Related articles about Le Maoshun

Yuan Ming Hu Mao Shun Shrimp

——Le Mao Shun his people and his art

Chen Yuqian

The history of Chinese ceramic painting and art has a long history In the long history, the Neolithic Painted Pottery Age has seen the emergence of painting. Whether it is painting tools or objects, as well as the creation of artistic images and artistic conceptions, the origin of Chinese painting can be seen. Therefore, the history of Chinese painting or art history, among other things, The origins can be traced back to the painted pottery of the Neolithic Age in China. But who is the originator of painted pottery painting is as much a mystery as the inventor of painted pottery itself. Don't talk about pottery, it's really too long ago. As far as porcelain is concerned, modern scientific and technological archeology has discovered that China is the country where porcelain was invented, more than 2,000 years ago. The invention of porcelain ushered in a new era of human civilization and made great contributions to the progress and development of human material and spiritual civilization. There is no historical record of who such a great inventor was. According to the Chinese historical tradition of "sages creating things", such great inventions are attached to great people such as Yu, Shun, Ning Fengzi, Cangjie and other imaginary people. People have a beautiful aura attached to them. Painted pottery was invented in an era before writing. When porcelain was invented, Chinese characters were already very developed. However, there is no record of the invention of porcelain in any history books. I don’t know if this has anything to do with the traditional Chinese thought of “a gentleman has no use for weapons”.

There is no doubt that porcelain was invented and created by ordinary people. It is normal not to leave names during the firing process, because they are ordinary utensils and are used by ordinary people for food. According to credible historical records and archaeological discoveries at kiln sites, in the history of Jingdezhen ceramics, surnames were left on the utensils starting from the blue and white porcelain produced in the Song Dynasty. For example, the blue and white porcelain powder boxes were engraved with "Made by Zhang Jia", "Made by Zhao Jia" or "Made by Zhao Jia" "Wang", "Zhang" and other words. It can be divided into two situations: one is the workshop logo, and the other is the kiln worker's inscription on the utensil for the convenience of memory, but there is no last name of the artist. This situation continued into the folk kilns of the Yuan Dynasty and even the Ming and Qing Dynasties. During the Hongwu period of the Ming Dynasty, the imperial court established an imperial weapons factory in Jingdezhen. The management of the Royal Ware Factory is strictly in accordance with the royal regulations. The design of the sample is based on the "prohibited court sample" model. It is designed by the royal painter or designer in accordance with the decree of the imperial court. After being finalized by the royal family, it is handed over to the Jingdezhen Royal Ware Factory. Production, this process, is all recorded in the archives. The products produced by the Jingdezhen Imperial Ware Factory have no title other than the production dynasty stamp on the bottom payment, let alone the names of the designers and producers. The imperial kiln factory followed this regulation from its establishment to the end of the Qing Dynasty.

In the history of Jingdezhen ceramics, the most representative ones who pioneered the trend of leaving the painter’s surname on the utensils are undoubtedly the “Xin’an School”. Wang Shaowei, Cheng Xueyi, etc. are all famous There are many painters, and they all have their own specialties. Some are good at painting landscapes, some are famous for painting flowers and birds, or some are good at painting figures. It can be said that each has its own special skills. They incorporated painting techniques into the art of porcelain painting, using porcelain plates, porcelain vases, porcelain plates, etc. as painting carriers, using light crimson pigments as ink, and porcelain painting tools and brushes as tools. They used traditional Chinese painting rules to lay out and compose pictures, and followed the traditional Chinese painting techniques that they were good at. Embody images of objects and draw porcelain works of art with the charm of traditional Chinese paintings. Following the tradition of traditional Chinese painting, in accordance with the elements of traditional Chinese painting regulations, the painter's surname and seal are signed. This style of painting is consistent with the Jingdezhen ceramic decoration style, which is refreshing and has many responders. The most representative one is undoubtedly the "Eight Friends of Zhushan". Each of the "Eight Friends of Zhushan" has special skills and strengths in painting, and has a high artistic level. They followed the "Xin'an Painting School" and applied their painting skills to porcelain. They met each month on the 15th day of the full lunar month to bring their works and sip tea and porcelain, inspiring each other, promoting each other, and improving together. This style of work is consistent with the bad habit of "literati despise each other" and the new trend of "literati love each other", and has become a good story. "I summarize it as the "Eight Friends of Zhushan" phenomenon. The impact of this phenomenon on Jingdezhen ceramic art is historical and multi-faceted.

