Feng Jicai's "A Cave in the Studio" is also a book and a painting of life

"Literature and painting have been with me for half a century. These two things have become my way of life. From my life, to the spirit, emotion and even the feeling, all of them carry the qualities of literature and painting. Mr. Feng Jicai said, "I naturally like to paint, and I paint in Wenxian." "He set aside a study, a studio, and the study and the studio were the places where he sheltered himself from the wind and rain and nurtured his temperament, and it was also a place where he indulged and relaxed. Following "A World in the Study Room", Mr. Feng Jicai recently published a "sister book" "Studio A Cave In the Sky" to express his love for Danqing.

If the artistic conception of "one world" is rich and humorous, broad and broad, then Feng Jicai's understanding of "one cave heaven" seems to be more intrinsic, deep and self-sufficient: "The cave is a hiding place, a private space, a world of one's own, hidden and safe." In the "private domain" of painting, he did whatever he wanted, did whatever he wanted, and had no scruples. Painting is his peace of mind and his place of exile. Committed to the protection of cultural heritage, he traveled between the mountains and rivers during the day, returned to the studio at night to wake up the night, picked up the paintbrush, and felt the excitement and relaxation, freedom and ease. The studio is a small world where he rests, and it is also another wilderness where he can ride at will.

Painting is life, and Feng Jicai has a deep and unique understanding of painting. Inheriting the tradition, he has practiced solid basic skills, and also attaches importance to personality, intuition and inspiration, following the trajectory of the soul to "break out of the cocoon" and find his own face. Mr. Li Keyan said: "Fight with the greatest strength, and then fight out with the greatest courage." Mr. Feng Jicai's experience is: "The deeper you go in, the more difficult it is to come out; if you don't go deep, it is difficult to understand the essence of tradition." This is the hardest part of Chinese painting. "He copied the ancients, but also preserved himself, he carefully constructed, and he came to his hands, and the works he painted were unique and could not be reproduced or depicted."

Literature and painting, as his two gifted hobbies, blended with each other and were inseparable from each other in his life. In this book, he wants to "face half of his literary self and the other half of his painting self." He said: "Literature is continuous painting, and painting is literature that is momentarily static." Literature is painting with words, and painting is sketched with pen and ink. His landscape painting "Treasure the Four Seasons" is chaotic and inclusive, "It is not good to say, this is an ink text, or a volume of ink of text." The two are no longer easy for him to distinguish, but they are two indispensable pens for expressing his life, thoughts and feelings. Ping Su used the brushwork of prose to paint, used the language of painting to write prose, and the moment he wrote the next pen, there would be ideas and imaginations like novels. It's a process of enjoyment.

The text is like its person, and the painting is like its person. It could be seen that Feng Jicai's heart was warm. Garcinia and Zhu Zhen in "The Golden Marriage" appear in his improvised paintings from time to time, casting the background of his life and the big tone of ink painting. Even if he says that he prefers autumn colors, even if his "Into the Golden Yellow" and "Autumn Whispers" depict the scene of autumn, there is no trace of poignancy and chill in his autumn, nor is there inherent decay and depression. This was also perceived by Mr. Feng Jicai. He said that he likes the customs and tastes of late autumn, but after the baptism of the years, today he has a completely different understanding and feeling of autumn, "Decades have passed, when I rushed to the fields and countryside with a sense of tragedy and grandeur, and reached out to those endangered folk cultures, the autumn shown from the pen has changed, and it is all autumn dazzling. This kind of "dazzling color" is exactly the feeling that the illustrations in the book convey to me, making me feel the same joy and excitement. "Every time you cross this path, you can't bear to step on it", inspired by a casual walk, full of melodic sense of branches between a touch of eye-catching goose yellow and vermilion, but also the street drifting leaves write a warm, bright meaning.

Painted as an image of the heart. Compared with ink painting, Mr. Feng Jicai seems to prefer color ink because it is the color of his heart. "Into the Golden" paints the late autumn, but also the brilliant autumn, "I have left the inflated, competitive, and extremely possessive summer and entered the mature autumn." "Calm, calm, self-sufficient, self-conscious" There is a kind of fullness, maturity and stability in self-sufficiency, and there is also a kind of brilliance. When writing and painting "Autumn Whispers", he used abstract brushstrokes to swing freely, and in one fell swoop, the yuan qi was perceived, but it could not be grasped, it was the overflow of life, it was a mysterious promotion, and it was the great harmony and guidance of heaven and earth. The world is infinite, the human heart is even broader, we can exhaust the limits, and painting gives him the impulse and possibility to express the infinite world.

