Liang Yun, an old saying written in light ink.

In recent years, in Shaanxi and even the whole country, Liang Yun's landscape painting began to get widespread attention.

In the autumn of the Year of the Dragon, Liang Yun held the "Old Pen Liang Yunshan Water Painting Exhibition" in Shaanxi Art Museum, which was a great success. Cui Zhenkuan, a famous painter, commented at the opening ceremony that he presided over: Liang Yun is a very famous old painter in Shaanxi, who has been engaged in artistic work for 50 years. His landscape paintings are mature and sophisticated, with Chen Xiong style, high academic taste and distinctive personality style. Liang Yun is very influential in Shaanxi and even the whole country. Wang Xijing, chairman of Shaanxi Artists Association, said: "It may only take 1 hour to see Liang Yun's works, but he spent 50 years of hard work." Now, after half a century's artistic trekking, Liang Yun's landscape painting creation has reached the ultimate personal height. After the exhibition, "Old Pen Liang Yun" began to become the consensus inside and outside the industry. As a symbol, "old pen" has become a label of Liang Yun's artistic achievements in landscape painting.

Liang Yun received solid professional training and education in the middle school attached to the Academy of Fine Arts and undergraduate courses in his early years. After graduation, he spent his whole life in the swimming pool. He first turned from painting characters to painting landscapes, and then from painting landscapes to painting Cooper. What is particularly commendable is that in the past 20 years, he has used Jiao Mo's skillful, sophisticated, most difficult and skillful brushwork to describe the image of northwest Cooper emotionally on rice paper. Twisted trunk, chapped old skin, twisted roots and positive personality of pine and cypress give people great aesthetic enlightenment and spiritual encouragement.

Looking at Liang Yun's landscape paintings, whether it is his landscape series or his Cooper series, a kind of "atmosphere", "righteousness" and "heroism" comes to mind, which is the remarkable feature that Liang Yunshan's water is different from others. Among the three qi, righteousness is bone, qi is form and qi is rhyme. The "righteousness" in the painting is like the mist between rocks, the mist between mountains and rivers, and the broken ink overflows the paper, reaching people's hearts. Liang Yunbi painted the Weibei Plateau, hilly areas, wild ditches in wasteland, miscellaneous trees in caves, cattle and sheep in village yards and so on. , are outlined with hard lines. What he pursues is the power of lines and the tension of pictures, and the whole is very transparent and delicate. Liang Yun was a man of the Qin Dynasty, with a height of 1 m 85. He walked noisily. This land in his hometown has been taken away by Wang Ding and Yang. The vast mountains and rivers in my hometown have contained the vastness between the wild and the vastness between heaven and earth since ancient times. In terms of calligraphy and painting, this land related to my hometown has been exported to Hao Jing, Tong Guan and Fan Kuan in the Song Dynasty. Hao Jing and Guan Tong, landscape painters of the Northern School, injected Liang Yun's rough and bold modeling brush and ink into the landscape. Fan Kuan, a master of "writing mountains and bones" and a sage in the countryside, made Liang Yun's mind more lofty and heroic. In his works, Liang Yun won the charm of Fan Kuan's "majestic mountains and rivers, rivers and weather, thousands of miles of snow moving". In calligraphy, the native great calligraphers Liu Gongquan and Yan Zhenqing are endowed with strong personality and charm. Liu Gongquan's calligraphy motto "The heart is right and the pen is right, and the pen is right, which can be the law" has given Liang Yun enough blood titration in the inheritance of personality. Liang Yun is an artist who inherits the tradition of painting and calligraphy in China. This "righteousness" has been passed down for thousands of years, passed on to Liang Yun and screwed into his soul. As far as this clue is concerned, Liang Yun is traced back to the "old roots". He trudged all the way to the source. Liang Yun is upright in root, road and style. Therefore, Liang Yun's landscape works always express the meaning of heaven and earth and the heroism of everyone. In the current reality of osteoporosis, general calcium deficiency, lack of justice and vital qi, the vital qi, atmosphere and heroism presented by Liang Yun's landscape paintings are particularly precious. It is this "righteousness", "atmosphere" and "heroism" that makes Liang Yun's artistic practice naturally reach an artistic realm of "old brushwork" and familiarity.

