Related articles of Zhang Weimin

Expression of Emotions in the Study of the Endless State - A Dialogue of the Heart with Zhang Weimin, a Bird and Flower Painter

Wen/Mao Jianbo

Sunset, starry night,

Sunrise, moonrise,

along with the swaying of the wildflowers,

waving gently,

like a never-ending whisper of honey,

in harmony with this infinite universe.

like a never-ending whisper of honey,

in harmony with this infinite universe.

--Fred Martin

"Philosophical concepts that seem esoteric to Western eyes, in ours, even the smallest creatures are in harmony with the great world. Everything in the universe perceives each other, enlightens each other, is born in harmony, and the meaning of life is born.

Leaving the dream of the subconscious mind to dream the dream of the conscious mind--this is the condition and pursuit of my creation for quite a period of time.

The formation of the main style of this album was accomplished in this state. It embodies the sense of the times of Chinese brushwork flower and bird painting that I am pursuing:

There are scenes, feelings, interesting, intentional, and methodical.

There is a modern consciousness, harmonizing with the modern environment and blending with the modern people.

The formal style has personality and can be loved by the majority of the audience.

Perhaps this is from the tradition of yesterday, facing the era of today, every modern painter **** the same experience and explore the issue of vegetation.

Three hundred years ago, Yun Nantian was my eternal mentor, Nantian, faced with the recent situation of 'Jiangnan and Jiangbei, every family Nantian, every household Zhengshu', not at all complacent, but worried about the bad phenomenon of the lack of emotional expression in this kind of vain knowledge of modeling, advocating the 'brush and ink are emotionless, can not make the runner of the brush and ink emotionless. He advocated that 'the brush and ink are emotionless, but one must not make those who utilize the brush and ink emotionless, and those who paint must not make those who view the paintings averse to emotion'. The two Song Dynasty Chinese brush painting established a monument in the field of art, a set of creative procedures and the perfection of the art form is exemplary, followed by nearly 1,000 years, although there is no lack of people, but most of the people Chen Chen, generations rely on each other, in the development of the spiritual realm of the lack of joy can be seen. Heavy portrayal, light performance, fixed in the performance of the rules of the object, the law, indulging in 'lifelike' compulsion and the lack of subjective spirit of the full and free play.

Nantian's words 'not to make the person who carries the brush and ink have no feelings' 'not to make the person who analyzes the painting have no feelings' - like a warning bell that always echoes in the mind! The dialogue with my friend Weimin seems to have made me go deep into his heart and see his creative mind, which also led me to try.

To decipher the motivation of his personality of brushwork flower and bird painting. In front of the glorious monument of the Song people, how will contemporary brushwork flower and bird painting establish its own historical position? As a member of the group of contemporary brushwork flower and bird painters, how will Wei's brother break through the artistic achievements that have already been established in history.

In my opinion, the spirit of writing is the guiding principle of his creation. The penetration of the modern spirit, the initiative to take the measure of spirituality to the pulse of natural forms, subjective personality dominated the creation of paintings, Wei's brother is precisely aware of the crux of the problem and in the practice of painting to break the stagnation, in-depth exploration and tireless.