Life cannot be changed, nor can it be repeated, Feng Jicai often paints by the feeling of "that moment", retaining the sincerity of "that moment" in life. "When you paint, the front is blank, looking forward to your new imagination." At the same time, the 'painting' and the 'already painted' content are interrelated and echo, and the qi pulse is connected. The process is a lot like writing a novel. "Kiss", which depicts the sky kissing the earth, is also touched by that moment. The large brushs and inks that rush freely in "Painting the Flying Waterfall" rush down with the rapid torrent, so that he can experience the supreme realm and supreme pleasure of "no confidence" when painting. What is churning in the ink of "Thoughts Like Smoke"? I'm afraid it can only be understood, not spoken of. "Behind the Tree is the Sun" returns to another mood, clear, lonely, clean, bright, recalling the state of painting, Feng Jicai's feeling is "open, open-minded, transparent", in short, it is a different state of mind, a different situation.

The natural endowment of the artist makes him unsympathetic to devote himself to art, support art, and be close to each other and cherish each other. In the book, he explains his own art, but also appreciates the art of others, the teacher's textbook, the friend's improvisation, are carefully collected by him, he values the value of art, but also the value of love. After seeing Li Bo'an's "Out of Bayankara", Feng Jicai identified this unknown painter as a groundbreaking genius and a real realistic figure with an ideal spirit, when Li Bo'an was snubbed by the utilitarian society, Feng Jicai supported him without hesitation and spared no effort to help him, and after Li Bo'an's unfortunate death, he called on Li Bo'an's hometown to build an art museum for "Out of Bayankara" and preserve this precious relic. Although he did not succeed, he wrote Li Bo'an as the prototype of an idealistic figure in his novel "Artists", using fictional life to reproduce his artistic spirit and express his artistic ideals.

He was a painter and introduced more painters into the novel. As he put it: "The most profound life of any writer is his own life." "The artist in the novel is well written by him.

Painting is a comprehensive art, and Mr. Feng Jicai not only can draw, but also write well. When he was excited, he wrote poems on the paintings, and the poems and calligraphy were printed, and he had fun with them. He also often plucked his favorite text paragraphs from his novels, wrote them down, and enjoyed themselves, which he called the "most self-contained sketches" in the studio. There are also some times when words change with the heart, from the joyful "smiling face to welcome blessings" to the "winter in the snow" under the epidemic, which is different situations, moods, different states, and emotions. The process of writing and painting is also the course of the heart, the course of life, "also books and paintings are also life".

The calligraphy and painting sketches painted by hand pinned on his literary interest and temperament and feelings. "Little Fish" depicts two small fish swimming leisurely and a hook and bait sticking into the water, and Mr. Feng's inscription is: "No matter how delicious it is, it cannot be eaten." Read Wan'er, because I remembered a Mid-Autumn Festival in the supermarket, the family wanted to buy shrimp, saw live things, felt compassion, good evil was dissuaded by me, back home, I took a pen and drew two prawns, the inscription: "I have hai Mid-Autumn Festival, see the living creatures did not bear to eat, make up two." "The scene is so similar, so Mr. Feng's painting looks familiar."

Many of the scenes and moods in the book, the tones and feelings in the paintings also touched my heart and resonated with me from time to time. Garcinia and Zhu Zhen, reflecting the warmth in my heart, illuminate Mr. Feng Jicai's paintings, amateur my graffiti is not indispensable garcinia and goose yellow? That is also the color that corresponds most to my heart, warm, bright, implicit light, smeared with a stroke, it will add a lot of joy. Every waxing moon, Mr. Feng Jicai would go into the studio and write some blessing characters and auspicious words on the red paper, give them to friends or leave them for himself, which he regarded as "an elegant thing for the Chinese New Year." "Every time at this time, I will also draw some scroll wall calendars, attach greetings and blessings to relatives and friends, a theme of the year, the lilies of the previous year, the goldfish of last year, the sunflowers of this year, and next year may be the grass, the flower blue, the garcinia, the cinnabar, the vermilion, the smear at will, and it is also a pleasant pleasure, right? Feng Jicai's studio has a small book, called "Pen Cultivator Painting Language", focusing on the artistic inspiration that suddenly appeared in my heart, and I also have a small book on my desk, focusing on intuition, inspiration and epiphany of the moment, which I call "one page Zen"...

Is this the closeness of nature, the union of the heart? Or is it the similarity of aura and the coincidence of chance? In short, it is a comfortable and pleasant feeling to read.

One side of the studio, there is no hole in the sky, how much affection is pinned on, how much joy is left.

Text/Chen Yanmin

Editor/Bow Lifang