Liu Yujia's Role Introduction

Liu Yujia, China painter, member of China Artists Association, national first-class artist. 1943 was born in Zigong, Sichuan. He once worked in Nanjing Federation of Literary and Art Circles, once served as Deputy Secretary-General of Artists Association, and now he is Secretary-General of Painting and Calligraphy Institute and President of Nanjing Hefeng Painting and Calligraphy Institute. Influenced by father poet Liu Gongtian and brother oil painter Liu. I like drawing pines, bamboos and banyans, especially pines.

Chinese name: Liu Yujia.

Nationality: China.

Ethnic group: Han nationality

Place of birth: Zigong, Sichuan

Date of birth: 1943

Occupation: painter and calligrapher

Main achievements: Member of China Artists Association.

Representative Works: China's Freehand Landscape Painting Techniques, Gong Xian Research Collection.

Publication and collection

He edited and published China's Freehand Landscape Painting Techniques, Gong Xian Research Collection, Gong Xian, a Master of Landscape Painting in Ming and Qing Dynasties, Hundred Pictures of Pine Trees, and Liu Yujia Landscape Painting Collection. His works are collected by many exhibition halls and museums in China, such as the Great Hall of the People, Tiananmen Gate and Jiangsu Provincial Art Museum.

works appreciation

Artistic feature

Jiangsu landscape painting has a long history and has experienced at least five prosperous periods since the Eastern Jin Dynasty. Their common characteristics are that painters have a high level of culture and education, strong national humanistic consciousness, distinctive spirit of the times and artistic passion for continuous innovation. These precious artistic methods have nurtured generations of Jiangsu painters. After Qian, Song, Ya and Wei, there appeared two kinds of painters in Jiangsu painting circle: one is to play with pen and ink, improvise and express the interest of new literati; The other is to dig deep into the sages, accumulate nature, and gradually seek innovation in the hearts of ancient teachers. Liu Yujia is a powerful painter of the latter kind.

Landscape painting has a strong tradition, emphasizing the origin and drawing lessons from the past. Among these knowledge, Liu Yujia's "deep digging" has a high starting point, a long time and a more accurate understanding. His father Liu Gongtian is a famous poet and his brother Liu is a famous oil painter. Influenced by home school, Liu Yujia cultivated high taste and understanding. Starting from Gong Xian, he studied painting methods of past dynasties, and was good at thinking about the integration of law, reason, meaning and image in practice, so as to learn from each other's strong points and make use of them. In his early years, his works included "Rain is coming, but the building is full of wind" and "The Peak turns around". , often dissolve the essence of "black gong" to interpret the mountains and rivers in the north and south, with the quaint charm of "showing old age" and "moistening things silently". Then, he studied Kun Can deeply, and his profound and indifferent mind coincided with Kun Can's simplicity, so pen and ink changed. In the process of "seeking thickness by turbidity and moistening by dryness", I deeply realized the natural artistic conception of blending pen and ink and painting. The works of this period, such as "A Valley Contest" and "A Stone on the Plank Road", are full of pen and ink, inadvertently revealing the natural and uncultivated virgin forest interest. Later, I thought of Huang's simplicity and Dong Yuan's simplicity, breathed the imposing manner of Fan Kuan, and studied Liu Songnian's tree god and the quotient of "Horse Horn" and ""until I thought of Huang's simplicity and the charm of Fu Baoshi. This kind of "deep digging" has been tireless for decades, which can be described as "well-informed, familiar with the changes of ancient and modern times, and integrated with the origins." In theory, he wrote many monographs and became a famous scholar in Gong Xian. In the creative practice, the method is dissolved for one's own use and tempered into one's own painting language, which is both rigid and flexible, dignified and elegant.

Landscape painting is also very creative, with inheritance as the means and innovation as the purpose. It is necessary to learn from the past and learn from nature to realize new ideas in nature. In this cognition, Liu Yujia's "wide product" has both quantitative accumulation and qualitative sublimation. He deeply understood the true meaning of Kun Can's "climbing poor mountains is the only way to create ideas". He sincerely took nature as his teacher and kept climbing mountains to find all the wonderful peaks. With the persistence of scholars and the ingenuity of artists, he has been thinking for thousands of years in the landscape of truth, goodness and beauty. With unremitting diligence and passion, I have accumulated a large number of sketch works, which reserve rich and vivid materials for my creation. While accumulating a lot of things, Liu Yujia is also diligent in learning and training, making good use of the nature of being a teacher, gaining inner gradual consciousness and epiphany, constantly integrating thoughts and writing books. He creatively put forward three intangible principles of landscape painting innovation: deep thinking, boldness and emotion, emphasizing that the important composition of vivid charm should be the natural unity of style, momentum, interest and formal beauty, and advocated and demonstrated it in practice. This extensive accumulation of knowledge and talents has been praised by Liu Haisu and Wei Zixi, and is regarded as "commendable diligence", "supporting academics" and "insightful".

