My memory 1 1 1 Me and the printmaker Ding

Mr. Ding is my teacher and my unforgettable friend.

I knew him from the late 1980s, when he was the dean of printmaking, and I was an art lover, because I won an award in Zilang Calligraphy Competition, which attracted his attention.

I remember it was an autumn afternoon, and he made a special trip to Yongyang Village, ten miles away, and came to my unit to discuss lending me to the printmaking academy. Although Ding had heard the name before, it was the first time to meet him.

I was surprised at the time. An old artist who is proud of young people, riding a bicycle so far to see me, is a little overjoyed.

Later, in a chat with him, I learned that he thought I was a young man with artistic talent, and it was a pity to be buried in a remote place, so he wanted to borrow me to work in the printmaking academy.

Therefore, I am closer and closer to the outside world I yearn for.

In this way, I entered the printmaking college.

The earliest office was in the building of the Cultural Center. There is a room with a big drawing table in the middle. There are two tables beside the two windows. The one in the back belongs to the printmaker Shi Handing. He doesn't come often, and I seldom see him. I usually work there with Mr. Ding. He often laughs at himself as a one-man army. When I arrived, I finally had a soldier.

When I first arrived at printmaking college, I was basically a handyman, equivalent to the role of an assistant. In addition, I also learned the techniques of printmaking and rubbings. Ode to the Lotus is my first edition. From how to spray water on the plate to the tuning washboard, Mr. Ding taught me patiently. I had hoped to become a full-time printmaker, but it backfired. I printed more than a dozen copies of "Ode to the Lotus" before and after, but none of them. Finally, the trial print of "A New Voice of Lu Dang" was not satisfactory. This repeated frustration. Even so, some people can take a fancy to my rubbings.

On one occasion, Mr Wang Shutang, vice chairman of Nantong Book Association, asked me for prints. Out of kindness, he gave him a piece of my rubbings "A New Sound of Ludang" without signature. I didn't tell Mr. Ding at that time, but later I thought it was inappropriate, but it was useless. Now that the situation has changed, Mr. Ding will certainly not be surprised.

Although this matter is a long time ago, anecdotes about Yilin may be recorded in Zheng's works.

1986 The Japanese Knife Society Printmaking Exhibition was an important project for cultural exchange with the international community at the beginning of the establishment of Printmaking Academy, and exhibited the works of many famous Japanese printmakers. On the opening day, representatives of provincial and municipal art circles, leaders of county government departments, news media and other people from all walks of life attended. This kind of foreign cultural exchange is unique in the history of Nantong printmaking. Especially at that time, printmaking college had just been established, and the conditions were quite limited. It is not easy to hold such an international exhibition.

I also had the honor to participate in the preparations for this exhibition, advertising, writing instructions and labeling works. I proofread every work and watch it carefully. Among them, I was particularly impressed by the works of Shimizu, a Japanese printmaker, with skillful knives, rough lines, coexistence of realism and abstract concepts and strong visual impact. This is undoubtedly a new trend for the domestic printmaking industry, which was still conservative at that time.

During the exhibition, I also took photos with Mr. Ding and the delegates. This photo was later included in China Printmaking Yearbook of 1987, which proved this history.

The development of career is inseparable from the cultivation of talents. Teacher Ding attaches great importance to the cultivation and support of new people, which can be said to be meticulous. Zhu Jianhui and Song, who are still studying in the Fine Arts Department of Nantong Normal University, have begun to cultivate and intercede for them one by one. In the end, they were transferred to the Printmaking Academy one after another, becoming a new force and expanding the professional creative team. Song was assigned to teach in Huilong Middle School and was one of his promising young people.

Teacher Ding, an amateur author, has always been very supportive and will guide the revision of some authors' sketches. During each exhibition, Mr. Ding will bring everyone together to discuss and study problems and guide the creation. Through hard work, he created many new works, some of which were selected for the national art exhibition, which laid the foundation for the improvement of the overall creative level of the printmaking academy.

