush is right, and if the brush is right, it can be used as the law," has given Liang耘 the genetic bloodline of his personality. Liang Wei is an artist who has inherited the tradition of Chinese calligraphy and painting very well, and this vein and line of "righteousness" has been passed down for thousands of years, to Liang Wei's body and screwed into his soul. In terms of this line, Liang Wei has gone back to his "old roots". He trekked all the way to the "root" and "waded" to the "source". Liang Wei is the right root, the right path, and the right style. Therefore, Liang Wei's landscape works are always difficult to suppress a kind of heaven and earth and everyone's righteousness. Under the current reality of "osteoporosis", "general lack of calcium", lack of "justice", and "righteousness", Liang's landscape paintings show a sense of "righteousness". The "righteousness", "atmosphere" and "grandeur" presented by Liang Wei's landscape paintings are especially precious. It is precisely this "righteousness," "atmosphere," and "boldness" that have made Liang's artistic practice reach the point of "old brushwork," and "skillfulness," and "ease of use. The art practice of Liang Wei has reached a state of "old brush strokes" and "easy and skillful" art.

In the aesthetics of Chinese landscape painting, the word "old" is often embodied in the words "old," "old," "old," "old," "old," "old," "old," "old," "old," "old," "old," and "old. The ancient revered "ancient meaning", "ancient elegance", "ancient simplicity", "ancient clumsiness" and so on, when it is the The aesthetic meaning of "old" is synonymous with the interpretation of "old". Liang Wei's series of landscape creations are thick, atmospheric, barren and cool, especially in the later period of his works, which are particularly characterized by the flavors of "raw, old, clumsy and spicy". Taste carefully, I think Liang's "old brush" is "old", mainly in "sophisticated", "old and clumsy", "old and spicy", "old and clumsy", "old and clumsy", "old and clumsy", "old and clumsy" and "old and clumsy". The "old" is mainly in the four aspects of "old practice", "old clumsy", "old spice", and "old state".

With 50 years of artistic practice, Liang Wei's pen has long reached the level of being versatile and skillful as a finger in the palm of his hand. "Skillfulness" is the premise and foundation of the "old brush" realm. In the hometown of this piece of land, the Northern Song Dynasty landscape predecessor Fan Kuan said: "I am not as good as the division of people, not as good as the division of things. I am not as good a teacher of things as I am of the heart." Ming dynasty Kunshan Wang Cui, nearly 50 years old when he visited Mount Hua in the fall, Fang realized that thirty years of learning to paint, but the paper and silk, deep emotion when "my teacher heart, heart teacher eye, eye teacher Mount Hua." Liang Wei started with sketching, knowing the truth that "to steal the likeness on paper is to become a common product". His paintings do not come from the Mustard Seed Garden, not from the Song and Yuan landscapes and ancient paintings, but from the reality of nature, which determines the distinctive realism of Liang's works. After copying Fan Kuan, Liang Wei returned to Weibei in North Tongguan, plunged headlong into it, and began a grueling sketching career. He began to write from a stone, a tree, a stream, and a hillside. In this way, "ten days a water, five days a stone." "When a piece of stone sits against it for a long time, one knows all the points." In order to sketch, he made his own extra-large folder, which could almost put down four feet of paper. Liang said there is probably no second one in the country with such a big clip. Liang likes to visit the mountains in the late winter and early spring to observe the bare and uncovered mountains, emphasizing the bones of the mountains, the texture of the rocks, and the inner spiritual temperament of the mountains. He once ventured into the mountains to sketch in the snow, forgetting the morning and evening due to his obsession and intoxication, and was so confused that he did not know the way back. He would go into the mountains for a day, often staying in one position for one or two hours. Some people asked him how he drew his large sketches in amazement. Liang Wei said that a large piece of felt was spread on the ground, and that was his drawing table. One by one, the paintings were finished, and when they were put together, it was a long scroll. Liang Wei's footsteps climbed all over the Weibei Plateau's thousands of ravines and gullies, and turned over the barren mountains around Tongchuan, more than ten years down the road, he was familiar with the mountainous terrain, villages and kilns, peaks and mountains, and folk customs, etc. as if he knew them all by heart. It was in this situation that Liang Wei accidentally found out that the "prototype" of Fan Kuan's "Cold Forest in Snowy Landscape" and "Traveling on the Mountain" in the Northern Song Dynasty should be in the area of Zhaogin in Weibei. During those years, Liang Wei was silent in Tongchuan for 20 years. Some people say that Liang Wei had to be put in Xi'an in those 20 years, and had become a popular figure in the painting world. In fact, as Mr. Fei Bingxun said, "The 20 years of hibernation in Tongguan, North China, delayed Liang Wei, but also made him successful." Nowadays, dozens of sketchbooks bear witness to Liang Wei's solid and persistent artistic path. It is in this kind of solid and long sketching practice that his brush has grown from "rusty" to "skillful", from "skillful" to "seasoned", and finally to "sophisticated". "and eventually reach the artistic realm of "old practice, old" and "old brush strokes".

