Feng Jianwu (1910-1989), a native of Renshou, Sichuan, is a contemporary painter who is good at Chinese painting, calligraphy and seal cutting. He is the founder and disseminator of Chinese paintings in Sichuan and Chongqing in the 20th century, and a rare master of art in Sichuan and Chongqing in the past century.
He studied under Wang Yiting, Pan Tianshou and Zhu Le. 1932 founded the oriental academy of fine arts in Chengdu, 1956 taught landscape, calligraphy, seal cutting and poetry in sichuan fine arts institute. His life is full of peaches and plums. Before his death, he was elected as the director of Sichuan Branch of China Artists Association, the director of China Calligraphers Association, the vice president of Chongqing Traditional Chinese Painting Academy, the consultant of Chengdu Painting Academy, and the member of the Standing Committee of Sichuan Provincial Political Consultative Conference.
Chinese name: Feng Jianwu.
Alias: Yu Tai
Nationality: China.
Ethnic group: Han nationality
Place of birth: Renshou, Sichuan
Date of birth: 19 10
Date of death: 1989
Occupation: painting and calligraphy teacher
Graduation school: Sichuan Art College
Representative works: Pentium
outline
Feng Jianwu (1910-1989) was born in Renshou, Sichuan. Words are too dangerous, don't swim between the lines, named Sugarcane Hall, Xiaolanglou; China famous painter; Good at Chinese painting, calligraphy and seal cutting; Before his death, he was elected as director of China Artists Association Sichuan Branch, director of China Calligraphers Association, vice president of Chongqing Traditional Chinese Painting Academy, consultant of Chengdu Painting Academy, member of Hangzhou Xiling Printing Society, member of the Standing Committee of Sichuan Provincial Political Consultative Conference, professor sichuan fine arts institute, and tutor of master students. Mr. Feng Jianwu is the founder and disseminator of Chinese paintings in Sichuan and Chongqing in the 20th century, and he is one of the rare masters of art in Sichuan and Chongqing in the last century. 19 10 was born in Renshou, Sichuan. /kloc-at the age of 0/7, he was admitted to Sichuan Art Institute, and then went to Shanghai to study with Wang Yiting, _, Pan Tianshou and Zhu Le. 1932 Established Oriental Art College in Chengdu; 1956 began to teach landscape, calligraphy, seal cutting and poetry in Sichuan Academy of Fine Arts, and he was full of peaches and plums all his life. 1982 held a personal painting and calligraphy exhibition, including "Feng Jianwu's Painting Collection" and "Foundation of Landscape Techniques". Sichuan Higher Education Audio-visual Education Center and sichuan fine arts institute jointly produced the teaching film "Old Horse Out of Wan Li —— An Interview with Painter Feng Jianwu".
For more than half a century, Yu Tai's artistic achievements, majestic mountains and rivers, majestic masculinity, vast sea of clouds, towering peaks, endless dangers, calm and bold lines, strong and bright colors have all been vividly displayed in his paintings. The profound literary foundation makes Mr. Feng's paintings more artistic and poetic.
"A few wear the top of the cloud, leaning against the cold. The snow-capped mountains endure the sky, and the silver tide is boundless. " "I accept pictures, wonders and clear five internal organs. When you get on the court, your thoughts will rise like spring. " Are all poetic feelings born with the environment.
Wan Li's eyes were wide open, and the cold wind blew away the worries of the past and the present-Feng Jianwu's life was bumpy and hard, but he never stopped exploring creation and art education, and made great contributions to the cause of art education in China.
Character experience
Feng Jianwu was born in 19 10 in Songlinwan, Renxian County, Sichuan Province. His grandfather and father are good at poetry and calligraphy. From the seal he carved, I know that he has a father of "thousands of books Ten Mu Garden". When he was young, he studied poetry with his uncle and was influenced by China traditional culture.
Teenagers study in sichuan fine arts institute, such as Rick Fang and Liu Xianxing. Three years later, I went to Shanghai by boat and was admitted to Changming Art College founded by Wu Changshuo's descendants. In Changming Art College, I studied under Wang Yiting, Pan Tianshou and Zhu Lesan, known as disciples of Wumen. He and his friends founded Chengdu Oriental Academy of Fine Arts in Chengdu, served as the director and president of Chinese painting department, and hired Mr. Huang to give lectures in Sichuan. During the Anti-Japanese War, the school was dissolved due to the shortage of funds, and he made a living by selling paintings. Influenced by it, Shi Lu (Feng Yaheng), the founder of Chang 'an Painting School, who is ten years younger than him, attended the school and took the road of painting. Half a century later, his fate and painting skills are closely linked with Shilu. Without Feng Jianwu, Shilu couldn't be a painter. Without Shilu, Feng Jianwu might have been in the tradition all his life.
