形神兼备 意趣横生

 
 
The ancients said: There are successive news, and the industry has specialized. Xu Peichen is a professor and doctoral tutor at the Academy of Fine Arts of Nanjing Normal University. He is good at Chinese painting, with beautiful landscapes, figures, flowers and birds, and Danqing apes are especially fine. His works have won many awards in national exhibitions, and he has won the respect of the national art circles and the love of art lovers. He is known as the "Oriental Monkey King Painter".
 

 
Chinese painting is profound and profound. As one of the veins, the flower and bird paintings are equally inclusive and have a long history. Since the Tang Dynasty, the flower and bird painting industry has been independently formed. In addition to the original flowers and birds, animals such as animals, beasts and worms, as well as trees, fruits and vegetables, have become the external sustenance of the painter. The "Flower and Bird Narrative" in the Northern Song Dynasty "Xuanhe Paintings" records: "The poet Liuyi, who knows more about the name of the birds and beasts, and the four-time law, also remembers his glory and silence, so it is wonderful to draw things. I am more interested in this, and I am in the same position as the poet."
 

 
  "The golden monkey has risen up a thousand miles, and Yuyu clarifies Wanli." In the traditional Chinese folk culture, the status of the monkey is very special. It is fascinated by its clever, active, naughty, happy and brave qualities, and then through the artistic rendering of the Qitian Dasheng Sun Wukong in Journey to the West. It has been widely loved and respected by people of all nationalities. However, unlike other birds and beasts, apes are rarely used as painters by painters. The reason is that apes are difficult to draw. According to records, the Northern Song Dynasty painter Yi Yuanji went to the mountain forest to follow and observe the living habits of the apes, and thus painted well. It can be seen that painting a good monkey requires both savvy and hard work.
 

 
In today's art world, Xu Peichen can be called a monkey. The monkeys in his works are different in appearance and look, and they are full of fun and interesting. The style of painting is free and easy, and the Chinese and Western styles are combined. The indulgent brushwork and enthusiasm are perfectly combined. This is due to his decades of work, constantly going out to observe and study the life of the apes. With the method of sketching and memory dictation, Xu Peichen captures all kinds of vivid gestures and expressions of monkeys and refines them into a human-like picture: he is itching, catching, grooming, and swinging in swings. There are chasing each other, playing and playing... Looking at his picture of a hundred monkeys, one by one, the lively and lovely monkeys are ready to go out, as if the thousands of monkeys are breaking out, and the sound is silent. It is really entering the world of apes, and even someone Joke: The painter himself also has a "monkey phase." In fact, this shows that the painter has entered the role in the process from observation to creation, and has reached the realm of the integration of things and things.
 

 
The standard of Chinese painting is constantly evolving. In the Warring States period, "Han Feizi": "The guest has a picture of Qi Wang, and Qi Wang asked: 'The most difficult person to paint?': "The dog is the most difficult." So, can not be class It is difficult. Ghosts are invisible, they are not in the front, so it is easy." Visible shape seems to be in the first place. With the development of the times, Gu Jinzhi of the Eastern Jin Dynasty put forward the theory of "writing God", which is the highest standard for painting. To Su Shi’s “discussing the painting in a similar way, seeing the neighbors with children” is to push the relationship between Chinese painting and God in the extreme.
 

 
Although in the freehand paintings, any subject matter of the painter's paintings is an artistic act of "intentional" and "the fate of the soul", in the traditional freehand flower and bird painting, the grasp of the relationship between the shape and the god is very subtle. There are more than 200 species of monkeys in Xu Peichen's works. There are gibbons, liontails, white-browed owls, golden monkeys, Taiwanese monkeys, Japanese monkeys, black and white monkeys... The image is different. Xu Peichen refines and summarizes the physical image and uses freehand brushwork. The technique, which firmly grasps the characteristics of the object, not only accurately depicts the image and demeanor of various monkeys, but also expresses the interest and charm of the object. Tu Long, a dramatist and writer of the Ming Dynasty, said: "The interest is in front of the pen, so it is painted into a god." The most personal style of Xu Peichen's paintings is the "interesting interest" in his works.
 