Liang Wei was born in Weibei, a region that used to be the origin of the Northern School of Chinese painting, and the source of the sublime beauty of Chinese landscape painting. Dong Qichang and Mo is a dragon in the Ming Dynasty, at the same time put forward the landscape painting of the "North and South Sect theory", to the Buddhist Zen metaphor painting: "Zen has North and South Sect, Tang Dynasty began to be divided, the painting of the North and South Sect, also Tang Dynasty, but the people are not North and South ear." The reason why Buddhist Zen Buddhism is divided into North and South Sect is that their methods of cultivation are different: the North Sect talks about "gradual cultivation" and emphasizes hard practice; the South Sect talks about "epiphany" and emphasizes inspiration. Dong Mo's emphasis on the South and the North is biased, but it still makes sense in terms of distinguishing between different styles of painting. Just like Zen Buddhism, generations of northern landscape painters have had the artistic spirit of "gradual cultivation" and "hard practice" in their practice. This is true for Jing Hao and Guan Tong in ancient times, for Fan Kuan, and for the contemporary Chang'an School of Painting. Shaanxi is a land of "stupid" writers and "stupid" artists. However, in the extreme of stupidity and clumsiness, spirituality is revealed. This is true for Lu Yao, Chen Zhongshi, and Jia Pingwa. Once a person heard that Jia Pingwa had hand-written more than 13 million words over the past few decades, he was surprised and asked, "What do you want to write so much? Jia Pingwa replied, "What if I don't write? This is the only variety." Mr. Liang said that he only paints and draws in his life. He named his blog "Bitter Ox Lodge", which is a metaphor for his character as a hard-working ox; he named himself "Cultivation", which also means that he is an ox that only knows how to plough in the field of art. Liang Wei is willing to put in stupid efforts and hard work in his creation, and "old and clumsy" is his distinctive feature. Liang's works are thick and atmospheric, simple and coarse, rough and disheveled, and desolate. Famous writer Zhu Wenjie commented on Liang's landscape works, using the phrase "coarse porcelain urn" to summarize his aesthetic meaning. Liang Wei's works are rarely tricky, but very heavy. Liang耘 is faithful to life and emphasizes technique without playing tricks. Whether it is the brushwork or the chiaroscuro, Liang耘's performance is all flashy and reveals his true colors. Liang Wei is good at using "old and clumsy" brushwork to convey the innate and original beauty and clumsiness of nature. Zhao Mengfu said, "Painting is characterized by an ancient sense of meaning, without which work is of no use." The "ancient meaning" here is precisely the aesthetic category inherent in "old clumsiness". Zhu Qizhan, a contemporary artist, said that "simplicity is the best in painting, avoiding ostentation". Liang Wei's artistic practice, on the path of "old clumsiness," reveals the full meaning of the term. In philosophy, there is a dialectical unity between "clumsiness" and "skill". According to Zhao Zhenchuan, a famous painter, Liang Wei's paintings, like his person, have a very clumsy side. However, he is able to see the cleverness in the clumsiness, which is naturally a great cleverness.

"Old and hot" as an aesthetic category, should be "old", "sharp", "powerful" and "fierce" in the art world. " "fierce" and "exclusive" of the broad collection. An artist's "sophistication" indicates that his or her artistic experience and life experience have reached the point of perfection. Liang Wei inherits the essence of Chinese painting, adheres to tradition, and sticks to brush and ink. The most important feature of his landscape paintings is that they are characterized by the use of brush and ink. He attaches great importance to the use of brush and ink, from the use of brush and ink to the use of dots and lines, and works hard on the structural program of Chinese painting. His brushwork, especially the use of line, has three twists and turns, strong and powerful, not only outlining the plane, but also showing a sense of three-dimensionality. The essence of Chinese painting is that calligraphy and painting have the same origin. "The one who uses ink in the brush is skillful, and the one who uses brush in the ink is capable." "The brush is the bone, the ink is the flesh." In the process of Liang Wei's creation, the conversion, staccato, and strength of the brush are constantly being strengthened, and there is a concave-convex shape when he puts down the brush, which constitutes the distinctive individuality of his works. Chen Jiru of the Qing Dynasty said, "There are those who have wonderful strokes but not wonderful ink, those who have wonderful ink but not wonderful strokes, those who have wonderful strokes and ink, and those who have no strokes and ink at all." Liang Wei's landscape works, to reach the pen and ink are good. Wen zhengming said: "character is not high, with ink can not." It is not a trivial matter to say that the ink falls on the paper. In this way, "the character has been high, chi Yun had to be high; chi Yun has been high, vivid had to be to." That is why Cui Zhenkuan said, "Liang Wei's paintings are very durable, very traditional, but also very modern, with a sense of strength." There is another characteristic of Liang Wei's "old spiciness": the "golden stone atmosphere". After the Qing Dynasty, "the sound of gold and jade", the aesthetic appeal of using gold and stone into paintings appeared, such as Bada Shanren, Zhao Zhiqian, Qi Baishi, etc. Liang耘's landscape paintings are characterized by a sense of tradition, but also a sense of modernity. Liang Wei's landscape paintings contain a strong meaning of gold and stone. While emphasizing on ink and brushwork, he integrates the stone and metal brushwork of artifacts into his paintings, with ink dots such as falling stones on mountains and lines such as coiled vines, thus making the mountains and rivers, flowers and plants under his paintings appear majestic and simple, heavy and old-fashioned, rough and messy, with iron and gold-like rhythms. Mr. Cui Zhenkuan summarized the aesthetic characteristics of Liang Wei's landscapes as "rough and chaotic". In The New Sayings of the World, Pei Kai, because of his handsome appearance, "took off his crown, and his rough clothes and messy head were all good." Mr. Cui's generalization of "rough clothes and messy head", and the lightness and freedom of speech are the outward manifestation of Liang's profound artistic skills, calmness and self-confidence, as well as the interpretation of Liang's "old and spicy" brush strokes.