In the aesthetics of China's landscape paintings, the word "old" is often reflected in the artistic conception of "sophistication", "old age", "old friend like me", "old place", "bold" and "plain". The ancients advocated the ancient meaning, elegance, simplicity and Gu Zhuo, which should be synonymous with the "old" aesthetic concept. Liang Yun's series of landscape creations are vigorous, atmospheric, barren and desolate, especially his later works, which are particularly "raw, old, clumsy and spicy". After careful consideration, I think that the "old" of Liang Yun's "old pen" is mainly presented in four aspects: sophistication, hometown like me, old age and old environment.

After 50 years of artistic practice, the pen in Liang Yun's hand has already reached the point of perfection. "Sophistication" is the premise and foundation of the realm of "old pen". In this land of my hometown, Fan Kuan, a landscape elder of the Northern Song Dynasty, said, "I have never learned from others, but I have never learned anything. I am a teacher of things, but I am not a teacher of the soul. " Wang Lu, a native of Kunshan in the Ming Dynasty, visited Huashan Mountain in autumn when he was nearly 50 years old. Fang Da has been painting martial arts for 30 years, and the paper remains unchanged. He deeply praised me for "the heart of my teacher, my heart and my eyes, and my eyes are the teachers of Huashan." From the beginning, Liang Yun started from sketching, and he knew that "stealing the shape of paper is vulgar". His paintings are not from mustard fields, Song and Yuan landscapes and ancient paintings, but from the real nature, which proves that Liang Yun's works have distinct realism. After imitating Fan Kuan, Liang Yun returned to Weibei, a bronze official in the north, devoted himself to it and began a hard life of sketching. He started with a stone, a tree, a stream and a hillside. In this way, "ten days and one water, five days and one stone." "Slice sedentary, acupoint self-knowledge." For sketching, he made a huge picture holder, which could hold almost four feet of drawing paper. Liang Yun said that China probably didn't have a second one. Liang Yun likes to climb mountains in late winter and early spring. He should observe the bare and uncovered mountains, pay attention to the bones of the mountains, the texture trend of the rocks and the inner spiritual temperament of the mountains. He once braved the heavy snow to sketch in the mountains, but because of obsession and intoxication, he forgot the morning and dusk and went home at a loss. As soon as he entered the mountain, it was a day, and a posture often remained motionless for an hour or two. He drew a big sketch, and someone was surprised to ask how. Liang Yun said there was a big carpet on the floor, and that was his picture box. Painting one by one and splicing together is a long scroll. Liang Yun traveled all over the valleys of Weibei Plateau and the barren hills around Tongchuan. After more than ten years, he knew all about the mountain landforms, villages and cottages, strange peaks and strange mountains, folk customs and so on in Weibei. It is in this case that Liang Yun accidentally discovered that the "prototype" of Fan Kuan's "Snow Scene and Cold Forest Map" and "Journey to the West Mountain Map" in the Northern Song Dynasty should be in the area of Weibei Zhao Jin. In those years, Liang Yun was silent in Tongchuan for 20 years. Some people say that Liang Yun has been in Xi 'an for 20 years and has long been a man of the hour in painting. In fact, there are thick and thin, as Mr. Fei Bingxun said: "The North Copper Officer lived in seclusion for 20 years, which delayed Liang Yun and made Liang Yun." Today, dozens of sketches have witnessed Liang Yun's solid and persistent artistic path. It is in this solid and long practice of sketching that his brushstrokes changed from "unfamiliar" to "skilled" and from "skilled" to "sophisticated", and finally reached the artistic realm of "sophisticated and sophisticated" and "old pens are scattered".