During the War of Resistance against Japanese Aggression period, Feng Jianwu once bought paintings to run schools and wandered around Bashu. There is a poem that says, "The hoofs are all over the village, and ten thousand people hide in the sea." Silk _ pregnant with a single sadness and joy, Moshan River painted. But helping the golden soul to respect several couches, the wind shakes the dust and dreams and dances. Invasion of the chest, cold and warm, hurt the body, a "carefree thinking about the five lakes" showed his tracks and thoughts at that time. Before liberation, in addition to studying poetry at home, it was "learning painting for ten years and buying painting for ten years". He spent 20 years studying tradition and exploring the true meaning of art. From Shang Dynasty to Ming and Qing Dynasties, he studied the technical characteristics of Ma Yuan, Xia Gui, Li Sixun, Wang Wei, Dong Yuan and Ju Ran, and explored the source of poetry, calligraphy and painting.
After the founding of the People's Republic of China, he became a member of Chengdu Artists Association. His works "Soul of Castle Peak" and "Pentium" participated in the first art exhibition in Chengdu, and meticulous painting "Harvest of Vegetables" participated in the first national art exhibition from 65438 to 0954. This painting was later sent to Wen Xiu for exhibition. From 65438 to 0956, Southwest Academy of Fine Arts (sichuan fine arts institute) hired him to teach, which valued his profound traditional knowledge and skills. At school, he teaches four courses: landscape, poetry, calligraphy and seal cutting. Art teaching is intuitive, he can speak vividly, and teachers who draw in normal schools are naturally very popular with students.
His artistic development is always "sailing against the current". After he entered the tradition, he did not stick to the traditional city, but tried to seek new breakthroughs. From the 1950s to the early 1960s, academic thoughts were more active. Shi Lu led a large number of old, middle-aged and young painters who were enthusiastic about the reform of Chinese painting in An, and made diligent practice to explore the innovation of Chinese painting and "create new forms in line with new contents", thus creating a precedent for Chang 'an painting school. 1960- 196 1 Feng Jianwu went to Xi 'an during the winter vacation to learn painting skills with his younger brother Shilu and discuss innovative plans. At the same time, along the Qinling Mountains, through the Three Gorges to Wuhan, to Guilin and Yunnan to sketch, drawing more than ten paintings every month. It is not only a sketch of the scene, but also the absolute truth of the scene. Feng Jianwu also used this sketching method in teaching, which made students feel the freedom to control the object of description.
Feng Jianwu Painting and Calligraphy Exhibition was held on 1963, which is quite famous in Sichuan, Chengdu, Xi and Fuzhou. He finally broke through the barriers of one school, developed his own style based on sketch, and his personal style began to take shape. In a year or two, the style of painting suddenly changed, like a different person. In fact, it is the result of knowledge accumulation and cultivation improvement. Just like volcanic eruption, it has existed for many years. Once the time is right, generate will come out naturally.
Shi Lu explored a new painting language to express a new life with the idea of "extending one hand to tradition and the other hand to life". In order to express the landform of the Loess Plateau, Shi Lu wrote Song of the Loess Plateau, which is loose, similar and polluted. Feng Jianwu has visited Xi 'an many times and praised Shi Lu's thought that "life creates new ideas for me and I preach the spirit for life". Feng Jianwu has always followed the principle of "legal innovation". He opposes change for the sake of change. He regards the so-called pen-and-ink game-like "heart" as "wild fox Zen" and thinks that it is "rootless" and will not have vitality.
After the Cultural Revolution, he climbed Mount Huangshan and Mount Jiuhua and traveled all over Fuchun River and Xin 'anjiang River. Riding mountains and white clouds, rivers and seas turn the waves. I'll fight my ass to get back comfortable. His poems on paintings truly reflect his loyalty to your art, and you know the mental state and creative enthusiasm of any era.
1Ten years before his death in February, 989, he endured the grief of "mourning ji zi after giving birth to me and before dying" and losing his younger brother Shi Lu. He devoted himself to his art and was invited to paint in Beijing many times. He once created a huge landscape painting with a width of four meters and a height of two meters for the United Nations Hall, and painted more than 100 for Diaoyutai State Guesthouse, the State Council and China National Painting Academy. His paintings are also presented as gifts to foreign friends for state visits, and his works are collected by China Art Museum, Chinese Painting Research Institute, Sichuan Provincial Museum, Jiangsu Provincial Museum and Shenzhen Museum. In the last few years of his life, he worked at sunrise and rested at sunset. Painting, writing, poetry, engraving, in addition to sorting out Feng Jianwu's poems, seal cutting, calligraphy, talking about art records, talking about poetry and other works, Feng Jianwu's paintings, landscape painting techniques and other books are also published.
