Yu Zhao

In the dark

Yu Feian (March 22, 1889 - July 3, 1959), originally named in kuizhao, was later renamed in Zhao. His name is Yangshu. He is also called "idle person", "Wen Ren" and "Lao Fei". He is a modern Chinese painter. Born in Penglai, Shandong Province, he was born in Beijing. He studied in normal school in 1912, and later taught in private normal school and Art Department of North China University. He is also a tutor of the Museum of traditional Chinese painting attached to the antiquities exhibition. Since 1935, he has been specializing in meticulous flower and bird painting. After 1949, he successively served as a researcher of the Institute of national fine arts of the Central Academy of fine arts, vice president of Beijing Chinese Painting Research Association, and vice president of Beijing Academy of fine arts. His works include Magnolia oriole, peony persimmon and peony dove. He is the author of non Dark Man Mo, Yi Lan Ji, Chinese painting pigment research and how I paint flowers and birds.

brief account of the author's life

Guangxu 15 years (1889) lunar March 22 (Gregorian April 21), in non dark in Beijing's courtyard was born. Yu Jia, originally a Han nationality, was born in Penglai, Shandong Province. He moved to Beijing about four generations ago. His father belongs to the Han army of Zhengbai banner in the house of internal affairs, and his mother is a Manchu. In 1954, he changed his mother's ancestral home and officially registered as a Manchu. Yu Feiming is a painter who has made great achievements in the research and creation of meticulous flower and bird painting in the history of modern Chinese painting. It is precisely because men of literature and writing have made the essence of traditional fine brushwork to inherit the essence of the traditional fine brushwork, laying a solid foundation for the development of modern fine brushwork, and appreciating and emulating many later literati and scholars. His masterpieces include the painting of Yulan oriole, the painting of red apricot mountain partridge, the painting of peace dove and the painting of birds coming from fruits. His works include how to draw fine brushwork flower and bird paintings, research on the color of Chinese paintings, records of raising pigeons in Dumen, records of chrysanthemums in Dumen, selected works of Yu Feian's fine brushwork flower and bird paintings, etc. Among Yu Feian's disciples, the two most famous are Tian Shiguang and Yu Zhizhen. As professors of the Academy of fine arts, Tian Shiguang and Yu Zhizhen have many disciples. Among them, Gong Wenzhen and Jin Hongjun are the most famous ones.

style of art

painting

He began to draw fine brushwork flower and bird paintings around the age of 46. He began to learn from Chen Hongshou of Qing Dynasty, and later studied flower and bird paintings of song and Yuan Dynasties. He also studied Zhao Ji's techniques. In the last year of his life, he wrote in his postscript: "from the Five Dynasties and two Song Dynasties to Chen Laolian is the first stage for me to study tradition, and from Zhao Ji is the second stage. Since then, I have been engaged in sketching from life and drawing from folk painting, but the business position of literati painting has not been ignored. So hard work until today, deeply realize that life is the source of creation, heavy makeup, light makeup plain clothes and all performance skills are also based on this This is an important summary of his life's artistic mileage. However, he learned from the ancient but not from the ancient, and created a new technique of double hook in Song Dynasty. The composition breaks the conventions, uses the pen to be rigid and soft, and the coloring is gorgeous and not vulgar. The picturesque peony is made from flowers in spring, leaves in summer and stems in autumn. It can be viewed from afar and appreciated near. He is good at painting poems with postscripts. His style of art is rigorous, and he has a daily class. During the period of working in the antiquities exhibition office, I came into contact with many ancient paintings, and often wandered around the antique shops. I borrowed a lot of techniques to copy ancient paintings. He also went to the Palace Museum in Beijing to study masterpieces, which broadened his horizons and improved his painting skills. He went to Shenyang Palace Museum to copy Huang Fang's painting of rare birds from life and Zhao Ji's painting of Ruihe to inherit the realistic tradition. In addition to studying scroll paintings, he also studied the simple decorative techniques of pure silk of Song Dynasty. on the line drawing pen, calligraphy is used to show the image of Qi and bone. Yu Feian opposes being too skillful and meticulous to lose the high rhyme and overall spirit of the brush and ink. He does not stick to conventions and dares to innovate. In terms of brushwork, he first took Zhao Zigu and Chen Laolian's brushwork as the basis, and gained the interest of being round, hard, sharp and thin. Later, he used Zhao Ji's thin and golden brushwork to draw. The brushwork changed in thickness, softness, hardness, frustration and undulation, which not only greatly increased the meaning of the book, but also made the lines have rich changes in the sense of expression, volume and space. For fine brushwork flower and bird painting, whether it can well depict the branches of trees is like drawing lines and colors, which is an important reference to test the skill level of a fine brushwork painter. In fine brushwork painting, if the branches in the secondary position are portrayed too carefully and accurately, although the image is realistic, it will be noisy in the overall effect and affect the theme. If we weaken the form of branches and trunks and ignore their existence, even if we highlight the theme, there will be a lack of coordination for the picture itself and the overall effect will not be unified. The reason why some painters use freehand brushwork to show the branches in fine brushwork is to avoid the lack of this aspect. In the painting of partridge in mubi mountain written by Yu feidark, the twigs and the trunk are not only in order to avoid crossing, but also have a clear primary and secondary relationship, and the performance skills are more vivid and natural. Although the lines of the trunk are rough, they are not rough. The strokes are steady and firm. The meticulous texturing makes the branches have a strong three-dimensional effect. Coupled with the light ochre rendering, it has the charm of Western painting. The blooming flowers of Magnolia are delicate and light, giving people a sense of tranquility, dignity, beauty, peace and serenity. Layer upon layer, the petals are plump and moist, as if they are carved with crystal agate. The light and moist appearance makes people relaxed and happy. On the coloring, Yu Fei advocates soft and fresh, and "auspicious clouds and auspicious pigeons" describes five flying auspicious pigeons. The colors of the feathers of the five pigeons vary greatly, and the feathers of each pigeon are different. It echoes with the changing colors of Xiangyun. And the overall composition is vivid, precise and thought-provoking. in the non dark paintings, the charm of Gao Gu, the exquisite brushwork and the gorgeous color of the Song Dynasty are not in conflict with each other, and they will not show "vulgar" because of "gaudy", which is the brilliance of the painting masters. Therefore, the color of beauty and the meaning of high antiquity run through the non dark works as a whole, which is the keynote of a style, and also the basis of identifying his works.