Liang Yun was born in Weibei, which was once the birthplace of northern China painting school and the source of lofty beauty of China landscape painting. Dong Qichang and Mo Shilong in the Ming Dynasty also put forward the theory of "North-South School" in landscape painting, using Zen as a metaphor for painting: "There are two schools of Zen, which began to be divided in the Tang Dynasty, including South School and North School, and there were also schools in the Tang Dynasty, but they were not south and north ears." Zen Buddhism is divided into southern school and northern school because of their different cultivation methods: the northern school stresses "gradual cultivation" and emphasizes hard training; Nanzong stresses "epiphany" and emphasizes inspiration. Dong Mo's remarks about emphasizing the south and restraining the north are biased, but they are still meaningful in distinguishing different painting styles. Just like Zen, generation after generation of landscape painters in the North School have the artistic spirit of "gradual cultivation" and "hard training" in practice. Hao Jing and Guan Tong in ancient times, Fan Kuan, and Chang 'an Painting School in contemporary times. This land of Shaanxi has produced "stupid" writers and "stupid" artists. However, stupid to the extreme, stupid to the extreme, but will show spirituality. Lu Yao, Chen, Jia Pingwa. Once a man heard that Jia Pingwa had written more than 13 million words for decades and was surprised to ask: What do you write? Jia Pingwa replied: "What if you don't write? Just this variety. " Liang Yun said that he only painted all his life, but only painted. His blog is named "Ku Niu Zhai", which means that his temperament is like a diligent ox; Calling himself "Yun", that is to say, he is a cow who only knows how to plow in the field of art, and he is willing to work hard in his creation. "An old chap like me" is his distinctive feature. Liang Yun's works are full of vitality, simplicity, roughness, carelessness and desolation. Zhu Wenjie, a famous writer, commented on Liang Yun's landscape works, and summed up its aesthetic implication with a "big jar of coarse porcelain". There are few ingenious things in Liang Yun's works, which are very heavy. Liang Yunzhong is devoted to life, emphasizing skills rather than playing with them. No matter his brushwork or verve, his performance is flashy and full of true colors. Liang Yun is good at using the brushwork of "an old chap like me" to convey natural and primitive beauty in the vast nature. Zhao Mengfu said, "Painting is expensive, which means something ancient. If there is no ancient meaning, it is useless. " The "ancient meaning" here is the inherent aesthetic category of "an old chap like me" Modern Zhu Qizhan said that painting should be "simple and simple, not flashy". Liang Yun's artistic practice on the road of "an old chap like me" is meaningful. In philosophy, "clumsy" and "clever" are dialectical unity. Zhao Zhenchuan, a famous painter, thinks that Liang Yun's paintings, like others, have a very clumsy side. But it is a big coincidence that he can see cleverness in his mistakes.

As an aesthetic category, "old spicy" should be a broad collection of "essence", "sharpness", "fierceness" and "specialty" in the artistic realm. The artist's "grandeur" shows that his artistic experience and life experience have reached the point of perfection. Liang Yun inherited the essence of Chinese painting and insisted on tradition and pen and ink. The greatest feature of his landscape painting is that he is good at pen and ink. He attached great importance to the use of pen and ink, from using pen and ink to using dots and lines, and made great efforts from the structural procedures of Chinese painting. His pen, especially the lines, is full of twists and turns and powerful, which not only draws a plane, but also shows a three-dimensional sense. The essence of Chinese painting is the homology of painting and calligraphy. "Using ink in the pen is ingenious, and the author can use it in ink." "Pen is bone, ink is flesh". In the process of Liang Yun's creation, the transformation, frustration and strength of the pen are constantly strengthened, and the strokes are concave and convex, which constitutes the distinctive personality characteristics of his works. Chen Jiru of A Qing Dynasty said: "There are those who have good pen and bad ink, those who have bad writers in Mo Miao, those who have good pen and ink, and those who have no pen and ink." Liang Yun's landscape works are both excellent in pen and ink. Wen Zhiming said: "The character is not high, it is impossible to use ink." It's no small matter to say something. In this way, "the character is already high, and the charm is still high; The charm is already high and vivid. " Therefore, Cui Zhenkuan said, "Liang Yun's paintings are very durable and traditional, but they are also very modern and powerful." Liang Yun's "old spicy" has another feature: "the spirit of stone". After the Qing Dynasty, the aesthetic tastes of Badashanren, Zhao and Qi Baishi appeared. Liang Yun's landscape paintings are rich in epigraphy. While paying attention to pen and ink, he integrated the stone pens carved from utensils into the brush. His ink spots, such as falling rocks, and his lines, such as winding vines, make the mountains, rivers, trees, stones and flowers in his works show the magnificent charm of being bold and simple, thick and old, rough and rough, and bending iron and gold. Mr. Cui Zhenkuan summed up the aesthetic characteristics of Liang Yunshan's water, which is characterized by "rough head and messy clothes". In Shi Shuo Xin Yu, Pei Kai, because of his delicate appearance, "takes off his crown and wears rough clothes." Mr. Cui's "coarse clothes and coarse language" is the external expression of profound artistic foundation, calm and self-confidence, and also the true interpretation of "old and spicy" brushstrokes.