I think, in addition to the influence on ceramic decoration style and the influence of this "literati dating" trend, I think the most valuable and commendable thing is the awakening of self-awareness, the liberation and expression of one's own personality. It is the recognition and improvement of self-worth, the awakening of self-dignity, and the time when ceramics, a kind of arts and crafts, are separated from the barriers of practicality and the concept of objects for appreciation, and endowed with literati taste and pure artistic character and value. This revolutionary leap is also a rebellion against the concept of ceramics as "gentleman's porcelain". Because of this, after the "Eight Friends of Zhushan", it became popular to decorate ceramics with traditional Chinese painting techniques. The "Eight Friends of Zhushan" carried forward the painting style of the "Xin'an School" and passed it down from generation to generation, becoming the dominant style of ceramic decoration in Jingdezhen in the 20th century. . So after the 1980s, as the origin of the "Eight Friends of Zhushan", the world began to call people by who they were good at and what techniques they were good at. The so-called "Bihuhu" referred to Bi Yuanming, and "Snow King" was Yu Wenxiang's title. etc.

This trend has also affected ceramic artists who have received modern higher art education. Many young and middle-aged ceramic artists also follow this style of painting, and some have outstanding achievements.

Among many young and middle-aged people, Le Maoshun is outstanding and one with great development potential.

Speaking of Le Maoshun, his popularity cannot be compared with Mr. Qin Xilin, Wang Xiliang, Zhang Songmao, etc., but he can be called slightly famous. Many domestic media have reported a lot on his artistic experience and artistic achievements. His works have won many national and provincial awards. Collection institutions and collectors at home and abroad also praise his works. He currently teaches in the Art Department of Jingdezhen College. Professor, senior arts and crafts artist in China.

Le Maoshun is multi-talented and is involved in traditional Chinese painting, paper-cutting and other arts, and he is fond of them all the time. His main focus is still on the creation and research of ceramic art. In terms of creation, he is good at both overglaze and underglaze, as well as flowers, birds, and landscapes. He mainly focuses on traditional styles. He also occasionally dabbles in the creation of modern ceramics to gain inspiration.

Le Maoshun’s traditional ceramic art creations are famous for their traditional blue and white lotus flowers and on-glaze plum blossoms. The most commendable thing is the various under-glaze and over-glaze paintings with shrimp themes. The works with similar shapes are known as "Yuanming Tiger and Maoshun Shrimp" in Jingdezhen, the porcelain capital!

Blue and white water separation is a technique in Jingdezhen blue and white decoration. It can also be called the unique skill of Jingdezhen blue and white decoration. Since the 20th century, the late "Blue and White King" Wang Bu has been famous in the art world. The next and more innovative ones are Huang Maijiu, a master of Chinese arts and crafts, and Professor Zhang Xuewen of Jingdezhen Vocational College.

Le Maoshun's blue and white water separation is based on inheriting the essence of traditional blue and white water separation, absorbing the advantages of traditional water separation and blue and white water separation, integrating the concepts of modern art and the aesthetic taste of the times, and integrating , using new ideas, giving the traditional blue and white water-divided "ink divided into five colors" a new artistic vocabulary, forming its own novel, unique, smart and thoughtful new water-divided blue and white style, which is pleasing to the eye and endlessly reverie.

The plum blossoms he painted were mostly on glaze. Plum blossoms have been an eternal topic in China. Almost all kinds of art have plum blossoms as their theme. Among them, Su Dongpo in the Song Dynasty and Mao Zedong's "Bu Zhenzi: Yong Mei" are the most popular today. There are many plum blossoms in paintings, and everyone knows that Wang Cheng likes to paint plum blossoms. Even in Jingdezhen, there are many masters who use plum blossom as the theme. The late Wang Heting, known as the "Plum Blossom King", Zhuo Anzhi, known as the "Plum Blossom Madman", Chinese arts and crafts masters Wang Xiliang, Zhang Songmao and Wang Longfu There are many high-quality products in the world. Chinese ceramic art masters Xiong Hanzhong, Lu Ru, Liu Ping, Zeng Weikai, etc. are all masters of plum painting. It can be said that there are many masters. Under such circumstances, it is very difficult to become famous in one fell swoop, to become a master of plum painting, or to open up a new realm of plum painting. Of course, painting of ordinary commercial things is a natural exception.

