Zhang Jieyu, born in 1948, is the president of Beijing Huyang Lizan Academy of Calligraphy and Painting, the president of Huyang Academy of Art, the researcher of the Academy of Calligraphy and Painting of the Central Museum of Literature and History, the member of the Chinese Artists Association, the director of the China International Calligraphy and Painting Art Research Association of the Ministry of Culture, a part-time professor of Peking University, a disciple of Lingnan Master Li Xiongcai, and the creator of the Golden Hall of the Great Hal
When I first saw Mr. Zhang Jieyu's painting "Praise to the Poplar of Euphorbia Poplar", I was inspired. This long scroll in front of me is the life state of a large area of Populus euphratica in the desert area around the Tarim River Basin in Xinjiang. They are flourishing and flourishing, withered and decadent, indomitable, and stubborn to regenerate and proliferate. I have not had time to appreciate it carefully. With the intuition of painting, I realized that this is not a large landscape painting in general sense, but a praise of Poplar Euphrates with unique character, which is an artistic work expressing a kind of endless spirit. As I watched the long scroll, my initial feeling of shock did not diminish. I was still immersed in emotion and admiration. This is not only for the stubborn vitality of Populus euphratica, but also for the author's dedication to art and the efforts to promote a lofty spirit in the form of painting.
I didn't know much about Zhang Jieyu's artistic experience, but I believe that the painter who showed such magnificence and exquisite skill in "Praise of Poplar Hu" is not a idle person in the painting world. Reading Zhang Jieyu's art resume and understanding his completed artistic creation confirms my judgment that he is an artist who has made outstanding achievements in the field of landscape painting with sufficient reserve of creative experience. Over the past decades, he has completed a number of huge landscape works, which write the praise of the motherland's mountains and rivers, and praise the magnificent and vigorous power of nature. This can be seen in his works, such as "Huangshan Sunset" (2002), which are colorful in the sunset afterglow, with close-range Jinsong standing on the solid cliff wall, cloudy, meteorological; such as "Peak Everest Dawn Moon" (2002), depicting the magnificent scenes of Himalayan peaks with heavy colors; such as "Twilight Song" (2000), with a downward perspective, harvesting the brilliance of sunset. The hills below are in the bottom of our eyes, such as the Song of the Yellow River, which is a poem of dynamic and static game with turbulent waves and huge rocks standing erect, and the Wind Map of Wangai Pine (2000), which is a hundred-foot long roll, undulating peaks and mountains, verdant trees, rolling clouds and seas, flying springs and waterfalls, and magnificent momentum... It seems that Zhang Jieyu is fond of grand artistic conception because of his lofty artistic ideal based on his education and life experience.
Zhang Jieyu was born in Puyang, Henan Province. His father Zhang Faxian graduated from Tianjin University of Law and Politics, and his mother Li Lu graduated from Beichang Women's Normal College in Beiping. Both of them were engaged in education and loved painting. His father was also a calligrapher. Zhang Jieyu was influenced by art since childhood. He began to learn mustard seed garden painting when he was young. He was also influenced by famous painters, especially Shitao and Shixi paintings. When he was young, his hometown suffered from floods and the impact of the Cultural Revolution, and his life was rough. After suffering various hardships, he moved to southern Shanxi and began to create amateur paintings after settling down a little. He has been engaged in grass-roots art work and worked as an artist in a film projection company. During this period, some of his works won local or national awards and were greatly encouraged. In order to concentrate on the creation of Chinese paintings, he moved to Xi'an in 1979 to observe and study works of Zhao Wangyun, Shilu and Fang Jizhong. He was deeply influenced by the broad and vigorous culture and art of the Han and Tang Dynasties and admired the vigorous style of painting. He loved the Qinling Mountains and traveled all over Zhongnan, Taibai and Huayue. He was diligent in sketching, accumulated a lot of artistic materials, broadened his horizons and nourished his temperament. In 1986, Li Dinglong, a famous painter in Shanghai, was invited to study in his "Eight Facts Cao Tang" postgraduate class. He also appreciated the artistic style of Xie Zhiliu, Wang Gemin, Cheng Shifa, Liu Haisu, Lu Lishao and others. In the process of artistic growth, Zhang Jieyu was highly valued by Li Xiongcai, a master of Lingnan School of Painting. Li Xiongcai accepted him as a disciple and also named his studio "Zihua Hall" (1988). Their affection for teachers and students seems to come from chance on the