Lei Ziren inscription: landscape circle.
The true color of the landscape is gradually drifting away
one
The poet Yang Ke once asked me: Excluding other factors such as physiological reactions, purely in terms of the painter's personal color intuition, cabbage worms, centipedes, seven-star ladybugs, bees, spiders, whose colors do you like?Answer: If it's **, convert them into chromatography, I'll like them all, because I'm a painter. If I weren't a painter, I'd love the Seven Star Ladybug because it makes me feel safest in my heart. I tried to rule out "other factors such as physiological reactions", and I rationally chose the spider because I was least sure of its color tendency.
1-1, Qingshan Fresh Roots 2022.
II. II. II
Living in the countryside as a child, cabbage worms, centipedes, seven-star ladybugs, bees, spiders, etc. are all common things, and most of them are because they come to the door, or are driven away or killed by mistake, just because they are mostly "pests", especially centipedes and spiders;The cabbage worm steals vegetables and gnaws the good leaves into loopholesAlthough bees can collect honey, poor children rarely enjoy it, but they are hated for being naughty and stabbed in the honeycombAlthough the seven-star ladybug is well-behaved, it doesn't know how to interact, and it is also unpopular with the stubborn village children. And so on, there are so many small creatures that can be seen in the countryside, all of which are depicted as "lifelike" under the brushes of the great painters, and those hateful and annoying natures are completely transformed into cuteness. With love, state, and thought, the landscape and scenery are all done by people, and they also give birth to the rights and wrongs of the world and the landscape articles. Things are not resting for people, and things are not worrying because of people.
2-1, Xuzhou (detail), ink on paper, 46cm, 230cm, 2022.
Zhuangzi Mountain Tree": The ark is in the river, there is a virtual boat to touch the boat, although there are people who are worried and not angry.
2-2. Pencil on paper on the bank of the stream 185cm 21cm 2021.
Three
The duck knows that spring is early, and the swallow is busy. In midsummer, the clouds on the horizon are colorful, sometimes like strange peaks, rolling up, hanging down the sky, sometimes as thin as thin silk, floating like a fairy. In the scorching summer, the ridge water is shallow, and the nap buys summer sleep, and the fish are pitiful in their stomachs, and the fishermen are idle. The wind is boundless, the sun is scorching, and only dreams are allowed to stay by the pillow.
My childhood impression of autumn in the south is also superficial, not because of the scenery of autumn in the south, but because the teenager does not know the geometry of autumn. Occasionally, a few little weasels pop out, shake off the ears of rice to make the croppers angry, Mo on the autumn sun, hearty, the autumn of the countryside is not written in sadness, but planted in the ground.
The winter in the south is not long, cold and cold, but every family rarely locks the windows and closes the door, and the door knocker makes a sound in the wind, I don't know whether to warm the cold or return the warmth to the cold. The snowy days are very quiet, the winter mountains outside the village are like sleeping, the snow is sparsely walked, the crows are quacking, and the dogs are barking far away. Only in winter and spring, the flavor of the New Year will always bring joyful memories to the pure and cold door sooner or later.
3-1, Gu Yu (detail) One of the blue and white porcelain paintings, 111cm, 336cm, 2023.
3-2, Gu Yu (detail) Blue and white porcelain painting No. 2, 111cm, 336cm, 2023.
Four
Mipi Village is located in the southeast of Ji'an City, Jiangxi Province, on the south bank of the Fushui River, a tributary of the Ganjiang River, and was the seventy-six capital of Purification Township of Luling County in ancient times.
At the beginning of the new millennium, in the northeast of the village, a single-plank bridge was erected in the upper reaches of the Fushui River, connecting the two villages of Mipi and Yaohu, the south bank is the Mipi side of the ancient river transport and unloading wharf, the west side of the wharf is a pavilion with stilts, the inner space is not large, there is a big circle facing the north, almost occupies the whole wall, it is open to the river, the wooden bridge and the scenery of the opposite bank are taken in, just like the fan surface of the Song Dynasty, there is the artistic conception of "Yingge Yan Dance" or "Wind and Rain Returning to the Boat", and the door forehead of most of the old houses in Mipi, the eaves wall remains to compete with the elegant ink fragrance. At one end of the wooden bridge is the cottage with the remnant wall of Daiwa, and at the other end is the vertical and horizontal of Qianmo, and the chaimen is wild. In spring, the river is overflowing, the flowers and trees are quiet, the partridges are sounding, and the chickens and dogs smell each other. In autumn, the wooden bridge is several meters above the water surface, the sun is warm, the river is gurgling, and the villagers carry the load hoe to go back and forth on both banks, teasing the morning and dusk of the ancient village.
Later, the single-plank bridge disappeared for several years, and was finally replaced by a sturdy steel-concrete bridge, and the Fushui River bank has never recovered the "Xiaoxiang" picture.
4-1, Mipi early spring (part 1) acrylic on canvas 80cm 50cm 5 2014.