Liu Yujia, who has experienced the cultivation of "deep digging" and "extensive accumulation", has a deep mind, a knowledgeable mind, a pen and ink in his hand, and hard work, and has gradually formed a distinctive and unique artistic style. Looking at his works after 50 years old, there are roughly two styles. All the way is called "Liu Shi", which is the essence of Gong Xian and Kun Can. It is dominated by mountains and rivers, with rich style and rich scene changes. The works on this road are often towering peaks, solid rocks, mountains and canyons, vast clouds, waterfalls and lush vegetation, showing the magnificent momentum of nature; Then, with clever thinking, he merged into the situation, reflected the style of the times, and poured out the painter's life sentiment and spiritual pursuit. Taking Cangshan Country as an example, the close-up wild mountains are like columns and rugged rocks, and the dignified brushwork truly depicts the wildness and vastness of the deep mountains. In the distance, the peaks and veins are continuous and the clouds are lingering, which means the preciseness and mystery of Guanshan Mountain. Waterfalls run between the near and far scenery, and miscellaneous trees grow, which shows the vitality of nature. The painter praised the original power of nature with pen and ink, and also wrote the tenacious will of human beings to explore nature with ingenuity. Through the dialogue between heaven, earth and gods, people's understanding of the situation of nature and the times is deepened, and readers can appreciate the deep rhythm of the primitive mountains when they are awakened by human beings in aesthetic shock.

Others, such as "Thousands of Rivers Fighting for Flows" and "A Cliff Waterfall", lament the original toughness of "the rushing waterfalls fight for the mysterious _, and the cliff fossils turn into thunder". Some sang "there is no context, and suddenly a mountain peak is inserted into" South Gate "; Some have pinned their spiritual pursuit of not being afraid of mountains and heavy waters and bravely climbing the peak. The works along the way are the painter's comprehensive interpretation of nature, spiritual source, times and situations, with far-reaching momentum and artistic conception, which are intoxicating and thought-provoking.

Another style is called "Rhyme Willow", which often turns ordinary scenery into wonderful thoughts, and often expresses the charm and interest of ancient and modern times with simple and clever pen and ink, with a fresh and elegant style. Painters are good at finding miracles in ordinary landscapes. In his mind, life is poetic and natural, and every scene and thing contains rich interest. Therefore, once ordinary things such as rocks, nozzles, ancient trees, reeds, birds, fishing boats and ancient bridges are accused by him, they can often turn vulgarity into elegance, turn the old into the new, and produce novel aesthetic connotation and fascinating humanistic charm. Take Shadow of a Gloomy Pond as an example. The distant mountains are like flowers, the mountainside is like the sea, and there is a clear pool beside the bamboo forest. More than a dozen round thick stones are scattered around the pool, and mountain springs gurgle into the pool from the distant mountains. The path leads from the bamboo forest to a secluded place, adding poetry and painting to the pool. Exquisite pens are on the big stones beside the bamboo forest, and several bamboo chairs and chairs are scattered. Three or two villagers came back from work and sat in chairs. The painter interprets the ordinary life scene of the mountain people elegantly and quietly, which makes people wander around nature and yearn for the ordinary life interest of anti-simplicity, simplicity and leisure. Others, such as "Fishing Song Night" and "Returning to Birds", are meant to write about the fishing song night in the new era of Shan Ye in late spring, or to miss the old rural scenery of "catching birds and nostalgia for the old things in Lin Si", or to freeze the ever-changing events of nature, or to imagine the beautiful scenery of a bumper year when everything is in full bloom in winter and snow, all of which are interesting and memorable.