Feng Jianwu's profound traditional strength is integrated with delicate charm, and his works "Huangshan Monkey Watching the Sea" and "The Moon Coming from the Flowing Stream" are representative works in this respect. Poetry, books, paintings and prints are handy, and they can be used for a long time and accidentally. His creative inspiration is endless, leaving a lot of masterpieces for contemporary China painting circles.
artistic style
As a creative force of landscape painting, Feng Jianwu seriously inherits national traditions, faces social life and nature, actively reflects reality from an artistic perspective, and tries to explore new means in pen and ink techniques, thus vividly expressing new themes and new artistic conception and giving people new aesthetic enjoyment.
Before 1960s, Feng Jianwu's works were basically pure tradition and pure Wu Changshuo style.
Since then, the calligraphy style of the Northern Dynasties has been integrated with Han steles and Han bamboo slips. He has created a vigorous, vigorous, simple and vigorous artistic style. His paintings are from books, and also have profound traditional skills and strong personality.
Feng Jianwu's brushwork is strong and bold. No matter how he touches branches and leaves in his paintings, he always uses bold brushwork. His brushwork is like a spear and a halberd. His brushwork is the opposite and he doesn't make any small moves. This is different from ordinary painters. He is worthy of everyone's title. Painting is a specialty, and calligraphy is above Dan Qing.
Feng Jianwu's calligraphy is good at all kinds of styles. He has studied Yan Zhenqing, Ou Yangxun, Xiao Kai, Jin Shu, Zhang Qianbei, Shimen Song, Shi Li's Xia Shi Draft and Xue Yao's Seated Draft carefully. His calligraphy, even his brush, is mostly influenced by these styles, and his running script is thick and dry. The Book of Thin Gold is especially praised by people. People who have always studied gold-sparing have always taken Emperor Daojun as a model, while Yu Tai studied Xue Yao's poems from a farther place and sought their origins, so he could be beautiful and free from vulgarity, but he didn't do much. Although the official seal was influenced by Wu Changshuo, it searched for the change of Bujijin, and sought the praise of Shimen Pavilion, and came to Mo Qing, Chen Mansheng and He Zizhen. He took the ancient method and cut off his heart, learned from it and expressed his luck. He was based on the modern book forest and was not a vulgar hand. In his later years, he carried out political reform, taking the pen of seal script as a cursive script, which was extraordinary and lofty, hot and hard with the pen, and the rules were ups and downs. Feng Jianwu can also write poetry and lettering. His seal cutting is a pure imitation of Wu Changshuo's body before he was sixty, but he can still admire it. However, although music is full of beauty and density, it can't cover up the traces of deliberate arrangement. If compared with Ge Wangbi and Zhu Lesan, he is clean and gorgeous, with the seal of Feng Jianwu. He inherits the second generation of Wu, with majestic places like Wu Changshuo and beautiful and elegant places like Wu Rangzhi, but he is just like a gourd, and has not fully formed his personal appearance.
achievements of art
1926- 1929 studied in sichuan fine arts institute, Chinese University of the Arts, Changming Art College, and studied under Wang Yiting and Wu Dongmai. , and became a disciple of Wu Changshuo, Wu Changshuo painting style biography.
From 65438 to 0930, he founded the Oriental Art Institute in Chengdu, served as the director, vice president and principal of the department of traditional Chinese painting, and hosted the art research publication "The Sun is in the East".
Huang, a master of landscape painting, was invited to give lectures in Sichuan, which injected a fresh air into the painting style of Bashu. At the age of twenty-one, he returned to Sichuan and organized Rong Society and Guoguang Calligraphy and Painting Society. He also opened the Huanhuacaotang Painting and Calligraphy Society and held a painting and calligraphy exhibition. Its landscape paintings are famous in the southwest. After the founding of New China, he joined Chengdu Artists Association and served as the editor-in-chief of Northwest Pictorial in Shaanxi.
1949, used to be a middle school teacher. 1952, went to Xi' an as Art editor of Northwest Pictorial. 1955 was transferred to sichuan fine arts institute, from 1956 he became a professor of Sichuan Fine Arts School, and 1987 retired.
During the ten-year catastrophe, Feng Jianwu was branded as a reactionary academic authority, closed the "bullpen" and was shaved.
