Chen Junfeng

Chen Junfeng

Chen Junfeng, who lives in Beijing, is originally from Bozhou, Anhui Province. His pen name is Wuchan. He is a member of the Provincial Art Association, director of the poetry, calligraphy and Painting Research Institute of the world Chinese Federation, President of Bozhou branch, and full-time painter of Kyoto calligraphy and painting society and baoyingxuan calligraphy and Painting Research Institute.

Personal profile

Chen Junfeng studied painting and calligraphy when he was young. He was taught by Li kuchan, a master of traditional Chinese painting, and later asked Wang Jiancheng, a painter

Sir, he specializes in freehand brushwork, especially in painting eagles.

Chen Junfeng's painting style inherits the heavy and majestic style of kuchan master's brush and ink, as well as Mr. Wang Jiancheng's refined composition and vivid ink charm.

Mr. Chen Junfeng has held many personal exhibitions at home and abroad, and his works are widely collected by collectors at home and abroad. He devoted himself to the study of the techniques of painting eagle, and wrote the book "Eagle freehand brushwork" which was published in China. In addition, his paper "the inheritance and development of Chinese painting" is quite original, which has caused great repercussions after the publication of "Sino foreign cultural exchange" magazine.

Chen Junfeng, director of the poetry, calligraphy and Painting Research Institute of the World Federation of Chinese, director of the Haozhou branch, member of the Provincial Art Association, and full-time painter of the Kyoto painting and calligraphy society and baoyingxuan painting and Calligraphy Research Institute.

Eagle in ink painting

Ink painting is a specific way for human beings to grasp the space-time form. It fully reflects the deep thinking of human beings about the living environment and life consciousness. The conception, techniques and color matching of ink painting are developing towards a more skilled direction. And with its unique ideology, rich verve, wonderful charm flowing in the river of world art and culture.

A good painting should not only have good content, good form of expression, technique and distinctive style, but also strengthen its own cultural cultivation and spiritual connotation. A real painter should understand history, philosophy and culture. Only in this way can he paint Chinese painting well. Strictly speaking, a painter should be a scholar and scholar.

In the process of freehand brushwork, Chen Junfeng first put pen and ink in the first place and tried to grasp it. Works without pen and ink can not be regarded as traditional Chinese painting. Traditional Chinese painting is Chinese traditional culture, and pen and ink is the essence of traditional Chinese painting.

From the six methods of Xie He in the Six Dynasties, Wang Wei in the Tang Dynasty, and the Northern Song Dynasty, the father and son of Mi Fu and Mi Youren created ink tricks by using wet ink and boneless freehand brushwork. Shi Tao in the Qing Dynasty and his pen and ink speeches are numerous, but they are still in the same line. Painters in their respective historical periods have a good heritage and development.

Brush and ink include two aspects: the trace and reappearance result of the brush and ink color Venus after "expressing things with objects". On the other hand, it is the process of "using things to express things" by comparison and ink. This process is relatively abstract and complex, because this process contains more of the painter's subjective consciousness and thinking. Pen and ink is a dual combination of vision and thinking. Empty pen and ink have no aesthetic feeling and vitality. Only when the natural aesthetic feeling of pen and ink appears in "expressing things with objects", pen and ink will become supreme. The "vivid aura" in Sheikh's words is an aesthetic requirement in line with the laws of nature. This requirement also has duality, which can be analyzed in a complex way or understood in an objective and simple way. But its real meaning is still in charge of complex aesthetic thinking, but it is the mystery of connotation. Wang Wei of Tang Dynasty also had a good performance in the development of pen and ink, and his understanding and cultivation of pen and ink were further improved. Not only the ink and wash skills were used initially, but also the freehand creation of ink and wash was pushed to the extreme, realizing the transformation from "drawing" to "writing". It makes the ink taste of brushwork more subject to the law of naturalization. It emphasizes that "ink and wash is the most important, which is natural and creative.". Wang Wei's "writing" changes with time. From "drawing" to "writing", the speed of using pen has changed. The change of the new speed is completely controlled by time. With the rise of Xie He's pen and the change of Wang Wei's ink at any time, the Chinese painting's pen and ink have developed rapidly. In Tang Dynasty, Zhang Yanyuan put forward such problems as "writing form", "conveying spirit", "purposive" and "using pen", which made him have a deeper understanding of the dialectical relationship of painting theory. The understanding of "six methods" is unique and more comprehensive. His words are "weak in spirit and rhyme, empty in form and similar in style; not vigorous in writing, empty in color, which is not wonderful.". They all start with conception, and all of them should be fully expressed by writing skills. Pen and ink color is a key modeling means, can not be regarded as general. However, if there is only ink form, then the two become lifeless bodies, and they do not have the law of artistic aesthetics. The vivid charm of the painting image is the purpose of depicting the image, and the pursuit of form is to keep up with the low standard. Because it's not hard to be similar. It is not necessary to have Qi and Yun when there is shape similarity, but it is necessary to have shape similarity when there is Qi and Yun. Because aura is by no means the only way to work In addition to the resemblance in form, the painting "namely" seeks the painting by the charm, then the resemblance in form is in it. In this regard, Zhang Yanyuan set five grades for painting, or used ink color as well as five colors, and "natural", "divine", "wonderful", "exquisite" and "meticulous". "Nature" is regarded as the highest state, and "essence is the essence of disease", so "preciseness" is listed as the last. The inheritance of "six methods" by Jing Hao in Five Dynasties is summarized by "Qi", "Yun", "Si", "Jing", "Bi" and "Mo". "Qi" is "Qi", which is the body of all living beings. If Qi is connected, it is full of vitality. "Qi" refers to the mutual generation of pen and brush, meaning to the pen with, the pen cut off gas constantly and even meaning. "Rhyme" is "verve". It is the effect of ink changing at any time and the pen changing with the change, which makes ink and object become one. "Thinking" refers to the "trace" process of the artist's emotional expression of meaning.