Liu Yujia likes to paint pine trees, especially good at painting with emotion and blending scenes. He believes that the tenacious life and colorful forms of pine trees symbolize the spirit of firmness and longevity, which is in line with the beautiful pursuit of human heart. Therefore, he writes loosely and draws loosely, and often entrusts his unique feelings. His Song Tao in the Evergreen Tree is the representative work of Liu Shi. On the 18-foot long scroll, dozens of giant trees fall loosely in the misty sea of Yunshan, standing rugged, one by one like a person, some showing their individuality, some praising moral integrity, and some expressing their feelings. In a word, the painter turned the object image into a mental image, feeling novel and moving emotionally, so it has vivid charm, superior style and intriguing artistic appeal. The dragon species listening to the spring is a combination of "potential" and "rhyme". Two Gu Song plants leaned forward and leaned back, sitting alone in the mountain stream. One plant was raw and set up branches, and the other plant bent down to the mountain spring in a tangled knot, as if to listen to the flowing spring water, and as if to wash away the dust and rejuvenate in spring. Painters write ancient and old with loose strength and vicissitudes; Through the contrast between image and image, the lofty sentiments of "martyrs in their twilight years are in high spirits" and the interest of "talking about teenagers in their later years" are born. This artistic innovation, which integrates the beauty of potential and rhyme, environment and pen and ink, exudes the unique charm of emotion and shows the painter's unique skill in controlling mind, knowledge, wisdom and pen and ink.

Based on the two styles of Liu Yujia's landscape painting, there are four artistic characteristics: First, he can learn Chinese and Western, get the true meaning of nature, and his pen and ink are natural and simple, with deep style and unique features. Secondly, painting with emotion is vivid, rich in meaning and rhyme, and changeable in artistic conception. Third, he is good at careful thinking and has a unique artistic taste and aesthetic taste. Fourthly, he has profound knowledge and comprehensive talents, and his works have lasting artistic appreciation connotation. Therefore, reading Liu Yujia's landscape works gives people a refreshing aesthetic enjoyment. "There is a clear and solemn atmosphere, a quaint wind, an innocent beauty and a god of nature." Mr. Wen, a famous master of Chinese studies, read his paintings and wrote an inscription praising: "Staying in the study can save your bones and muscles." He added humorously: "In short, the scenery you draw can replace the real landscape of the clock." Sincerely speaking, this is a pertinent evaluation of the scenery in Liu Yujia.

From ancient times to the present, the momentum, style, interest and charm of Liu Yujia's landscape creation have reached a natural state. I believe that painters who are entering the golden age of art will be able to accumulate wealth and gain more success with full creative passion. This is a sequence.

Famous comments

Here, I write my composition on the topic of "Liu Yujia, a truly powerful painter" because many people in today's painting world are crowned as "truly powerful painters", and many people think they are "truly powerful painters", but they are actually deceiving laymen and have the false strength of profiteering habits. My friend Liu Yujia, indifferent to fame and fortune, never flaunts himself. For decades, he devoted all his energy to the artistic career, researching and innovating landscape painting, and achieved outstanding results. He is stupid enough to think that he is a real strength painter.

In the history of painting in China, all successful painters pay attention to artistic accomplishment. Yang Xiongyun in the Western Han Dynasty: "Books are also painted in the heart". Mi Youyun of the Southern Song Dynasty said that "painting is also a heart painting". It profoundly reveals the relationship between calligraphy and painting and the inner world of the creative subject. Since then, art critics have always regarded art as the artist's personality, and the evaluation of artistic creation is often linked to the evaluation of the artist's personality. Mr. Yoga Yu said with deep experience: "Charm is the soul of the work and the vivid embodiment of the artistic effect of the work. The element of' charm' should be dominated by' style', and so should the cultural connotation of the work. It directly reflects the author's comprehensive cultivation. The style of the work, in the final analysis, is the level of the author's own cultivation. In order to improve one's self-cultivation, one must read thousands of books and take Wan Li Road ". Yujia said so and did the same. He is honest, generous, elegant and helpful, and has an excellent reputation among his peers. I have enjoyed reading since I was a teenager. I have read literature, history, philosophy, aesthetics, painting history and painting theory. I have learned a lot in my heart, and my painting is naturally better than others. When we open Yu Jia's collection of landscape paintings, we can see at a glance that they are gentle, quiet and elegant, and critics like to call the authors of these works scholars and painters. His landscape painting creation is against being divorced from life behind closed doors, and he does not approve of "expressing natural scenery only by impression and memory". Doing so will inevitably lead to monotony, conceptualization and sameness. So he trekked in many famous mountains and rivers all over the country, feasted and watched, observed, searched and captured the strangest, most beautiful and moving images in nature, lingering in his mind, or sketching, taking pictures or videos, which accumulated an extremely rich and vivid creative source for his landscape painting creation. Through "from the heart", create a real and touching artistic image.