surface, but in fact it has its inherent inevitability. Lingnan School of Painting is proud to stand in the 20th century Chinese painting circle with its artistic ideas and practices of integrating China and the West and borrowing from Xixing Zhong. It is the artistic feature of Lingnan School to attach importance to sketching, integrate traditional ink and brush sculpture with block sculpture of Western painting, and use color appropriately to enhance the artistic appeal of the picture while giving full play to the characteristics of ink. Zhang Jieyu's artistic conception is formed on the basis of extensive collection and collection of the strengths of various families. He is fond of traditional freehand brushwork and knows the way of brush and ink. At the same time, he appreciates realistic modeling and understands its subtlety. In his opinion, the art tradition is divided into Chinese and Western, and the techniques are different from realistic ones, but they are not incompatible with each other. In order to express the objective nature and inner feelings, it is an effective way to organically blend various techniques. The key is not to lose the national style of Chinese painting. Based on this understanding, Zhang Jieyu respects Lingnan School's artistic ideas. The reason why Li Xiongcai attaches great importance to Zhang Jieyu seems to be that he sees this talented young painter with both Chinese and Western art mind. In fact, since Zhang Jieyu came into prominence in the late 1970s, his creative direction has been different from the traditional literati painting centered on brush and ink. Instead, he insists on inheriting the tradition of Chinese painting in an all-round way, strengthening sketch, and emphasizing both the interest of brush and ink and natural modeling. "Praise of Poplar Hu" can be said to be his masterpiece in this artistic direction.
In the past few years, Zhang Jieyu went to Xinjiang Tarim Basin many times to sketch, where a large area of Populus euphratica forest and their tenacious vitality gave him a strong shock. Populus euphratica, which makes him most moved, is not only their flourishing growth, but also their tenacious vitality to overcome the harsh environment. In arid desert areas, they stand strong, symbolizing the immortality of life. Ancient trees have always been praised and praised by Chinese traditional writers and artists for their persistent spirit of self-improvement, fearless of the devastation of nature, and endowed with personified character. Literature and artists often use this image to express their feelings and wishes, or to symbolize the eternal vitality of ancient traditional civilization or spirit. For decades, many of Zhang Jieyu's landscape paintings, such as Vigor, Baisong Tu, Evergreen Tu, Pine Ape Tu and Pine and Cypress Evergreen, have described the ancient trees, which are intertwined, or expanded branches, or exposed new leaves, withered trees in spring, showing the eternal fire of life. Zhang Jieyu was fascinated by Populus euphratica because of his perceptual experience of strength and beauty in nature and the sublimation of this perceptual experience, which was regarded as a symbol of life will, tenacious struggle and self-dedication, and also because of his rational understanding of the role of Populus euphratica in protecting the ecological environment and maintaining the green homeland. It is this combination of perceptual experience and rational knowledge that prompts him to have a lofty sense of artistic mission and enduring enthusiasm for creation.
Populus euphratica is one of the oldest poplar trees in the world. It is a remnant of the ancient tree species. Populus euphratica has a long growth period. It is the only ancient tree species that can grow in arid desert because of its variable leaf shape. Its beautiful tree shape, young leaves like willow, drought resistance, not afraid of extreme heat and cold, wind and sand, salt and alkali resistance and other characteristics. Populus euphratica has a popular saying that "live for a thousand years, die for a thousand years, pour for a thousand years" and is known as "desert hero tree". Growing in sandstorms and droughts, many Euphorbia euphratica trees have strange shapes. The vast majority of Populus euphratica in the world grows in China. Populus euphratica mainly distributes in desert areas of Xinjiang and Inner Mongolia. More than 90% of Populus euphratica forests grow in the Tarim River Basin. There are 352,000 hectares of Populus euphratica forests along the river basin, which is the largest primitive Populus euphratica forest in the world. Populus euphratica is vigorous in summer, shaded by green, frosty yellow leaves in autumn, full of trees and golden. In arid and rainless desert areas, Populus euphratica can root deep underground and tenaciously support an oasis of life. In the Taklimakan Desert, Poplar trees struggling with fate, whether thick or thin, even if they are hard to fall down and grow in disorder, have green dot dyeing tips.