According to the objective laws of nature, the creation of "scenery" embodies the image and realm of natural beauty. Although "pen" has certain rules, it should be changed according to the situation. It should not be a clay object or a Dharma envoy, and the Dharma can be handy. "Ink" is based on the image and Yin and Yang back, flexible use of halo dyeing techniques, so that dry and wet, thick, light natural excessive. Virtual and real volume, space and texture are unified and harmonious in ink painting. Shi Tao in the Qing Dynasty, influenced by Laozi and Zhuangzi of Taoism, took the "method of drawing" of brush and ink as the core of his painting aesthetics. He borrowed Laozi's way of "two life, two life, three life" and "endless life", that is, "the body of all things, the root of all things". From "one" to "ten thousand", there are endless changes.

Chen Junfeng is infatuated with the freehand eagle. He knows that the eagle is a British thing. He loves the eagle's broad mind, boldness and boldness. He is tall and strong. You can fly in the sky of blue sea, move like lightning, be quiet like a virgin, and be brave and fearless.

Chen Junfeng's painting of eagles is often remembered in his dreams. The appearance of eagles, the posture of soaring, the posture of diving, the heroic spirit and divine action of fighting heaven and sea are deeply imprinted in his mind. So I came to the painting Eagle ink of the forefathers all over the world Li Di, Lin Liang, Lu Ji, Bada, Qipei, Baishi, Tianshou, kuchan can be copied! It is gradually known that the eagle paintings of predecessors vary from person to person.

Li Di's eagle is majestic and elegant, Lin Liang's eagle is ancient and deep, Lu Ji's eagle is unique, and the eight eagles are fierce and fierce I tried to copy it day and night, but I didn't steal it. Later, under the guidance of Mr. Wang Jiancheng, Zhai Yuyan was born. "The painting of eagles should be based on the meaning, not on the predecessors. Learning the art of painting: when drawing shapes by reason and drawing spirits by meaning, we are in a state of prosperity, where nature is invisible and melts into our heart, and the images do not come from Lingtai.... " Also said: Baishi old man taught people to learn books, and said, "learn from me, you will live, like me, you will die.". You should draw your eagle, not Li Di, Lin Liang, Ba Da, Ku Chan's eagle. The number of words is not enough, the emperor's deafness is expensive, so he refused to copy and learn from nature. Travel far and near, look up, or chase the top of the mountain, or rush to the plain, or nostalgia and garden When watching the eagle's perch, the changes of flying, cloudy, sunny, rainy and snowy are also timely.

The eagle's life takes off in the morning, and rest in the afternoon. Or bend the neck and rest, or prostrate and lie, although sleep, but also very alert, a little sound, then suddenly rise, momentum to a flutter. The eagle in the rain, with its hair gathered and sutured, stands up and waits for the wind, thunder and lightning without fear. If it is sunny, it will flutter its wings and fly. If it is sunny, it will take off. It will use the updraft to spread its wings and keep its balance. It will fly high in the sky or in the valley and hover for a long time. When it descends, it glides down with its wings slightly. Once it finds its prey, it suddenly swoops down with its sword wings, which is extremely fast. The song is bold and loud, and the sound shakes the valley. When standing upright, he is full of energy and looks at all directions. When flapping his wings, he rushes to the sky and fights in the sky After observing for a long time, the appearance and manner of the eagle are completely integrated into the chest, and the eyes are closed as if in front of them. The pen has been written on the paper, and gradually takes off the previous methods. When it comes to its own writing, it takes off the shackles of nature, forgets both the heart and the hand, and spreads the ink freely. It is not eagle, not carving, not falcon, not vulture, and integrates all things. He has the right to create his own things. The direction of meaning and the existence of painting.

Yu Huaying is the "image" of all the eagles in his chest. He often understands Zen meditation outside of painting, and combines the breath in his chest with the aura of heaven and earth. His interest is the carrier of spirit, and he can do his best by nonverbal means. In view of my limited level, superficial and improper, it is inevitable that I am still praying for the same way to correct it.

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