Liang Yun painted landscapes and attached great importance to the theory of realm. In the past ten years, Liang Yun has changed from a garden to an exclusive Cooper. In Du Fu's works, Liang Yun devoted a lot of effort, using a bronze trunk and a stone branch, and a kingfisher-like fish tail in the sky 2,000 feet. The Weibei Cooper he wrote does not win by form, nor by quality. It is not as lush as the Cooper in Cui Yun Gallery in Sichuan and Cooper Temple in Suzhou. It is rooted in the arid Weibei Plateau, ancient, vigorous and weather-beaten. Its roots are like bare tendons, its body is like hemp rope, its scars are like broken arms, and its branches are like iron branches. The image of indomitable, high-spirited, and especially bitter in hardship is the spiritual portrayal of the Chinese nation's indomitable and tenacious progress for thousands of years. "The painting uses Jiao Mo's angry rhyme, and the book uses light ink to give birth to ancient colors." The artistic conception created by Liang Yun's Jiao Mo Cooper is a combination of emotion and meaning, and it is an artistic spark caused by the collision between "mind source" and "nature". As far as Chinese painting is concerned, the shape is easy to get, but the charm is hard to find. The "qi" in the so-called "vivid charm" refers to "vitality", and there is a saying in Du Fu's poem that "vitality is dripping, and obstacles are still wet". Mencius said, "I nourish my noble spirit, and it is also between heaven and earth." Liang Yun usually improves this kind of thinking, which is as broad as heaven and earth. What Yuan Qi shows in his paintings is a spirit of stone, nobility, righteousness, atmosphere and heroism.

Shi Tao has a saying: "Painting is subject to ink, ink is subject to pen, pen is subject to wrist, and wrist is subject to heart." Liang Yun creates artistic conception, and often blends into it. In this artistic realm of caring for each other and forgetting things, the bottom of his pen naturally reflects the blending of subject and object. As Cui Zhenkuan said, "Jiao Mo cypress trees in Liang Yun, especially in the last year or two, are more sophisticated with pens than before." The ancient cypress tree in his later years has reached the image description from the initial description, and the object can be combined with the subject spirit. On the outside, you are drawing an object, but in fact you are drawing yourself. At this point, the object has become a materialization of the painter's soul. In Li Zehou's words, Liang Yun has completed the transformation from "the land without me" to "the land with me". For Liang Yun himself, this change is the perfect embodiment of his artistic style reaching the "old realm".

China landscape painting began in Jin Dynasty, flourished in Tang Dynasty, flourished in Song Dynasty and flourished in Yuan Dynasty. In the long history of landscape painting creation of 1700 years, he may be the first person who can describe the ancient cypress in the middle reaches of the Yellow River in the north of Qin Wei and endow it with the connotation of Chinese national spirit and pursue it tirelessly. The image of cypress in his works is affectionately called "Liang". Nowadays, "Liang" has been transformed into the image of the Chinese nation in local political circles, especially in the ideas of some overseas Chinese. The trophy of "Old Pen" is cast by elements such as sophistication, an old chap like me, great taste and native land, which embodies Liang Yunbo's artistic accomplishment and sophisticated creative talent. It can be predicted that Liang Yun, in his prime, will make greater achievements in the creation of China landscape paintings, especially Cooper.

Written on April 4th, 20 13 at Chang 'an Vegetable Basket Desk.