Yang Ruifen experts comment.

Elegance and simplicity-Shao Dazhen (1993)

Ms Yang Ruifen is a famous flower and bird painter who is active in Chinese mainland in recent years. Her painting style is fresh and elegant, which has won unanimous praise from experts and audiences. I have been paying attention to Yang Ruifen's paintings for several years. I often stop to watch her works in some exhibitions, and I am attracted by her unique ideas and skills.

Painting is the most taboo, especially meticulous painting. Although meticulous painting uses nuanced skills to present the beauty of objects, it does not require all aspects, let alone indifferent description. Because of the lack of implicit description, readers will feel that there is no room for chewing; The lack of emotional input in the work will make readers feel dull in front of the work and can't arouse their interest in appreciation. Of course, in order to draw neatly but not greasy, meticulous and not cumbersome, the author should not only have skilled skills, but also need artistic accomplishment and understanding. In order to create new ideas in his works, Yang Ruifen tried to break through the traditional procedures from artistic conception to painting skills. She does not seek the integrity of composition, but only the naturalness and randomness of composition, and pursues strangeness and freshness in naturalness and randomness. In modeling, she consciously adds disorder to neatness and freehand brushwork to realism, so as to achieve the artistic effect of strangeness, novelty and elegance. I think that Yang Ruifen's creation has made such achievements, besides the factors of technology and skill, it is also related to her new artistic concept.

Painting depends on skill. But it's not the skill that matters. Painting is the expression of people's inner life and feelings. Yang Ruifen is well aware of this. She said: "Artistic creation directly reflects the painter's thoughts and feelings and the changes of the times." She is not satisfied with simply sketching and reproducing natural phenomena and things. She always pays attention to building an artistic world with her own eyes. It can be seen that the magical, beautiful, elegant and simple picture frame is permeated with the author's warmth.

There are differences between Chinese painting and western painting, and each kind of painting has its own characteristics. However, these differences, differences and characteristics are not immutable commandments. Even if the Chinese and Western painting expression systems are different, they are not completely mutually exclusive and antagonistic. They can integrate with each other and exchange needed goods. The traditional meticulous painting has reached the extreme level, and people today should make a breakthrough. First, in-depth study of natural images, reflecting the mood of the times, making the works full of deep natural feelings, distancing themselves from predecessors and others, and avoiding taking the road of imitation; First, he is good at absorbing nutrients from other nationalities' paintings and other paintings, including freehand brushwork, to make up for the deficiency of traditional meticulous painting techniques.

Yang Ruifen's innovation is carried out on the basis of learning traditional and foreign arts. She loved art since childhood and studied painting under the famous flower and bird painter Mr. Tian Shiguang. She deeply studied the works of Song and Yuan Dynasties and famous artists such as Chen Laolian, Wu Changshuo, Ren Bonian, Chen Zhifo and Zheng Naiguang. She got a lot of inspiration from western painting and Japanese painting, and introduced design consciousness and components. She also pays attention to the achievements of decorative painting and photography. Various accomplishments have obviously changed and improved the style of her works. In recent years, she pays more attention to the combination of neat description and freehand brushwork, giving her decorative pictures, rich expressive force and broader artistic conception.

Yang Ruifen is good at capturing fleeting opportunities and contingency in the creative process, and extending and developing them according to his own life experience. Some of her paintings are the products of careful consideration, some are improvisations, and some are the organic combination of the two. It is precisely because of the integration of life experience, emotional experience and rich imagination that people feel a kind of vitality and vitality when reading her works. Yang Ruifen, unwilling to stick to the rules, continues to explore the road of innovation. I believe that this painter, who has just passed the age of no doubt, will achieve greater creative achievements through continuous practice.

Passion for Life in Wild Flowers-Jia (20 1 1)

In traditional painting, flower-and-bird painting is a mature painting discipline. It can be fully developed in the early stage because flower-and-bird painting, like landscape painting, expresses a natural view of harmony between man and nature, which conforms to the aesthetic ideal of literati. The difference is that landscape painting is a kind of "panoramic" nature, and it is a macroscopic observation of nature, while flower-and-bird painting is a partial observation of nature, a "close-up" of flowers and birds in nature, and a "microscopic" observation of nature, thus reflecting the affinity between man and nature and man's yearning for nature. Mountains, water, flowers and birds are all components of nature, and landscape painters and flower-and-bird painters are all natural singers, and they are all consistent in eulogizing nature.