Young people's hearts are always pure, especially those who love literature and art, and I am no exception. During my work in the Printmaking Academy, Mr. Ding thought I was serious and responsible, and specially gave me a print. It was at his home, and he exhibited all his works for me to choose from. Except for summer music, including Walking on the Moon in the Yellow Sea, Running and Watching the Sun on Mount Tai, all of them were selected for the national art exhibition. I have profound feelings about his works, especially "A New Voice of Lu Dang". I have seen him grinding this painting, and I think this painting is in line with Zong Baihua's aesthetic thought. Artistic conception is the artist's original creation, which is born from his deepest understanding and vibration when he is in contact with nature. It is not an objective description, just like taking pictures with a camera.

This picture is still hanging on my wall.

Soon, the Printmaking Academy moved into an old wooden attic. Although the building is small and the environment is special, the two slightly antique flower windows are consistent with the wooden floor style, and some are close to art.

In the attic, creation, office, meeting, finance, warehouse and other work are all in one place, the place is not big, and the equipment is very simple. Later, I remember that I customized four painting tables in a furniture factory with the reward of painting advertising walls for a factory in Yonghe Township. Teacher Ding also borrowed two trailers and dragged me and me back. The conditions at that time were really difficult, but everyone's enthusiasm for work was still very high. This is no different from the revolutionary momentum of production while fighting in Yan' an period. "the hardships of starting a business are too numerous to mention." Under the active drive of Mr. Ding, everyone is willing to contribute, step by step, not obsessed with fantasy, not obsessed with empty voices, not afraid of difficulties and hardships, and achieved the extraordinary achievements of Qidong printmaking with hard sweat.

The time in the attic was long and unforgettable. What I remember deeply is an experience of painting on the roof, which is also very interesting. It turned out that the house was in disrepair for a long time, and a heavy rain soaked a large roll of paintings in the kitchen. In desperation, the next day we climbed from the attic window to the roof of the bungalow next door to dry.

It was this cool painting process that gave me a chance to see many unpretentious prints hidden in the warehouse in the sixties and seventies (the authors were all unsigned at that time). These paintings have distinctive characteristics of the times, exquisite painters, historical value of cultural relics, and high artistic value and ornamental value. I think, with the passage of time, one day these obscure works will inspire the light of art and be recognized by the public. Therefore, Teacher Ding also cherishes these works, which are the crystallization of countless authors' painstaking efforts.

In fact, this phenomenon was extremely common in the 1960s and 1970s. It is said that after Huang Yu 1955 died, most of his more than 9,000 works were sealed without marks (the paintings were stamped with the collection seal of Zhejiang Museum, which had nothing to do with the paintings), and all the unpublished accumulated manuscripts and many unfinished paintings were packaged and donated to Zhejiang Museum. These works are left unattended in the warehouse. It was not until 2004-2005, 50 years after his death, that people realized the true value of his works again.

It was cold on the roof painted outside the attic window that day. I am like a treasure keeper, I dare not leave, because I am afraid that the wind will blow away the treasure.

I don't have much contact with Mr. Ding. Less than two years later, after I left the printmaking college, I met less often. I have been working in other places and come back occasionally. When I met him, most of them were busy creating, and I would also talk to him about my views on his works. I only know a little about printmaking, but as far as the artistic feeling of his works is concerned, I still think that some of his works created around the 1980s are profound and eclectic, incorporating the ink and wash elements of Chinese painting, with skillful techniques and great atmosphere. During the conversation, he was still impassioned and talked about his masterpiece "Summer Music".

As for his relationship with Mr. Shi Handing, most of his friends in the circle know about his artistic differences and various entanglements in his usual work, but I have no idea at all. In the early 1980 s, at their worst, their opinions were even more incompatible. Later, when I heard them telling me something about each other, I just smiled and didn't comment. In fact, there are many precedents for this situation throughout the ages, and it is not surprising that scholars slander each other. On the contrary, I think it is more helpful to improve the artistic level. At the summit, Huashan discussed swords. Only opponents have fighting spirit, and heroes will not be lonely. "It's fun to fight with others" is the attitude that a master should have. The bad relations between Zhou Zuoren and Hu Shi and Liang in modern times are all beautiful talks today.

Things are like a dream in spring. More than 30 years have passed, and many of my experiences with Mr. Ding in the printmaking and painting academy are almost forgotten. Now think about it, it's like looking at flowers in the fog.

I live in a foreign land, and my mood is rarely quiet. I'll write the memories of this period here for the time being, and there are still many other branches. If there is an opportunity in the future, I may write again.

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? Guan zhenxin

1early autumn of 898, written by Jialing River in Sichuan.