In his landscapes, Liang Wei attaches great importance to the realm. In the past ten years, he has switched from landscape to specializing in cypress. For Du Fu's cypress, which is "like bronze rooted like stone" and "two thousand feet in the sky", Liang put a lot of effort into it. He wrote the Weibei cypress, not to shape, not to quality balance, no Sichuan "Cuiyun gallery" cypress verdant, and no Suzhou "cypress an" cypress green. It is rooted in the arid Weibei Plateau, old, strong, weathered, roots such as bare tendons, body such as hemp rope, scars such as broken arms, branches such as iron ke. That kind of unyielding and exuberant, that kind of bitter but especially the image of the fight, it is the Chinese nation for thousands of years, indomitable, tenacious and upward spiritual reflection. "Painting with burnt ink has an angry rhythm, and writing with light ink produces ancient colors." The mood created by Liang Wei's burnt ink cypresses is a combination of feelings and intentions, an artistic spark resulting from the collision between the "origin of the heart" and the "creation". As far as Chinese painting is concerned, form is easy to obtain, but chiaroscuro is hard to find. The so-called "qi" in "qi yun vivid" refers to "yuan qi", Du Poetry has the sentence "yuan qi drenched barrier is still wet". Du Poetry has the sentence "The barrier of Yuan Qi is still wet". Mencius said, "I have cultivated the spirit of the vastness of my heart, and it is also stuffed between heaven and earth." Liang Weiyi cultivated this kind of heart and mind on a daily basis, which was as big as the sky and the earth. In his paintings, Yuan Qi is expressed as a kind of golden stone gas, vast gas, righteousness, atmosphere and grandeur.

Shi Tao said, "Painting is subject to the ink, ink is subject to the brush, the brush is subject to the wrist, and the wrist is subject to the heart." Liang Wei creates a mood and often integrates himself into it. In this kind of art realm of mutual care and forgetfulness, the bottom of his brush naturally reflects the intermingled meanings of subject and object. As Cui Zhenkuan said, "Liang Wei's cypresses in burnt ink, especially in the last one or two years, are more sophisticated than before." His later cypresses have moved from the initial depiction of the ritual to the depiction of the imagery, combining the object and the spirit of the subject. In appearance, he was painting the object, but in fact he was painting himself. At this point, the object becomes a materialization of the painter's soul. In the words of Li Zehou, Liang completed the transformation from "the state of no self" to "the state of self". As for Liang Wei himself, this transformation is the perfect embodiment of his artistic style, which has reached the "old state".

Chinese landscape painting began in Jin, flourished in Tang, flourished in Song, and flourished in Yuan. In the 1700 years of history of landscape painting, Liang Wei is probably the first person who can focus on depicting the thousand-year-old cypresses in the middle reaches of the Yellow River in Qin and Wei Bei, and give them the spiritual connotation of the Chinese nation and pursue them tirelessly. His cypresses have been affectionately called "Liang City Cypress". Nowadays, "Liang Wei Cypress" has been transformed into the image of the Chinese nation in the local political circles, especially in the concepts of some overseas Chinese. The "Old Pen" is molded from the elements of "Sophistication", "Sophistication", "Sophistication", and "Sophistication". The "Old Pen" trophy reflects the thick artistic cultivation and sophisticated creative talent of Liang Wei Bo. It is foreseeable that Liang Wei, who is old and strong, will make greater achievements in Chinese landscape painting, especially in the creation of cypress.

Written on April 4, 2013 at Cailantai, Chang'an