Yang Ruifen took a similar road to others at first, and her works with flowers and birds as the theme won many awards. With the constant sketching and searching for new objects of expression, Yang Ruifen gradually found his own interests and explored his own methods of expression. This interest point comes from a kind of "life consciousness". She no longer regards flowers as a beautiful object of description as in the past, but as a symbol of life and a mother who breeds life. All the signs of new life come from her beautiful appearance, so she is a living body. It is the painter's unique perspective and profound understanding of flowers that makes her have a unique performance.

Two years ago, I watched a documentary called The Private Life of Plants. Photographers treat plants as animals from a new perspective of life. After reading it, he marveled at the wise survival strategies they adopted from germination, rooting, flowering and fruiting, as well as for their own survival, "race" reproduction and extinction. Plants are originally a part of natural life, but the only difference from other life is that its life process is completed in the place where it grows, so people distinguish it from animals. What I see in Yang Ruifen's works is to treat her performance object with a brand-new vision of life, just like a documentary.

The formation and blooming of flower buds is the most attractive life phenomenon when individuals grow up to a certain period. They try their best to attract bees and butterflies who spread pollen with gorgeous colors, delicate texture, beautiful figure and attractive fragrance. All this is for the sake of family reproduction, but it is pleasing to the eye and has become the object of painter's lasting artistic description.

It is not difficult to see from Yang Ruifen's works that most of the flowers she painted can't be named, because they are not rare flowers cultivated by gardeners in greenhouses, but exotic flowers and herbs from nature. The painter obtains the material from the nature in the north and south by sketching, and creates on this basis. She is sensitive to the different morphological structures of flowers, sensitive to the life characteristics of flower hearts and stamens, exaggerating and deforming in form in her description, reorganizing some modeling elements to change the original structural model, and even "inventing" a new flower sample according to her own imagination. But the purpose of doing this is not to invent itself, but to "animate" and "personify" those still flowers, so that they look like a row of wandering dancers, or like a group of flying butterflies, sometimes like jellyfish swimming in the sea, or like a group of flapping birds ... At this time, "flowers" seem to be no longer "flowers", are they people? Is it a butterfly? Is it a bird? Look again, flowers or flowers. It is an anthropomorphic flower with posture, movement and sense of life. Therefore, this creative and vivid poetic description of natural life has become the most important style feature of Yang Ruifen's works.

Yang Ruifen's bold anthropomorphic description of flowers, as a new attempt, is unprecedented. What she saw in those flowers with a sense of life was a character closely related to natural life, so she tried to make the flowers "live" and "move" by strengthening or changing the formal structure of flowers. This new way of thinking and new expression just avoids the common habits in general flower-and-bird painting. Some flower and bird painters who are not enterprising are not looking for their favorite themes from the feelings of life, but always like to imitate the previous exploration results and put them into practice. For example, the plum, orchid, bamboo and chrysanthemum often painted by the ancients symbolize the noble character of "gentleman", the lotus with mud symbolizes the integrity of personality, the peony symbolizes wealth, and the pine crane symbolizes longevity. But followers have no realistic observation and experience, so they can only be attributed to Chen and Chen, which is not new. The flowers painted by Yang Ruifen obviously have nothing to do with these conceptual platitudes. This is very worthy of recognition.

In terms of artistic treatment, the flowers in Yang Ruifen also have their own characteristics, that is, color and ink are juxtaposed, and meticulous brushwork and freehand brushwork are isomorphic. Qi Baishi used this technique. He used meticulous painting of insects and intentional brushwork to draw grass. Yang Ruifen, on the other hand, used meticulous brushwork to integrate ink and wash techniques into it, forming a contrast between coarse ore and delicate. Ink and wash also add a kind of Shan Ye breath and life energy in the wanton splashing, which constitutes another feature of his works. Yang Ruifen freehand brushwork-Jia (20 1 1 year)

Yang Ruifen is my colleague in Beijing Painting Academy, a famous meticulous flower-and-bird painter. Anyone who knows her well can recognize her work at the exhibition. Her most obvious feature is meticulous brushwork! She didn't stick to the traditional meticulous painting. Although she studied tradition seriously in her early days, she left the traditional program early. While studying tradition, she began to explore and establish new styles. She is a meticulous painter with strong personal feelings. Throughout the ages, the traditional program of meticulous painting is more deeply rooted in people's hearts than other paintings, and many meticulous painters dare not touch it.