Zhang Wei's seven years of systematic education in the Department of Chinese Painting at the Zhejiang Academy of Fine Arts, as early as in the first year of college under the guidance of Mr. Lu Kunfeng chose to specialize in brushstrokes and birds, and later became a postgraduate student of Mr. Lu. The famous teacher's instruction, so that Wei's brother started from the beginning of the high aspirations to create a feeling, scenery, interesting, intentional, but also the law of the work of birds and flowers for the bull's-eye, and careful thought and action. Over the past twenty years, he has been diligently exploring in the field of painting flowers and birds, on the one hand, he has seriously studied the history and theories of painting, and initially formed his own theoretical framework. He clearly realized that there are three realms in brush painting: object, painting and mind. In the object and painting realm, Song Dynasty brush painting has reached the ultimate state, and the breakthrough of modern brush painting should be the expression of the heart: "Brush painting depicts vivid and natural scenes, and its supine and curved are all aimed at writing scenes from the outside and the inside to create an idea, and the picture seems to be a natural gesture, but the essence is that the expression is a natural gesture, but the essence is that it is a natural gesture. In terms of nature, what is expressed is an inner spirit sought from the natural nature under the painter's transcendental comprehension, which is not only a true understanding of life in accordance with the laws of nature, but also an ideal in the individual's subjective pursuit. This realm of nature and idealization is precisely the mood pursued in Chinese Gongbi flower and bird painting." Emotions move because of what they see, and things are touched by what they feel. Tang Dynasty poet Cui Xin Ming "maple into the Wujiang River cold" sentence, with a "cold" word, will get rid of a single description of the scenery and injected into the author's emotional color, the mood of the whole. An excellent brushwork flower and bird painting should also be refined in the image and meaningful. Successful artists are precisely at the time of the conflict of "dancing in shackles", revealing their strengths. To summarize, Zhang Weimin's work-brush flower and bird paintings are characterized by the following features: real into virtual, work-brush and intentional writing. He is good at taking and combining, and is able to integrate and adapt. What he wants to reflect in his work-brush paintings is the spirit of the Chinese literati, and he wants to try to express his personal rationality.

Brother Weimin has a more accurate grasp of the evolution of Chinese work-brush flower and bird paintings, and in tracing back to the origin, he analyzes the pros and cons, he integrates the spirit of literati paintings of the Yuan, Ming and Qing dynasties with the exquisite forms of Song paintings, and integrates the spirit of writing into the spirit of "grasping things". When most people praised and borrowed from Japanese painting to develop Chinese brush painting, Brother Weimin had the insight to examine its shortcomings and correct its bias, because Japanese painting mainly inherited the neatness and rigor of Tang painting and lacked the literati spirit of Yuan, Ming and Qing painting, which is precisely the most characteristic part of Chinese painting. In view of this, Weimin consciously weakened the delicacy, realism, and decorativeness of brushwork flower and bird paintings, and strengthened the spirituality, literateness, and escapism, and injected the spirit of literateness into his paintings to increase the meaning of the painting, and the purpose of the image, and carried this concept through the whole process of creation.

In his creations, Wei seldom depicts objects directly and simply, but gradually concentrates and clarifies the scattered and countless feelings and perceptions of beauty, firmly grasps the natural features that can evoke specific emotions, thus eliminating too many details that have nothing to do with the theme, and ultimately transforms the reality of life into a meditative trance of reality in the picture to create a "very natural form". The final transformation of the real life scene into the indistinct reality in the picture is displayed in front of the readers in an "extremely natural form". This kind of concrete and beyond the nature of the painting, to the audience with both "familiar" and "strange" feeling, this is after Wei brother reconstruction of the reality, permeated with the author's spiritual feelings and aesthetic understanding, is the author's state of mind and mood of the disclosure. Seemingly easy but arduous, Wei's brother's many works are often enough to three years a draft, five years a creation, such as the good reviews of the "chaotic red fly over the swing", its creation began before graduating from college to experience life in Beijing Xiangshan, the layers of the mountain dyed Xiangshan to the introverted calm Zhang Weimin a great shock, for many years, this scene, lingering. With the continuous improvement of his understanding, the theme becoming clearer, and the subject's consciousness becoming stronger and stronger, Wei finally could not restrain the urge to create twelve years later, and reproduced and strengthened the appearance and situation that had stirred in his mind with the overlapping and burning maple leaves that covered the sky. Instead of the traditional technique of outlining with ink lines, the picture is outlined with red gold, and vermilion, rouge and heavy ink are blended together, giving people a strong impact and shock. White eagle a few standing, motionless, so that the static for the dynamic, so that the dynamic for the static, the maple leaf prancing such as the burning turbulence contrasted with the immovable posture, standing in the foretells rise up to the sky to fight to the sky of the days of the strong and healthy. The effect of the picture is obtained with the help of the anti-virtual into the real, the real into the virtual out of the rationale. It turns out that the materialization of plants and animals is more latent is the pursuit and experience of the painter's spiritual character, I do not know if Brother Weimin think so.