Le Maoshun is a ceramic artist who is diligent in learning, thinking and practicing. He can learn from the past and innovate, and is good at using the stones from other mountains to attack his own jade. He can draw lessons from analogies and apply them to his own creations. Through practice, he has formed his own unique style of works with plum blossoms as the theme: he pays attention to painting the bones of plum blossoms without sticking to the shape, wins with simplicity, and highlights the wind and spirit of plum blossoms, that is, painting the essence, energy and spirit of plum blossoms. This makes Lemao There is a kind of spirit and soul in the plum blossoms in Shun, and there are several strokes with profound meaning. In Jingdezhen, where there are so many masters, it is rare to stand out.

With his spirit and unique pursuit of ceramic art, it is not surprising that he is famous for his "Maoshun Shrimp".

Shrimp, this kind of little elf, is also a food on the plate, and it is a familiar thing to people. Paintings have existed in paintings since ancient times, especially Qi Baishi's shrimp painting, which is world-renowned and gives the things on the plate the spirit of an elf. When I think of shrimps, I remember that when I was a child, I often caught them in the rivers and ditches in my hometown. Sometimes, two or three friends compete with each other, refuse to give in to each other, and even get into arguments. At that time, their little faces were full of anger, but now it seems that they are just childlike.

Just like painting plum blossoms, there are not a few people who paint shrimps in Jingdezhen, and there are also everyone. What's more, Qi Baishi painted shrimps. It is not an easy thing to achieve world-famous reputation for painted shrimps!

Le Maoshun dares to create his own artistic path with the courage to think that he is the first in the world. He has a spirit and attitude that those who know are not as good as those who are good at it, and those who are good at it are not as good as those who enjoy it. To know about shrimps, to enjoy good shrimps, to enjoy shrimps, to draw shrimps, and then get the joy of drawing shrimps!

He knows that it is difficult to draw shrimps, and it is even harder to draw shrimps well. He said: "It is difficult to become famous for painting shrimps. When you draw shrimps, everyone will think of Master Qi Baishi's shrimp paintings. I have been painting for more than 20 years. When I started to learn to draw shrimps, I copied a lot of Qi Baishi's shrimp paintings. He also collected and copied the works of a large number of painters such as Hu Jieqing, Lou Shibai, Qi Ziru, Qi Liangfu, Liu Mo, etc., and learned many valuable expression techniques from them."

He remembered Qi Baishi. He said: "He who learns from me will live, and he who resembles me will die" and deeply understood the essence of it. He thought and realized: "If you want to learn to draw shrimps, you must learn his spirit and essentials, rather than imitate the appearance. How to seek Change, this is my idea to go deeper into painting shrimp well."

To change and draw shrimp well, you must know shrimp, understand the habits of shrimp, and observe the shape of shrimp. Because of this, he started raising shrimps, catching shrimps, watching shrimps, and painting shrimps. He observed shrimps very carefully. He once described his own observation of shrimps: the shrimp seemed to be swimming slowly, but when it encountered an opponent, it rushed forward and stretched out its arms to fight with it, even if it broke its arms. Of course, there are also heroes who don't want to suffer the immediate disadvantages. When encountering a bad situation, they can quickly bend their belly and jump back, disappearing within the opponent's range. When hungry, it bravely rushes forward when encountering the opponent, tightly clamping the opponent's arms and letting it jump until it defeats the opponent and eats the opponent to save itself. Look, it stands independently on the stone, with its head held high and its back, smooth in appearance. Its whole body looks like it is covered with armor but it is transparent and elastic, and its arms maintain a fighting posture. It seems very small, but in my heart it is so heroic and majestic. Like a horse standing on a high mountain, full of masculinity. When I reached out to catch it, it jumped back nimbly. When I caught it in my hand, its own elasticity and instinct to fight desperately for survival made me feel the tension of the shrimp stretching and jumping. You can't bear to deprive it of its desire for life, so you quickly put it into the water. After it quickly finds a safe spot, it quickly swims freely and happily to find it. ． ． ． ． . I couldn't help but pick up the paintbrush in my hand and wave it in front of it, as if I wanted to violate it again, but it quickly extended its arms and opened its pincers and rushed over to fight with it.