First of all, she got rid of the traditional composition mode of China's meticulous flower-and-bird painting. Most of her compositions are horizontal and square, and most of them are close-ups, rather than the traditional vertical composition in China. In the 1980s, her paintings showed a strong personality, or she embarked on the road of freehand brushwork. She subverted China's traditional meticulous painting, did not emphasize the true description of objects, but strongly exaggerated a little. Therefore, it will seriously affect the audience's vision and thinking. Sometimes she only shoots a little of her flowers, but she works hard at this point and pays close attention to the finishing touch. The rest of the pictures are supporting roles. In order to achieve this goal, she deconstructed the whole picture and object, and then made a new combination, or a new composition. She abandoned the "truth" provided by nature and turned it into a picture of images. This is the truth of images, so I said that she was "freehand brushwork".

The image of her picture structure is not only freehand thinking, but also her colors are completely freehand. Her color application method and color orientation are not a continuation of tradition at all. She is looking for a new color language and realization method according to the aesthetic habits and requirements of contemporary people, and creating a new set of meticulous colors and patterns. The color is strong, steady and rich, but the subtlety and generalization are not monotonous, and they are ever-changing and do not feel artificial.

In a word, Yang Ruifen has been quietly trying meticulous brushwork for decades, creating a batch of remarkable flower-and-bird paintings, and continues his unswerving creation. Fan Ceng: I want to express my heartfelt wishes.

Shi Qi:

Yang Ruifen's paintings touched me a lot. She has a wide range of ideas and many new spirits, and she is a prominent one in the painting academy. She has a pioneering spirit and constantly evolves her own paintings. On the basis of tradition, she regrouped with new things, such as blue grass, which is very distinctive.

Li Xiaoke:

Yang Ruifen's paintings try to push the traditional painting forward, changing the visual effect and tension, and changing the visual way like taking a long lens.

Ryan:

Yang Ruifen's meticulous flowers, starting from the paintings in the Song and Yuan Dynasties, widely absorbed the western and Japanese decorative paintings, modern photography and other expressions, felt the beauty of nature with heart, and integrated the original elegant and pure artistic beauty.

Huaxia: (from "The Beauty of Creation Blends with Me")

Yang Ruifen's unique flower-and-bird paintings are full of commercial flavor, beautiful and elegant. Pay attention to the artistic expression from life; Have traditional skills but not stick to the rules; Absorbing western technology is being used by me. Moreover, the painting methods are constantly updated and the novelty of the style is explored unremittingly. It can be said that he is the best among the cutting-edge artists in China!

Instead of repeating the ancients and copying nature, she devoted herself to the creation of artistic images. It is not invented out of thin air, but actively reflects the objective, and is the inheritance and development of conscious and unconscious traditions. Her meticulous flower-and-bird paintings are not only full of life flavor, but also attractive artistic charm, with both traditional characteristics and novel artistic conception, which is rare in the painting world.

Zhou Zhaokan:

Yang Ruifen found beauty in the microscopic world, which was different from others. Her art contains profound thoughts.

Wu Xiu: (from the art world of Yang Ruifen)

Ms. Yang Ruifen, a famous contemporary painter, is an outstanding and outstanding meticulous flower-and-bird painter.

Under the guidance of Tian Shiguang, a famous flower-and-bird painter, she thoroughly studied the classic flower-and-bird paintings handed down from the Song, Yuan, Ming and Qing Dynasties, as well as the works of famous painters such as Wu Changshuo, Ren Bonian, Chen Zhifo and Zheng Naiguang in modern times, and laid a solid foundation for traditional techniques. She also absorbed nutrition from western painting and Japanese painting, which enriched the expression technique and aesthetic implication. She boldly introduces modern design consciousness and components, pays attention to a variety of modern emerging arts, and integrates them into the emotional expression of her works. The courage and elegance revealed in her works are impressive.

On the basis of inheriting the fine tradition, her artistic innovation has formed a unique personal style in the conception, composition, modeling and color of her works, which gives people a refreshing feeling.

Wang Huichun:

After reading Yang Ruifen's works, I feel very unique, with overall strength, hierarchical expression, novel color treatment and the spirit of the times. These are all my own feelings, and it is impossible to achieve without passion.

Her paintings always highlight the feeling of self-individuality. The spring scenery in Beijing is simple, both traditional and contemporary. There are new techniques and breakthroughs in color application, texture effect treatment and composition. There is also Water Lily, which is very valuable for meticulous painting to draw a freehand feeling.

Zhang Renzhi: (Excerpted from The Call of Pursuing Artistic Beauty —— Thoughts on Yang Ruifen's Flower-and-Bird Painting)

Yang Ruifen's paintings should give people a visual impact. She has done a lot of work on the sketch of hollyhock, observing carefully and meticulously. There are thoughts in art, from traditional form to modern form. She surprised her by splashing ink on meticulous painting.