The importance of the spirit of writing is even reflected in the initial sketching stage of Wei's work-brush flower and bird paintings. Sketching is not only an intermediate link in the transformation of natural information into artistic information, but also contains the idea of how to transform natural information into artistic information. Brother Weimin's purpose of sketching was not only to obtain the form of the object from nature, but more importantly, to obtain the spirit of the object. His sketching was no longer limited to reproducing the form of the object, but was centered around the need for creation, focusing on the overall situation, writing the vitality of the object and capturing the interest of the object from the perspective of the development and play of the spirit, and aestheticizing the charm and spiritual value of the object, so sketching was transformed into an active ingestion of the subjective will, closely integrating with creation, becoming a way of visualization. It is an important step in the formation of imagery.

Reading works, it is not difficult to see Wei brother prefer to express the hazy, illusory, quiet, and even with the meaning of sadness of the scenery, he does not like simple flowers and moonlight, simple phase like life, even if the painting of a bird, a plant, but also to convey the individuality of the spirit of the state of mind, or vibrant, or joyful or sentimental. Qing dynasty zhao wing "ou bei poems" on chachu bai poem: "this kind of immediate trivialities, hand write not, do not make a canon, do not have a word, and the flavor is leisurely, low back endless, more than the transport of ancient refining sentence is more advanced." When we face Zhang Wei's "light to speechless and poetry", "Huai Chun", "Hi Hi Ming Ming", "unintentionally smoked the wind first flower" and other works, from the simple natural scenery, to appreciate is light and elegant and split forever interest. When one takes a closer look, although his brushwork flower and bird paintings often borrow ancient poems as their titles, what they carry is not the connotation of classical poems, but the mood of modern prose poems, which reveals the mentality and spiritual orientation of modern people, bearing the marks of modern intellectuals, and also reflecting the modern consciousness of Brother Weishi, and pervaded by the subjective spirit of Brother Weimin.

The migration of painting orientation from writing form to writing meaning inevitably leads to the development of techniques. He developed his brushwork, watercolor, and color methods, integrating the outlining and rendering of the brush with the bone-less, partially-worked and partially-written, and ink-splash methods, and gradually formed his personalized "Dot Ran Method". In terms of expression, he combines the meticulous and rigorous modeling of Gongbi painting with the dynamic and versatile ink and brushwork of freehand painting, breaking down the boundaries between work and writing. Careful consideration of Wei's brother's works, from the production of hooks, dots, chapped, dyed every step of the rhythm of the combination of work and writing as the keynote, the line of the pen breaks the air even, the color of the dash into the melting out of the modeling of the break-up and the virtual, strengthened ink and brush skills of the lyrical writing, the works of the work not only have the work of art, vivid, evocative, delicate depiction, but also a calligraphy of painting, pay attention to the momentum of the overall artistic atmosphere. The obtainment of the writing and ink of the writing nature, undoubtedly also benefited from the real into the virtual, the real into the virtual guiding ideology

