About the Artist
Jiang Renyuan, former director and senior lecturer of the Fine Arts Teaching and Research Department of the School of Primary Education, Ludong University; He is now a member of the Chinese Calligraphers Association, a member of the Chinese Artists Association, a member of the China Association for the Promotion of Democracy, a member of the China Art Education Research Association, a consultant of the Yantai Artists Association, and the leader of the Penglai District Calligraphy and Painting Masters Studio.
Calligraphy mainly studied under Mr. Ouyang Zhongshi, Mr. Liu Wenhua and Mr. Bu Xiyang; He mainly studied Chinese painting under Mr. Zhang Lichen, Hu Bo, Yao Mingjing, Wang Tiansheng and Liu Huaiyong. His art and calligraphy works have won gold medals and first prizes in national exhibitions and competitions for more than a dozen times; A number of calligraphy and art works have been collected by art galleries and museums. work
products
Xin
Reward
The world of writing
——Feeling that Mr. Jiang Renyuan is chasing dreams
I heard that after teaching for decades, Mr. Jiang has almost never left the three-foot podium, and after retirement, Mr. Jiang often walks around the country with his wife. In fact, in my opinion, whether he is teaching or retiring, he has never stopped walking, unlike ordinary people, he uses the pen as a horse, a dream as a boat, a bicycle cone, a boat in ink, and walks between heaven and earth.
He walked with a frustration in the escapement of calligraphy. After reading his calligraphy works, I was amazed that he used the pen to put it away properly, astringent and free, or ancient and elegant, or radiant, I can't imagine what kind of transcendent mood he felt at the time of creation, or he was contemplative, whether he was watching Xiang Zhuang dancing the sword or watching the monks meditate, at least one thing I can be sure of is that he is walking through handwriting to relax his feelings and life.
He walked according to the grain of the trees, the folds of the rocks. After seeing his landscape paintings, the forms of thousands of trees may be able to give birth to different personality meanings, such as ancient cypress, new willow, dense bamboo, or sparse forest, which may be tall and gather hope, or may curl up and guard the loss. The strange mountain terrain may be able to tell the ups and downs of life, compare different rock folds, the traces of life such as linen, such as axe splitting, such as chaotic firewood, the rocks eroded by wind and snow, some of the bare wind bones stand majestically, and some collapse and peel off scattered.
He walked in the undulating curves of the country. In his paintings, whether the picture is towering or meandering, majestic, meandering, remote, or roundabout, in a thousand forms, in fact, what his brush and ink extend is not the mountains, but his mood and vision, how high the heart can speak with heaven and earth, and how wide the field of vision can accommodate the heavy Sumeru.
He walked according to the fortunes of the way of heaven and earth. On paper, he paints concrete objects, but what comes to mind is his abstract understanding of the way of heaven and earth: man and nature are inherently a community with a shared future. All things are negative yin and yang, impulsive and peaceful, green mountains return to Tibet benevolence, green water stores wisdom, woodcutters do not pay for firewood (wealth), fishermen do not empty nets (delusion), he is through pen and ink deconstruction of objects, analysis and enlightenment.
He walks according to the law of truth, goodness and beauty. The creation of calligraphy and painting is essentially a process of pursuing truth, goodness and beauty, but everyone has their own preferences. Personally, I believe that the question of truth, goodness and beauty, in the field of philosophy, is essentially the expression of the subject's pursuit of ultimate value in ontology, epistemology, and behavior. The subject's study of ontological problems needs to discover the "truth"; The subject's study of epistemological issues requires the comprehension of "beauty"; The subject's research on the problem of behavior theory needs to carry forward the "good". The overall pursuit of truth, goodness and beauty is to realize the self-needs of human beings, that is, to realize the self-worth of human beings.