She is a female painter who has great ideas in art and is willing to explore. The artistic treatment is unconventional, and the coloring is very bold and provocative.

Get creative inspiration from the in-depth observation and experience of objects, boldly cut and reconstruct the flowers and plants in front of you, and then create an ideal magical artistic realm in your heart.

Yu Hengxi:

Yang Ruifen's art is his own face.

She is very successful in dealing with tradition and innovation, and her personal style is particularly strong, which can be described as "outstanding".

Yang Ruifen's color is unique, and her breakthrough in color is epoch-making.

Bao Limin:

Her paintings are traditional, not limited to tradition, and dare to boldly absorb western and Japanese painting techniques.

Hazy colors have a strong sense of modern lyricism, which is very tacit with the aesthetic psychology of contemporary people, thus achieving an artistic effect that both eastern and western audiences appreciate.

Zhao Quan:

Yang Ruifen can often grasp the unique side of his image and exaggerate and change it.

She can not only grasp the overall posture of the flower-and-bird figure, but also have sensitivity and insight into the micro-texture beauty of the flower-and-bird figure. She uses decorative modeling and color processing techniques to fine-tune and dye it, and at the same time uses some new techniques with modern consciousness to create a full, full, fresh and profound picture realm. In this artistic conception, the simplicity and persistence of the painter's mind have been clearly presented to us.

Zhang:

On the basis of natural colors, colors are romantically changed, showing novel artistic charm.

Bian Guoqiang:

Truth, goodness and beauty are the most precious things in works of art, and Yang Ruifen's success in this respect is very rare.

The most essential thing is that she has a true temperament, so her art is inclusive, exploratory and creative.

Her observation is delicate and delicate, and her works are beautiful dialogues in life.

Ye Xiangyang:

Very innocent. Every painting reflects her innocent nature.

Yang Ruifen's Chinese paintings are just right, blending western colors and modern composition. In particular, those with good texture can form a sense of rhythm and contrast in detail and easily, and the colors are rich and harmonious, giving people a very beautiful enjoyment.

Her deformation and artistic exquisiteness are more beautiful than reality.

Nie Changshuo:

The core of art is creation and emotion. I like Yang Ruifen's meticulous painting very much, which is decorative, visual, inclusive and fully expresses emotions.

Art has the most personality when expressing feelings. Yang Ruifen's paintings are sincere. When she sketched, she expressed her feelings about form.

WU GANG: (Excerpted from "Making Flowers with Heart, Embodying Contemporary Beauty with Pen and Ink")

She found a completely different beauty-exotic flowers and grasses in nature, lilies, lychees, hollyhocks, peonies ... hundreds of unknown flowers and plants surrounded her. Well done! Those flowers are made up by the sun, and the branches and leaves are flying. Unfortunately, the dream world of the flower fairy disappeared one by one, and the world was hard to find.

She won't let them die. She wants to keep them and let them dance. She wants to share her dreams with people.

Countless brushes touch up, countless dishes color matching, countless hearts wandering in Shan Ye, countless techniques exploration, fusion, exaggeration, amplification, reduction, superposition, dilution, continuous experiments and summary, and finally found their own performance strokes, so that flowers and plants can fly happily and their dreams can be fully displayed on the drawing paper.

Anyone who sees The Dancer Orchid will immediately think of the four lovely cygnets in the ballet Little Swan. Orchids stand on tiptoe and kick their vigorous thighs high, performing passionate and elegant dances, but they are as elegant and lively as little swans. They are a group of mature young girls, dignified and charming, with crimson curtains.

Who can say that fireworks are not the love mode that contemporary young people dream of? Two closely connected flowers, born side by side, are so red, just like the fire of love suddenly generating and burning, blazing and desperate. The flowers and leaves retreating to the background are so vague, flowers are like dreams, leaves are like reality, dreams? Really? Can you see it clearly?

There are also Platycodon grandiflorum, Hejiao, Duckbill Grass, Porcelain Rose, and those obscure and unknown exotic flowers and herbs, all of which appear in China painting circles. It's really eye-catching and highly appreciated. Yang Ruifen's brushes always pursue the exotic flowers and plants in nature and explore areas that have never been shown before. It is full of perceptual imagination, modern decoration concept and rational nature. Appreciating her paintings and feeling the simplicity and sincerity in them make me feel like sitting in a clear spring.