He combined what he gained from knowing and observing shrimps with his own life experience, life experience, life feelings and spirit, and even reached a kind of Zhuangzi's spiritual state of not knowing whether he is a Zhuang or a butterfly. , to understand the art of painting shrimps: "This is exactly what I pursue. I want the little shrimps to reflect my inner world. However, the happiness and open-mindedness of my personality made me re-understand the expression form of shrimps.

I found it, I felt it, I became enlightened, and the feeling of life allowed me to find a breakthrough point in my painting of shrimps. I want to show the bravery and happiness of the shrimp. ”

It is precisely because he sees shrimps so carefully, understands shrimps so deeply, and loves shrimps so truly, that he forms the unique techniques and styles of shrimp painting by Le Maoshun: in the layout The whole picture is full of power and vitality, and combines the feminine affinity of the shrimp with the masculine beauty of the shrimp. The beauty of the ceramic color craftsmanship is skillfully used to express the beauty of the shrimp's back with a pen. , chest, abdomen, the entire shrimp body is like a transparent body, elastic and strong. The round and strong iron wire seal script uses a pen to express a pair of aggressive shrimp arms and a pair of pincers, with smooth and elastic lines. The shrimp tentacles are removed to make them strong, soft and flexible. Some of the legs on the lower part of the chest are extended forward, and some are retracted for fast swimming. Looking at the small feet in the abdominal segments, it seems that they are constantly paddling and the shrimp tentacles are constantly swinging, as if Swimming forward.

Ceramic art is different from the art of painting. One of them is that ceramic shapes are mostly three-dimensional shapes, like rice paper-like porcelain plates, but their decoration methods are different. The same thing. When Maoshun paints shrimps, he can take the meaning according to the shape and use different techniques to achieve different artistic styles. He said, "The particularity of ceramic shapes also determines the different layouts of painted shrimps. In a three-dimensional body, each surface must have content, so the panoramic layout makes each surface have an independent form. The different postures of the shrimp express the different plots and artistic conceptions of the shrimp in the play. The postures of the shrimp groups are different. Different, lifelike and full of charm, the painting depicts the calm and lively "enjoyment" of the shrimp and the beauty of the poetic artistic conception, expressing the happiness of the shrimp and the feelings of the shrimp"

Lemao Shun is a person who is good at constantly summarizing himself. He sums up his own shrimp painting theory from his own shrimp painting practice. He is also a person who has both theory and practice and applies his own theory to himself from practice. His practice gave his works a strong imprint of his own spirit and individual emotions, and he realized: “Only by raising shrimps and feeling the shrimps in life can you discover shrimps. The beauty of your personality, when the beauty of your personality collides with the beauty of your soul, the connotation and expression of your work will be sublimated. Art works are not other people's work styles, but a reflection of your own inner world. Only by using your spiritual imagination, feeling nature, and using your heart and nature to create works can you draw your own artistic style and art with the characteristics of the times. Taste. "

Therefore, it is not surprising that there is a saying in Jingdezhen that "Yuanming Tiger, Maoshun Shrimp". Of course, "Maoshun Shrimp" is still young. Compared with "Yuanming Tiger", He's still young, let's go and take care of him together. We look forward to the day when "Maoshun Shrimp" will truly be as famous as "Yuanming Tiger"

2OO8! In the early autumn of Jingdezhen, Guyu Zhai

Enjoyed it

Xuan Yu

Thousand-year-old porcelain capital, famous porcelain of all generations, a gathering of famous people, and great masters. However, he But he is known as the "Shrimp King". He loves shrimps, raises shrimps, watches shrimps, plays with shrimps, imitates shrimps, and draws shrimps. Over the past 20 years, there have been countless shrimps in his paintings.

The porcelain plate "Infinite Joy" is quite interesting: in the upper left corner of the picture is a hazy full moon, under the moon is a small red flower, and a group of shrimps are swimming around, scrambling to get closer to the flower moon, and in the lower right corner is a small red flower. There is a stone, a thin and jagged rock, and a small shrimp that has just emerged from the crack in the stone is still hunched over. It looks at everything in front of it nervously and blankly, not knowing why the whole picture is based on the poem "Before the flowers and under the moon, it is endless fun". The painting "Hundred Shrimps in Spring" on a porcelain vase is divided into three groups. The shrimps are either swimming quickly with their claws stretched out, swimming slowly with their beards waving, or crouching to come out, or swimming slowly. Quietly motionless, either competing for food, or enjoying themselves... a hundred shrimps of different sizes and expressions were painted, and decorated with a few green aquatic plants and a few small red fish. The picture is a combination of work and writing, which is extremely complex when it is complex and extremely simple when it is simple. It is lively and smart, full of spring spirit.