 
Its interest is first reflected in the pen and ink. Xu Peichen used the pen to be hot and smart, using ink to live and be chic, to draw the dynamics of the monkey with the changing, free, temperament, and strokes of the pen, and the soft and soft pens outlined the facial expressions. With thick ink, the key parts of the monkey's hands and feet are affirmed, and the density of the ink lines between the ink lines is patchy and full of tension. In his pen, a monkey or a jump, or stand, or jump, or whistle, or play, or trouble, on the paper, lively and detached to show the monkey's flexibility, cute, naughty. The picture is matched with the ancient cypress pine, the Feiquan mountain waterfall, and the various flowers and plants complement each other. From those indulgent inks, you can clearly feel the charm of the painting language and the vitality of the object of painting perfectly blended together.
 

 
Second, it is reflected in the emotional interest. Chinese painting pays attention to borrowing things, borrowing things and conveying feelings, borrowing things and feelings, and the concept of flower and bird painting is more about people's feelings. It is not to draw flowers and draw birds for the purpose of depicting flowers and painting birds. It is not to copy nature, but to firmly grasp the connection between animals and plants and people's life, thoughts and emotions. It not only pays attention to the truth, but also requires the flower and bird painting to have the cognitive function of "the name of the bird and the beast wood", and pays great attention to the expression of the concept of beauty and goodness, emphasizing its affectionate role of "recreating the spirit and moving the spirit and delusion". The creation and appreciation of flower and bird paintings affect people's interest, sentiment and spiritual life, and express the author's inner thoughts and pursuits. In his works, Xu Peichen subtly incorporates the expression of emotions. In the folk tradition of China, the monkey is the embodiment of joy and auspiciousness, and it is also a symbol of nobleness and exorcism. These beautiful meanings are reflected in the picture of Xu Peichen, such as "Immediately Sealed Hou", "Eternal Generation of Hou Hou", " Dedication to life and so on. Seeing the monkeys in his works who are dependent on each other and playing in the mountains, they forget that they are monkeys, and they feel the affectionate affection, warmth, motherhood and nature. Mr. Cheng Shifa commented: Xu Peichen painted apes, gathered between the mountains and the forest springs, the form is vivid, it is like the depths of the forest, the brush is magical, admirable.
 

 
It is no accident that Xu Peichen is famous for painting monkeys. He is divided into days based, diligent as a way, and the opportunity to lead, in the tradition of diligently cultivated a free sky. This is the result of the artist's long and hard work. The ancients said: "There is no accumulation of steps, no thousands of miles; no accumulation of small streams, no rivers."
(The author is currently a professor at the Central Academy of Fine Arts, a doctoral tutor, and an honorary director of the China Academy of Art Theory Committee)
 

 
Xu Peichen
Born in 1951, Pei County, Jiangsu. He is currently a professor at the Academy of Fine Arts of Nanjing Normal University, a doctoral tutor, a postdoctoral mobile station coordinator (artistics), a member of the 10th Jiangsu Provincial Political Consultative Conference, a member of the Chinese Artists Association, and a vice president of the China Friendship Association for Friendship with Foreign Countries. Chang, Jiangsu Provincial Party Committee and Provincial Government Decision-making Consultation Base - Chief Expert of Jiangsu Province Art Province Construction Research Base, Librarian of Jiangsu Provincial Literature and History Research Institute, President of Jiangsu Flower and Bird Painting Research Association.
His works have participated in national art exhibitions and have won gold medals in national art exhibitions. The Ministry of Culture, the National Art Museum of China, the National Museum of China, Zhongnanhai, the Great Hall of the People, the Chairman Mao Memorial Hall and other units all collect their masterpieces.
Publications, paintings, "Xu Peichen's Art Collection", "Summary of Painting Techniques", "Xu Peichen's Paintings", "Chinese Modern and Contemporary Masters' Paintings - Xu Peichen", "Life and Elegance - The World of Chinese Flower and Bird Paintings" (Commercial Press) "Shan Lin Han Mo Qing" "(People's Publishing House) and other more than 30.
 
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