For the purpose of revering and eulogizing Populus euphratica, Zhang Jieyu went to Tarim Desert area many times to experience the growth conditions of Populus euphratica and the characteristics of Populus euphratica, regardless of the harsh natural environment and the danger of being attacked by sandstorms and hiding life at any time. When he had the experience of "no desert, no grandeur of Populus euphratica, no glory of life", his artistic conception of describing Populus euphratica had begun to conceive; and when he expressed his mood at that time: "The indomitable spirit of Populus euphratica deeply shocked my soul, for it did not sleep, forgetting food, interweaving my life with it in a thousand ways. Put them together. Countless mornings, dawns and dusks, year after year like water, I and Populus euphratica indissoluble, dance with the same language, "when his heart of Populus euphratica scroll is almost ready to come out.
Zhang Jieyu first described Populus euphratica forest in 2002, which is a unique painting of Zhang Er, and the creation of the volume of "Populus euphratica" began in 2006. The reason why he wants to create long volumes is his deep understanding of the theme. His thinking has long fallen on the theme of "Hero Tree". He associates Populus euphratica with the ability of nature to protect ecological balance, and with the courage and perseverance of our nation in fighting against natural and social disasters. In his opinion, without a long and grand composition, it is not enough to fully express this rich and implied theme.
How many bounces can life have? Zhang Jieyu is fully aware that his long roll of Hu Yang is the most challenging struggle in his artistic career, and it is also a struggle for him to mobilize and synthesize his creative experience and exert his talents to the fullest extent.
In addition to adequate life experience and material reserve, the success or failure of Poplar Praise depends on whether he can find the appropriate artistic conception and artistic treatment. Although Zhang Jieyu is good at creating grand pictures and long-volume compositions, unlike previous works, this work describes the growth of poplar trees on tens of meters long-volume, and the single object of description makes the picture lack of change. For this reason, Zhang Jieyu, after brewing and conceiving, finally established the picture we saw. As the roll unfolds, we first see the dense and shady Populus euphratica forests at the turn of spring and summer, and then we see the old Populus euphratica struggling with wind, sand and saline-alkali in the desert areas. Although the branches and leaves are withered, they still stand or lie aslant to show their vitality; we see the golden Populus euphratica forests in autumn. Finally, new seedlings near the withered trunk grow vigorously... The pictures of poplar in various forms are accompanied by vast deserts, sparse weeds and almost dry riverbed. In order to compose these scenes into pictures, the author has repeatedly deliberated on composition, shape, ink, color and other aspects, using the changes and unification of many opposing factors, such as black and white, virtual and real, light and shade, to make the pictures have a rhythm and rhythm of inheritance and convergence. Zhang Jieyu's ability to deal with various difficult problems in the shape and composition of long-roll pictures is due to his experience in integrating China and the West over the past decades. Specifically, he is good at mastering the brush and ink modeling of literati paintings and the block and color modeling of Western paintings, which are used to express the shape, volume, texture, light and shadow of objects and even tension. His traditional Chinese painting skills are also fully developed in the use of the length and thickness of lines and brush and ink rubbing and dyeing techniques.
Eulogizing the will and character of Populus euphratica, it has lofty ideological content and spiritual realm, unique ink quality, simple, plain and strong personality style. Undoubtedly, this is a masterpiece with high artistic expressiveness, which is consistent with the spirit of our great times.