Yang Jincai, a contemporary all-round art master of calligraphy and painting, and Kun Yu, a young calligraphy and painting art scholar, recorded and sorted out, reviewed Yang Jincai's decades of calligraphy and painting career, deeply excavated Yang Jincai's superb technical pursuit, and presented the beauty of calligraphy and painting art.
Yang Jincai was born in 1949, Zixuan, known as Beijing Shengjie, and now lives in Beijing. He is currently the master of art calligraphy and painting for the "State Guest Ceremony", the president of the Chinese Celebrity Painting and Calligraphy Academy, the president of the Baihutang Painting and Calligraphy Academy, and the senior consultant and art director of the European Chinese Calligraphy Association.
Decades of hard work are unusual, the son of a farmer, diligent study and hard work, and a master of Chinese painting. In order to pursue art, for more than 50 years, with his own talent and the guidance of famous teachers, after years of painstaking study of the theory of calligraphy and painting, copying the fine works of calligraphy and painting, absorbing the strengths of others, skillfully integrating Western painting techniques with traditional Chinese techniques, so that his artistic cultivation and innovation have reached the peak, and he has become an indispensable all-rounder who can write and paint art in contemporary times.
Chinese painting is a unique metaphysical imagery art, its soul is freehand, its essence is spirit, it is the crystallization of the wisdom of oriental traditional culture, and it is an important carrier of the spirit of the Chinese nation. The reason why Yang Jincai's tiger has attracted the attention of the art world is that the strong national characteristics and freehand spirit highlighted in his paintings are rare in Western paintings that attach importance to realistic techniques.
On calligraphy, Yang Jincai has been honed for decades, and has now created his own unique four-body one-in-one cut-cut regular script style, which has been impressed by colleagues in the calligraphy world. The real study of painting began when Yang Jincai was in his 23rd year of learning calligraphy. Yang Jincai first studied Chinese painting, and did not have a teacher to copy the paintings of ancient and modern masters, but after hard study, he absorbed the true meaning of Chinese freehand painting.
Yang Jincai: "In ancient times, all the calligraphers and painters, they all had their own merits, and they were all my attitude of learning, especially Zhang Daqian, and now this splash of color is the splash of color left by Zhang Daqian teacher to us in China."
And the strange acquaintance with Liang Shunian, a master of Chinese landscape painting, is even more talking. In the 80s of the last century, Yang Jincai quit his job and used the little savings he had saved from years of working in Factory 608 to open a restaurant on Xingfu Street in Beijing. As usual, he got up at 5 a.m. every day to practice calligraphy, went to the restaurant at 11 a.m. to cook and cook by himself, went back to continue practicing calligraphy after cooking at noon, returned to the restaurant at 5:30 a.m. to fry the evening's dishes, and went back to practice painting at 6:30 p.m. until late at night. On this day, a special guest visited the hotel, and this guest was Liang Shunian, a master of landscape Chinese painting.
Yang Jincai: "I opened a restaurant on that Happiness Street in '82, and he dined there. Everyone just said that this is Mr. Liang's Chinese painting is quite good, but he created on the spot in this restaurant, and his painting is really good, from this aspect I want to break through myself, so I began to learn from Mr. Liang, and he personally tutored me."
Yang Jincai's Chinese painting "God and Male".
China has a tradition of advocating tiger culture, which we will call tiger culture. Tiger culture has a rich and far-reaching chance of penetrating into many aspects such as aesthetics and values. Tiger and tiger are angry, dragon and tiger leap, tiger is in the tiger, and dragon is in the pan, these words not only symbolize vitality and vitality, extraordinary demeanor and bearing, but also represent a macro atmosphere.
From ancient times to the present, the tiger has been known as the king of beasts and a symbol of courage and strength. The Chinese revere the majesty of the tiger and have long formed a cult of the tiger totem. As early as the Yangshao cultural era, the dragon and tiger pattern represented strength and dignity. The shape of the tiger in Yang Jingcai's pen refers to the Siberian tiger in China. The Siberian tiger has the longest body hair, which is to withstand the cold of the north. Generally speaking, all tigers will have longer fur in winter than in summer, and their body coat will be lighter in color and pattern.
The tiger's skull is rounded, and its cheeks are surrounded by a long ring of hair, which gives it a majestic look. If you want to fully express the inner spiritual temperament of the tiger, you must take the real tiger as a teacher and fully understand the skeletal and muscular structure of the tiger. Li Gonglin, a famous painter of the Northern Song Dynasty who has the reputation of being the first in the Song painting world in the Chinese painting world, walked into the mountains to paint tigers, because there are tigers in the mountains to observe, and there are springs in the mountains to wet the brush. For this reason, Yang Jincai often goes to the zoo to observe, and through personal observation, he realizes that the tiger in his pen is strong and mighty, and the three points into the bones are even more vigorous, full of spirit, highlighting the style of the king.
Yang Jincai: "I basically go every Sunday afternoon, either Saturday or Sunday, I take the car to the zoo, I don't go anywhere, I go straight to the court, I go there to take this camera photo and observe his movements myself, it has been 94 years, I don't go".
The road of art is arduous and lonely, and if you want to have no distractions and work hard to climb, you must endure loneliness. Yang Jincai is a person who can endure loneliness. In the mid-90s, Yang Jincai's calligraphy and painting level had reached a certain height, and the charm of his works had been quite the legacy of the famous artists of the past dynasties. But Yang Jincai was not in a hurry to get his work published, but still insisted on continuing to hone it.
Yang Jincai: "When I paint, my family and close friends know that no matter what happens, no one can enter my studio. In the process of drawing, I just draw one stroke at a time, not to say that I pick up the pen and scribble. ”
The technique of painting and tearing hair is the subtlety of traditional Chinese animal painting, a technique that many painters are afraid of, but Yang Jincai did not achieve the subtlety of the details in the process of painting tigers, no matter what aspect of the technique and composition, as long as the unsatisfactory paintings will be torn up.
Yang Jincai: "Your painting itself is not successful, if you take it out and come out, everyone will laugh shamefully; It's better not to succeed, and not to come out. And I only came out with the painting after it was successful. ”
Li Jianshan's six venerable tiger paintings in the Tang Dynasty have appeared in the painting of gongbi tearing hair. Yang Jincai painted the tiger, and his painting was created by tearing hair, so that the painting environment was majestic and wild, broad and broad, powerful from afar, and qualitative from near view, without the mode of traditional Chinese painting since the Ming and Qing dynasties.
Painting is a high-level art with a law, focusing on the law, and the law cannot be, which is also the essential difference between a painter and a painter. In Yang Jincai's view, if there were no decades of hard work, it would not be easy to talk about the word Fadu.
Yang Jincai warned himself with Xu Beihong's famous sayings such as the transmission of the ancient law, the follow-up of the dying, the change of the poor, the increase of the encountered, and the adoption of Western dialects. In order to paint the tiger well, Yang Jincai poured years of accumulation into the painting, and constantly integrated with the real world. On the bumpy road of the long scroll of calligraphy and painting in his long life, Yang Jincai's insatiable artistic mentality skillfully integrated Western painting techniques with traditional Chinese techniques, so that his artistic cultivation and innovation reached a new height.