The pictures such as "The Happy Shrimp Picture", "Happy Encounter", "Enjoying It", and "The Dragon Enters the Sea" also have their own characteristics. In the paintings, the body is first drawn with light ink. It shows the wet color of the shrimp body. Then it is dipped in thick ink, and the vertical dots are the eyes, and the horizontal dots are the brains. The whiskers, claws, and large claws are drawn with fine brushes. They combine hardness and softness to depict the game and encounter of the shrimps. The various moods of people, playing and swimming, are written randomly, but they are condensed and expressive.

......

The exquisite ceramics are so dazzling that you can’t see them at all. These ceramic works have simple and smooth images and profound and long artistic conceptions, especially the shrimps, which are exquisite, crystal clear, lifelike, light and agile, and full of charm. They are indeed extraordinary. This "Shrimp King" really lives up to his reputation.

He is Le Maoshun, associate professor of the Art Department of Jingdezhen College and a senior Chinese arts and crafts artist. He is also a member of the China Arts and Crafts Society, a member of the Jiangxi Artists Association, and a member of the Jingdezhen Artists Association. And senior painter of Jingdezhen Cidu Painting and Calligraphy Academy.

In real life, Professor Le is an easy-going and humble person. He has many friends and is very popular. He smiles with everyone he meets. However, in terms of artistic pursuits, he likes blooming plum blossoms, galloping horses, and lean landscapes. He likes things that are flamboyant and dynamic. Shrimp is one of his favorite animals. When it comes to shrimps, he has a special liking. He said: "Shrimps are actually full of masculinity." If you pay attention, you will find that the shrimps he painted are all The pincers are open. This may not be in line with the reality of life, but it is in line with the reality of art, because this slightly exaggerated and deformed shrimp with open pincers is full of a sense of power, showing the shrimp painter's pursuit of masculine beauty.

Art allows exaggeration and deformation. For example, the proportions of the characters in the baby play picture are obviously out of balance, but only in this way can the child's naivety be revealed. Mr. Qi Baishi's shrimps are also made by combining the beauty of river shrimps and the plumpness of prawns. Professor Le's shrimp combines feminine affinity with masculine momentum and beauty. The art of life and the life of art actually complement each other.

Mr. Qi Baishi once said: Those who learn from me will live, and those who resemble me will die. Professor Le seems to be well versed in this. He learned from Mr. Shiraishi's shrimp painting, but he has his own style. He skillfully manipulates pen and ink, using ink color and pen marks to express the structure and texture of the shrimp. He depicts the shrimp tentacles and long-arm pincers with a touch of gold and stone, so that the pure ink-colored structure also contains rich meanings. Moreover, he also incorporated his personal aesthetic concepts and life ideals into his shrimps. His works like to be named after "Happiness in It", "Xia Happy Picture", "Self-Enjoyment", "Infinite Joy", "Happy Encounter" and so on. Sure enough, they are: shrimp happiness, happiness and happiness, happiness in it.

For more than 20 years, Professor Le has been persevering in his pursuit, and he has also achieved great success. He is good at new colors, blue and white and comprehensive decoration. His ceramic works have long been famous in the Jingdezhen ceramics industry. Unique and in a league of its own. On December 19, 2005, in the lobby on the 10th floor of Changjiang Hotel, at the first China Senior Arts and Crafts Artist Nomination Exhibition, he was surrounded by crowds. Everyone stared at him and praised him. The reporters flashed their lights. It was flickering one after another, and he was splashing ink. What he painted was a picture of a group of shrimps playing, called "Happiness in It", and it really is: fun alone, everyone is happy, happy in it.

Published on July 28, 2006 lt; Jingdezhen Radio and Television Weekly gt; Issue 30

On the afternoon of March 20, 2009, NNN Japan Yomiuri TV Yamakawa Yuki Branch Director. Assistant to the branch director Li Zhenhai, cameraman Wang Zhenyi, and assistant Zhang Yuanai went to Jingdezhen for a special interview.