He has a solid basic skill in Chinese painting, which is mainly reflected in pen and ink. Pen and ink, sometimes as the general name of Chinese painting techniques, generally refers to the basic method of using ink in Chinese painting. Therefore, painters of all ages pay attention to pen and ink. "When a husband paints with a pen, the pen sets its shape, the ink divides its yin and yang, and there must be pen and ink in the landscape" (Han Zhuoyu in the Northern Song Dynasty); "Is there pen and ink in the painting" (in Ming Dong Qichang); "Pen and ink is an important part of forming the artistic characteristics of Chinese painting" (Li Keran). Yu Jia is well versed in Samadhi, and has successively studied the landscape paintings of Dong Yuan, Huang, Gong Xian, Kun Can, Fan Kuan, Mou, Xia Gui and others from the southern landscape painting school in history, from laying old cloth to the brushwork of hooking, pulling, rubbing and pointing, and the brushwork of baking, dyeing, breaking, splashing and accumulating, especially the brushwork of rubbing. He has a special liking for Gong Xian, copied his works many times, studied his life, artistic thoughts and painting achievements in depth, and published monographs. Yu Jia said: "As long as we have a certain pen and ink skills, a certain life accumulation, a deeper understanding of the development trend of art, and a strong desire to constantly deny ourselves and join in the reform, then innovation will surely come naturally." He clearly realized that learning ancient pen and ink, even if it is confusing, is only a kind of reference and means, and ultimately he has to distance himself from the ancients. The greater the distance, the greater the creativity. Looking at what he has done since the new century, we can see his spirit of innovation, constant change and self-reliance. According to the texture of different rocks, he used different pen and ink to express it. Although there are traditional pen and ink details, it is hard to say which brushwork is used, which is different from ancient times and modern times, but his own face. His pen and ink, which combines rigidity with softness, is full of infinite passion and vividly depicts landscapes. He not only has the rigorous realistic spirit of college painting, but also has the enjoyable interest of literati painting, which has both the magnificence of northern landscape painting school and the aestheticism of southern landscape painting school. He formed his own artistic style in the pursuit of up and down.

He seldom takes panoramic views, but takes more local ones. Pine trees are written on rocks in various shapes. Pine stems often use dead vines as grass brushes and flutter with the wind; At the foot of the mountain, a waterfall should be made at the mouth of the river. The water flows in and out of the gorge and passes through the rubble, which seems to be the sound of gurgling, moving and quiet, forming a beautiful scene, which is feasible, promising, swimable, livable, daydreaming and fascinating. He loves to paint pine, and "Listen to the Spring and Plant Dragons" is his masterpiece. Listen to the spring water with old moss, flying scales and crickets, which is quite meaningful. The huge scroll Song Wan Tao Love (2375pxX 15000px) depicts 10,000 Jinsong trees, which are straight-oriented, reaching into the sky, overlapping lush, vigorous and magnificent. No matter how cold it is in spring, summer, autumn and winter, it is still so green. After wind and rain, it is still majestic and independent, just like the Great Wall of Steel, giving people shock and strength. Mr. Wang said: "The reason why he likes pine is not only because of its colorful shape, but also because it is loved by people." It is also because he has a tenacious spirit and the meaning of immortality, which is in line with people's inner pursuit of beauty.

Yoga Yu's multi-artistic-conception landscape rarely inscribed the real landscape of a certain place in the painting, but based on a large number of real landscape materials, it is comprehensively processed and created according to the needs of the theme and scene, which makes people feel that there is such a landscape in nature, and the mountains and rivers in the painting are more beautiful than the natural landscape. Combined with poetic painting themes, it can better explain the painting meaning and express emotions.

He took a road of tradition (not refusing to absorb foreign countries)-life-cultivation-innovation, which is a road to success. His landscape paintings appeal to both refined and popular tastes, and are praised by fellow travelers and loved by ordinary people. Yu Jia, who is 60 years old, is in the golden age of artistic creation. I wish it more brilliant.

—— Zhou