Calligraphy

In terms of calligraphy, Yu Feian is still a master of ancient calligraphy, learning the unique "thin gold style" calligraphy of Zhao Ji, Emperor Huizong of Song Dynasty, and is quite accomplished. He is the leading master of "thin gold style" in modern times. For fine brushwork painters, "thin gold body" can not only exercise their brush power, but also this kind of thin and hard calligraphy style complements fine brushwork. In the painting of partridge in mubi mountain, Bai Juyi wrote a poem titled "red magnolia flower in Lingyin Temple" with a sound and straight "thin gold book": "purple pen with sharp flame, red rouge dye little lotus. How much do you know about Fang Qing and Xiang Si? I'm so annoyed that the monk regrets becoming a monk. " It's quite interesting. Its calligraphy is more ancient with its fine brushwork, flowers and birds. Yu Feiyin is a famous calligrapher and painter with comprehensive literary popularity. He has a distinct style of calligraphy and calligraphy, and pays attention to the combination of culture and inner cultivation with painting and calligraphy. Therefore, we can see that his works of art will have a bright future in the future market.

Chronology of people

Publishing works

"Yu Fei dark flower and bird painting class draft" Author: Published by Shanghai People's Fine Arts Publishing House in September 2018; "Yu Fei dark meticulous flower and bird painting theory" Author: Published by Shanghai People's Fine Arts Publishing House in February 2018; "calligraphy and painting giant Art Library · Yu Fei dark meticulous flower and bird painting theory" published by Shanghai People's Fine Arts Publishing House in January 2018; "how do I draw meticulous flower and bird painting" 2016 It was published by the people's Fine Arts Publishing House in September 2015; "Yu Fei dark flower and bird painting manual" was published by Shanghai People's Fine Arts Publishing House in April 2015; "master's skill class how I draw meticulous flower and bird painting" was published by Sichuan Fine Arts Publishing House in December 2013;

Selected works

How do I draw meticulous flower and bird paintings

Since I was young, I have been fond of raising flowers, birds, insects and fish. I have also studied horticulture, ornithology and other knowledge. I am very familiar with the organization and anatomy of each department, as well as their different habits and characteristics. This is a favorable condition for me to learn flower and bird painting. When I was in my twenties and twenties, I learned painting in my spare time from a folk painter, Mr. Wang runhuang. He ordered me to make pigments for him. He also taught me how to raise chrysanthemums, Narcissus, crickets and crickets. I learned how to make pigments and how to raise flowers and fight crickets, but he didn't teach me anything about painting. Mr. Wang is famous for his paintings of oysters and chrysanthemums. When he was critically ill, he gave me his description and said, "don't learn from me, you should learn biology, you should learn to use tools." I didn't pay much attention to painting at that time. I just like to play with insects, birds and flowers. However, my education in making pigments, raising flowers and insects has greatly inspired and helped me to depict biology. here, I'll start with raising animals. I'll talk about my sketching method and creative process. I'll give a general account of my little experience in more than 20 years, including my hard work and detours. Now let's introduce my school drawing day schedule. From 1935 to 1937, noon was set as the time to learn painting. In the first two years, there was little sketching of living things. In the third year, pencil was used to describe the flowers and birds at home. Starting from 1938, the time for learning painting was set from 8:30 a.m. to 12:00 a.m. and from 1:30 p.m. to 4:00 p.m. Painting from life, not necessarily at home, has been practicing to dare to describe in various parks and places. The scope of the painting is not limited to Beijing's flowers and birds, so it will be until 1945. Since 1946, the time is still the same as before, and the scope of description has been narrowed down to one area of Beijing. During this period, my life was in extreme difficulties. Most of the afternoon was occupied by firewood and rice. At the same time, my old wife died of illness

Chinese PinYin : Yu Zhao