4-2, Mipi early spring (part 2) acrylic on canvas 80cm 50cm 5 2014.
4-3, Xiaoyan glaze porcelain painting 123cm 968cm 2021.
4-4. Paper pencil 18 in the reservoir area during the dry season5cm 21cm 2021.
Five
Dazhai used to be a red flag on China's agricultural front. With the changes of the times, most of the "fools" who fought for survival in the past traveled to the west or were aging, and the wolf's den retained a small part of the terraced fields for tourism, and the story of fighting the heavens and the earth was drowned in the increasingly green Hutou Mountain. The space that has received countless "learning Dazhai" figures quietly dimmed until it disappeared. Not long ago, part of the dilapidated courtyard along the street opposite the town of Dazhai Town and the old chimney on the hillside were also demolished and turned into vacant land, and the proposed project died for some reason, and the vacant land became a neat apricot forest, attracting birds and stray cats. When night falls, the starry sky outside the street lamps turns blue.
The glory of Dazhai is still "visible", the former style looms, like the rocks and new plants on Hutou Mountain, some are also evolving and regenerating, for today's Dazhai that tends to be quiet, the future will still be linked to some kind of speculation.
5-1, Dazhai-1 ink pen on paper 19cm 255cm 2022.
Reinforced concrete is ruthless, temporarily left as a stubborn stone.
5-2, Dazhai -2 ink pen on paper 255cm 19cm 2022.
Digging a ditch and arranging a pipe bend, I suddenly saw the former mountain movers.
5-3, Dazhai -3 ink pen on paper 255cm 19cm 2022.
Don't complain that there is no poetry in front of the door, he builds a house with ripe melons and leaves; The rocks are chaotic but the hiking steps are made, the wind is high and the sun is warm and the sun is slanting.
5-4, Dazhai -4 ink pen on paper 255cm 19cm 2022.
Where the smoke disappears and the flowers fall, the people who return farmland to the forest are endless.
5-5, Dazhai -5 ink pen on paper 255cm 19cm 2022.
The fruit is ripe and no one picks it, and you can look at the cloud and Shu roll.
5-6, Dazhai -6 ink pen on paper 19cm 255cm 2022.
The grass grows and the birds fly, and the farmers break the branches and laugh. The slope is high and the car is urgent, and it is difficult to take pictures of each other.
5-7, Dazhai-7 ink pen on paper, 19cm 255cm 2022.
The originally rugged back mountain was taken care of as the backyard of the Dazhai Cadre College.
5-8, Dazhai -8 ink pen on paper 255cm 19cm 2022.
The light of the Buddha shines on the pilgrims, the grass in front of the temple is sparse and the rice seedlings are scarce, the stone path leads to the secluded and nowhere to be found, and the flowers bloom quietly and the news of the epidemic follows.
Six
In 1992, I took a train from Beijing to Xinjiang for the first time, passing through Dunhuang, Lanzhou, Hami, Huoshan Mountain, Urumqi, Gaochang, Tianshan Mountain, etc., like going to the west to learn scriptures, but only recorded some fragments of shadows.
In 2018, I went to Aktao twice again, and the flight time was shortened, and I was also tired of traveling, because it was a great Xinjiang, and I tried to collect the scenery along the way frame by frame.
Black yaks are not always friendly to visitors, especially strangers who intrude into their territory. In the snowy plateau, people are extraordinarily small, and they are not as calm as the birds and cattle and sheep in the sky. In the face of the great landscape, the strong light, heavy color, glaciers, grasslands, thorns, sand and gravel, as well as the daily life of the aborigines, are far from the sublime, rough, vast, and desolate as defined in literati paintings.
6-1, Xinjiang-1 pencil on paper 185cm 21cm 2018.
6-2, Xinjiang-2 pencil on paper 185cm 21cm 2018.
6-3, Xinjiang-3 pencil on paper 185cm 21cm 2018.
6-4, Xinjiang-4 pencil on paper 185cm 21cm 2018.
6-5, Xinjiang-5 pencil on paper 185cm 21cm 2018.
Seven
Last century. In the eighties and nineties, Jingdezhen had rows of chimneys, which were the most typical symbols of the ancient porcelain capital, the rolling smoke was allowed to be played by the wind and rain, the kiln workers stuck to the fire, and the exquisite "China" was interpreted day after day in the cloud and smoke offerings, continuing to write scenes of daily mythology.
The Changjiang River that passes through the city has never dried up, the rain is sunny at the beginning, hehe, the mountains along the coast are like "Mi's Cloud Mountain", standing on the studio terrace of Deyuyuan, you can see the fishing boats singing at night, and it seems that you can visit the picture master.
Later, there were several towering chimneys in the green hills on the opposite bank, which were the installed capacity of the thermal power plant in the new century. If it happens to be in the rainy season, when the river water rises overnight, the yellow river surface will always be scattered with creatures that can't escape, or from top to bottom wrapped in the floating people's belongings, the train passes, the neighing echoes in the mountains, and the "Peach Blossom Spring" seems to be moving. Qingshan is silent, and the cemetery and crematorium not far away are particularly solemn.