At the end of the Cultural Revolution, Feng Jianwu was nearly old and devoted himself to the creation and transformation of calligraphy and painting. He immediately continued his interrupted calligraphy and painting revolution. Old and sick, he devoted himself to painting and calligraphy. Long-term teaching of landscape, poetry, calligraphy and seal cutting. He is also the director of China Calligraphers Association, the director of Sichuan Artists Association, the vice president of Chengdu Painting Academy, Professor sichuan fine arts institute and the Standing Committee of Sichuan Provincial Political Consultative Conference. His main works are Pentium and Xiao Chun in the middle of Sichuan, which have been exhibited at home and abroad for many times.
1979 made a huge painting of "Emei is the best in the world" for the China Pavilion of the United Nations, and "Zhao Hui in E Ling" painted by the Sichuan Pavilion of the Great Hall of the People won the provincial excellent works award. 1982 held a personal painting and calligraphy exhibition.
Some of them are Poem Draft, Seal Carving Draft, Poetry Talk, Painting Collection, Technical Basis of Landscape Calligraphy by Lu and Collection of Oracle Bone Inscriptions. Sichuan Higher Education Audio-visual Education Center cooperated with sichuan fine arts institute to produce the teaching film "Old Horse Out, Aim at Wan Li-An Interview with Painter Feng Jianwu", and the works "Haixin Pavilion" and "Ancient Ginkgo biloba" were collected by China Art Museum.
Personality assessment
20 10 the centennial painting exhibition of the famous painter Feng Jianwu was held in the Three Gorges Museum, and 62 famous artists from Bashu also gathered together to hold a painting and calligraphy seminar to commemorate the centennial birthday of Professor Feng Jianwu.
Lin Mu, a professor at Sichuan University and dean of the Art College of Sichuan Normal University, said: "Mr. Feng inherited from Pan Tianshou and lived in Wu Changshuo, and his style is the literati painting system. The art of literati painting is a comprehensive art, which needs the comprehensive cultivation of painting furniture, poetry, calligraphy and printing. However, with the western education system completely replacing China's systematic education in the 20th century, and the national culture abdicated, the visual sense has occupied the absolute mainstream in the field of Chinese painting, so the comprehensive characteristics of literati painting have completely ebbed, and Feng Lao's comprehensive cultivation is profound, so junior high school should be the leader. Therefore, I propose to build an art museum of Professor Feng Jianwu in Chongqing to inherit his artistic accomplishment. "
Ling Chengwei, a professor at Southwest University and director of Chongqing Institute of Modern and Contemporary Fine Arts, said: "A symposium for Feng Lao should have been held long ago, and it is a little late now." Director Ling said that we should understand the professor and his art from the cultural and artistic development of an era and a region. "First of all, as an artist and educator, he is one of the leading figures in the development of modern Chinese painting in Chongqing and Sichuan and one of the founders of modern painting education in Chongqing and Sichuan; Furthermore, his art not only promoted the development of Bashu and Bashu modern China calligraphy and painting, but also integrated poetry, calligraphy, painting and printing in one furnace, inheriting and developing. This is a unique cultural construction and form of China's traditional painting and calligraphy art to explain the spirit of oriental culture and reflect core values, but it is also a place where contemporary China painting and calligraphy art is particularly lacking in creation. " Director Ling said. Hou, a professor and master tutor at Sichuan University's School of Art, said: "Feng Lao's success in breaking books fully reflects his original artistic thinking. Tracing back to the source, it should be inspired by Wu Changshuo's calligraphy creation. When Wu Changshuo was in his fifties and sixties, he spent 65,438+00 years exploring broken calligraphy, and later gave it up because it was not accepted by the market. Feng Lao, on the other hand, has a unique eye. He noticed Wu Changshuo's neglected tattered calligraphy, and learned from his heart instead of traces, making painstaking explorations. In the end, he successfully created tattered calligraphy, but it showed a completely different look from Wu Changshuo, with his own personality and unique artistic style, and his artistic creation thought came down in one continuous line with Wu Changshuo. "
Lu Delong, the full-time vice president of Chongqing Painting and Calligraphy Institute, said: "Feng Lao calligrapher walked out of the meridian gate, took the inscriptions of French, Han and Wei as the main ones, and lived in them with his distinctive personality, vigorous brushwork, dignified dialect and simple charm. It can be said that Feng Lao is a representative calligrapher of China's contemporary masculinity. "
Tang Yun, a professor at Sichuan University and tutor of master students, said that Feng Lao is a strict teacher and he advocates studying hard. Professor Tang said: "Feng Lao has always believed that literature and calligraphy skills are the basis of landscape painting, and using a pen is the core element of the so-called traditional skills. Therefore, Feng Lao emphasized that the center writes with a pen instead of drawing, and demanded that the students must look at the pictures with a pen, so that students can get traditional teaching under his guidance. In teaching, he advocates studying hard and training students with almost harsh skills. In artistic creation, he requires comprehensive and profound learning. "