Color emotional, but also one of the characteristics of the Wei's brother work of birds and flowers, his paintings with a strong emotional element of the color, according to the works of the mood of the different, or exaggerated, or contrast, or weakened, the flexible use of different shades, to emphasize, rendering, adjusting the atmosphere of the picture; the use of color is not only the need for the picture, but also the artist's emotion, the use of color. The use of color is not only the need of the picture, but also the externalization of the painter's emotion. The use of color is not only a necessity of the picture, but also an externalization of the painter's emotion, which conveys the aesthetic feeling of the painter's soul. In this way, Brother Weimin has gradually upgraded the traditional color concept of "assigning colors according to categories" to emotional colors and mood tones, which reflect the state of mind of modern people. Brother Weimin believes that ink is the most essential part of Chinese painting, and pays special attention to the unique value of ink, which is used in a large number of works of brushwork, either dissolved in color, or submerged in color and hue. The subtle and elegant tone of ink and the bright and elegant color effect are properly blended into a whole, so as to make the picture more stable, implicit, and have the artistic effect of a refreshing wind and spirit and an abundant rhyme, which can better embody the connotation and inner spirit of Chinese paintings. The inner spirit of Chinese painting. Since the saying of "Huang Jia Fu Gui and Xu Xi Ye Yi", two major schools of Xu and Huang have been formed, and although later generations of flower and bird painters have their own innovations and branches, it is difficult for them to escape from the fence of these two schools. Weimin brother in the creation of strengthening the use of emotional color, the ink method, is to promote the color and ink method of working-brush flower and bird painting expansion.

Chinese brushwork flower and bird paintings have developed from traditional desktop miniatures to today's large scrolls, and traditional compositional rules and paradigms are no longer sufficient for their application, such as the basic laws of opening and closing, realism, sparseness and density, hiding and revealing, interspersing, selecting and selecting, taking the potential, and other basic laws that can easily lead to a programmed language of painting. How to explore new elements within the existing program and to draw on formal vocabulary that can be helpful in other kinds of paintings or visual arts has become an important research topic in the development of Chinese painting. Brother Weimin, who studied Western painting and modern design at the Central Academy of Arts and Crafts, seems to have a good understanding of this issue. He introduces a sense of composition to support the picture, emphasizes the relationship between dots, lines and surfaces, and is good at organically combining the artistic rules of plane composition with natural forms, and in the graceful forms of nature, there is a potential for the artistic treatment of modern compositional consciousness, and the compositional consciousness of many of his large-format works can be seen in the compositional consciousness of the artistry of the artisan, with the help of the natural forms of the artist. Many of his large-format works can be seen with the ingenuity of compositional consciousness without any traces, reassembling the objects with the help of light and shadow, color, line, block and blank division and many other modeling elements, and the compositional consciousness and the natural objects are skillfully fused into one and fit into each other without any interruption.

Deepness achieves depth. In the long-term research and study of painting, Brother Weimin has formed a creative concept different from the traditional brush painting and put it into practice, integrating the individualized spirit of writing into the traditional brush painting, pursuing high style, aiming at the spirit of literati painting, and idealizing the modernity of the form, and finally forming a distinctive personal outlook, and becoming a stalwart of the contemporary brush painting world with considerable strength and potential. According to Zhuangzi, "Tao is the origin of all things. If you lose it, you die; if you gain it, you live. For things, against it is defeated, and smooth it is successful, so where the road is, the saint honors it." As a friend, I do not intend to assert that Brother Wei-shi has achieved how high achievements, "there is the pursuit of the realm but not pure, there is the spiritual pursuit of the literati but without a deep base of national education, there is the sensitivity and realization of the modern man but lack of comprehensive understanding." Rarely does brother Weimin have such a sober and low-key understanding of himself, which will inspire him to make greater efforts, he has realized and grasp the "way of the road", and found the right way to the modern development of flower and bird painting. As long as along the road of hard searching and searching for go on, the black dragon to get the pearl, to seek the right results may not be the flowers in the mirror, the moon in the water.

As far as I know, the calm and pragmatic Wei's brother has no plans to publish a personal collection of paintings, this album came out more out of external impetus, so he was almost afraid to ask me to write, and it is precisely his sense of treading on thin ice that makes me feel that the art of his paintings may have the space to improve, but also aroused my interest in having a heart-to-heart conversation with him, Wei's brother to write his own heart with the brush, and to decipher the painting naturally became my heart-to-heart conversation with him. The interpretation of his paintings naturally became an enjoyable experience for me to have a heart-to-heart conversation with him.