7-1, Changjiang Bank (Detail 1), long scroll of ink on paper, 2015.
7-2, Changjiang Bank (part 2), long scroll of ink on paper, 2015.
7-3. Moving Peach Blossom Garden (Detail) Wood Board Composite Material 243cm 594cm 2022.
Eight
The new version of "One River and Two Banks" is a story of art that takes place today, and the computer placed in front of the screen contains Ni Zhan's "Yushan Forest Ravine" painted by Ni Zan in 1371, and its panorama lies flat in front of Ni Zhan, the mountains above the picture are squeezed and deformed due to the strong perspective, and the originally empty lake in the distance almost disappears, and the living men and women on both sides of the picture are in the same frame as Ni Zan and his servants, and the heavy screen and other utensils are re-narrated and distributed.
In the name of tradition, "landscape reconstruction" is nothing more than a re-imagining of the spiritual world of this great 14th-century artist. Ni Zan behind the red line indifferently forgot about the rivers and lakes, and in the face of the new physical space and the worldly tastes that match it, perhaps he who has always regarded himself as high needs to doubt the life that is not with him.
8-1, one river, two banks on paper, ink and color, 247cm, 375cm, 2013.
Nine
Ni Zhan's best perspective on mountains and rivers is mostly reflected in the schematic structure of "one river and two banks" that he operates, where the empty water blocks the mountain, and the mountain is also highlighted by the emptiness, which is extremely quiet. Ni Zan wrote his main book and Wang Meng's "Turquoise Wangshan Picture" (also known as "Panasonic Sitting Alone") with the inscription "Sitting alone under the ancient pine, the sound of depression." The green mountains are barriers, the flowing water plays the violin, and the forgetful machine is annoyed, and I am troubled. The affection is sent, and the sound of feet is heard. It is probably also the more common practice of ancient masters to use mountains and rivers as bosom friends. In other words, the ancient literati reached a tacit understanding with the landscape to varying degrees.
Dong Qichang once confessed in a slightly self-deprecating tone: "One or two trees are in the future, rocky mountains and soil slopes, dyed at will, and the post-50s are a great success, but they still can't be a person's boat, car and house, and I think it's a hate." I am happy to have Yuanzhen (that is, Ni Zhan) in front of me, protect my shortcomings, otherwise I will not be able to solve the beak. "Looking at the major landscape paintings of Dong Qichang and Ni Zhan, there are also few people.
9-1, Pseudo-Longmian Lotus Society, partial ink on paper, 245cm, 158cm, 2023.
9-2, Jin Tang (detail), ink and color on paper, 96cm, 178cm, 2022.
Ten
The ancient literati were willing to transform themselves into their favorite ideal figures, indulging in landscapes like the people in the paintings, perhaps because of the author's own selfish desires, or to balance the psychological gap between the real and virtual worlds.
Why did the ancients "discover" landscapes and landscape paintings?From looking at the mountains to writing about the mountains, to seeing the mountains as oneself, seeing oneself as a mountain, and then visiting the mountains and waters, the process is tortuous, romantic and mysterious. The "discovery" of the landscape means that one can actively wander outside the landscape.
In the virtual landscapes such as "Two Banks of a River", "Mi's Cloud Mountain", "Quehua Spring", "Moving Peach Blossom Spring", "Golden Soup", "Void Boat", "Guangming Peak", "Cloud Mirror" and other virtual landscapes that also seem to be "landscapes", what else can be done besides admiring the ancient meaning? It seems that something is tempting us to come closer, and something is drifting away from us.
(Wen Leizi people).
10-1. Michaelis Yunshan (detail) wood panel composite material 240cm 480cm 2023.
10-2, Quehua spring blue and white porcelain painting 56cm 110cm 22023.
10-3, Guangming Ding (partial) blue and white underglaze color 115 336cm, 2023.
10-4. Guangming Ding (part of the creative draft), wood panel composite material, 195cm, 720cm, 2024.
10-5. Cloud mirror (detail) ink and color on paper, 240 200cm, 2024.
10-6, Canglang blue and white porcelain painting 44cm 400cm 2021.
*: Kenzankai).
Artist Profile
Thunder people,Professor and doctoral supervisor of the School of Arts, Chinese Minmin University. Since 1989, he has graduated from ** Academy of Fine Arts with bachelor's, master's and doctoral degrees; From 2008 to 2012, he was a postdoctoral fellow in the Department of Art History, Tsinghua University. He used to be the editor of China Times Economic Publishing House, the president of Jiangxi Painting Academy, and the director of Jiangxi Art Museum. He is mainly engaged in the creation and theoretical research of Chinese painting, focusing on the social changes in rural China. His artistic practice includes: contemporary ink painting and other easel paintings, ceramic creation, etc.