Mr. Tang Yijie of Peking University pointed out that the difference between the three great thinkers of traditional Chinese philosophy, Confucius, Laozi and Zhuangzi, in the pursuit of truth, goodness and beauty in the state of life, is that Confucius: truth, beauty and goodness; Lao Tzu: Beauty, goodness, truth; Zhuangzi: Truth, goodness, and beauty. He believes that from the perspective of the axiology of truth, goodness and beauty, compared with Western philosophers, Confucius is close to Kant, Laozi is close to Hegel, and Zhuangzi is similar to Aristotle and Schelling.
Confucius commented on Shun's ** "Shao" and said: "As perfect as possible, but also as good." And to Zhou Wushi** "Wu" said: "As good as possible, not as good as possible." This way of evaluation has a profound impact on future generations. As a result, China's later literary and artistic theories focused more on value judgments on literature and painting from the moral perspective of "literature carries the Tao".
The aesthetic ideas in Taoist thought are mainly based on the system of "Lao Zhuangxue", especially the "Zhuangzi" is the most typical and outstanding. Yang Xusheng of the Chinese Academy of Social Sciences believes that the Tao presents such a characteristic in Zhuangzi's philosophy: the operation mode of natural existence as an unexpected and the absolute realm of human existence without doing anything has become an ontological world of infinite possibilities and absolute values. This ontological infinity and the normative role played by the realm of values make Taoist philosophy truly an aesthetic:1The natural world in which Daoguang is surrounded by infinite possibilities without purpose, intention, and profit is set as the realm of aesthetic objects. 2.The ideal personality of realizing, taking refuge and grasping this infinite possibility is set as an aesthetic personality (or in this mimetic way to imitate the exaggerated aesthetic state of mind when realizing this infinite possibility). "There is great beauty in heaven and earth without saying, there is a clear law at the four times without discussion, and everything is reasonable without saying. The saint is the beauty of heaven and earth and the principle of all things. Therefore, the saint does nothing, the great sage does not do, and the view of heaven and earth is also. (Zhibei Tour).
When chatting with Mr. Jiang, I learned that his understanding and introduction of traditional culture is about the Tao as the backbone, and Confucianism and Buddhism complement each other, and I guess that his life of walking in calligraphy and painting is actually more of an aesthetic concept under the guidance of the above kind of Taoist thought. As his mentor Liu Huaiyong commented-Brother Jiang's contribution to Chinese painting... Just like his person... Truth-seeking, truth-keeping, photo... He has stubbornly obeyed the call of his heart, followed the supreme requirements of Chinese aesthetics, and "flattered the Tao with form" and "carried the Tao with words". "Body" has become his lifelong pursuit.
If we don't explain him from the perspective of "seeking truth" or "the way of feeling", we can explain it from the emptiness of Buddhism. On the other hand, if someone asserts that he cannot seek "truth", then it is better to assume that all his expressions are philosophical illusions or Buddhist voids, and there is no such thing as "truth"! What he expresses is nothing more than his own perceptions and thoughts. For example, from the abstract level of philosophy, if a person is instructed to describe the material form of water, you cannot actually describe the true and complete phase of water through words or paintings, and water has three phases: the solid phase is ice and condensed state, the gas phase is vapor and cloud-shaped, and the liquid phase is water and fluidity. In the same way: people have joys, sorrows, sorrows, sitting, lying and walking life, the scenery has the cycle of the four seasons, wind, frost, rain and snow, time and space, all the portraits and objects you paint are bubbles and lightning, just painting the delusion of a moment that you have experienced or temporarily stayed, in short, you will always paint your own heart. This counter-evidence actually confirms Mr. Liu Huaiyong's judgment on him through a paradox - Chinese painting is a treasure of world art, and does not seek the "truth" of natural objects. It's about life and higher than life. From the heart, from the heart, from the heart, to the heart, to extract the essence, to remove the false and retain the true, is the "metaphysical" "truth", is the "truth" of nature.
Yu Fu November 28, 2020
In Yantai Sanyu Hall