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Yu Fei Min (1889-1959), originally named Yu Kuizhao, later changed his name to Yu Zhao, the word Yang Shu, do not sign non-Min, also known as idle people, smellers, old non. Modern gongbi flower and bird painting everyone, calligraphy learn Song Huizong Zhao Tuo's unique "thin gold body" calligraphy, is the modern writing of "thin gold body" is the premier master.
On April 21, 1889, in the fifteenth year of Guangxu (1889), he was born in a courtyard in Beijing. Originally from Penglai, Shandong, the Yu family moved to Beijing about four generations ago. Yu's father belonged to the Chinese Army of the Ministry of Internal Affairs, and Yu's mother was a Manchu. In 1954, Yu Fei changed his ancestral home with his mother and officially registered as a Manchu.
▲ "Red Leaf Double Bird" vertical axis, composed in 1948
Yu Jiazu's ancestors were all Qing Dynasty people, all of whom made a living by teaching, yu Feimin listened to it from an early age, accepted the cultural influence from his grandfather and father, and was very interested in poetry and calligraphy and painting seal carving. In 1908, when Yu Feimin was studying at the Manchurian Higher School, he also studied Taixi painting techniques (oil painting techniques) such as drawing watercolors with Japanese teachers.
▲ "Plum Sparrow Fights for Spring" vertical axis
In the year of the Xinhai Revolution, the 22-year-old Yu Feimin returned to his original hometown of Penglai in Shandong Province, and began to learn from the folk painter Mr. Wang Runxuan to paint flowers, birds, grass insects, and learn how to raise insects and develop pigments. This enlightenment teacher was good at writing flowers and grass insects, and was especially famous for painting grasshoppers, which had an influence on the artistic style of non-Min's life. Since then, Yu Feimin has extensively dabbled in landscapes, flowers and birds, gong pens, stick pens, and most of the flowers with half work and half simple flowers and dotted leaves.
Yu Feimin once recalled in the article "Self-Introduction": "When I was seventeen or eighteen years old, I originally studied some gongbi flowers, and in five or six years, I only learned how to modulate colors and how to match them, but at that time, I already had a considerable understanding of the paintings of the Song people. In addition, her mother and wife are both descendants of the Ai Xin Jue Luo clan, and the family collection of Fa Ti calligraphy and paintings, printed rubbings, pen and ink paper stones is very rich, Yu Fei min was infected by this, and then studied calligraphy and painting, and naturally came to fruition.
▲ "Autumn Songbird" vertical axis, composed by Chengzi (1936).
Before and after the "May Fourth" Movement, a group of sensitive scholars, sensing the high and simple style of Chinese painting and advocating antiques, once loudly called for changes in fine arts, on the one hand, they advocated the introduction of the realism of Western painting, and at the same time advocated the revival of the realistic style of courtyard painting to cure the "drawbacks" of Chinese painting. Yu Feimin entered the painting world in this cultural background, and his paintings of flowers and birds are personal choices, and they are also the choices of the era of aesthetic fashion renewal.
Since 1935, Yu Feimin has shifted the focus of art to Gongbi, which is due to the artistic law of "Bo JiYue" and the result of the artist". At this time, Yu Feimin was already a year of confusion, although he started late, his achievements were great, and the painted pen flowers and birds were carved green and inlaid with green, rich and colorful, and the white-painted blue bamboo daffodils were also exquisite. By the 1940s, Yu Feimin's reputation could be matched by Zhang Daqian.com.
▲ "Narcissus Butterfly" vertical axis
From the perspective of external factors, in addition to the above-mentioned changes in fashion and the seeds sown by enlightenment education, Zhang Daqian's inspiration for him cannot be ignored. Yu Feimin and Zhang Daqian were friends with Mo, Yu Feimin had advocated for Zhang Daqian and fought with Xu Yansun, and Zhang Daqian often paid attention to the painting art of Fei Min. According to Mr. Bao Limin's research, Zhang Daqian had advised Yu Fei to abandon the lowercase transfer pen and specialize in double-hook flower and bird painting, and with a thin gold book inscription, Yu Fei listened to his opinions and devoted himself to this, gradually forming the style and language of Yu Pai Gong pen flower and bird painting.
▲ "Zhuzhu Kingfisher" vertical axis
In order to grasp the characteristics of objects and images, Yu Fei also raised many flowers and birds. He had observed the pigeons and was well aware of their various postures. Once, Yu Nai asked for a large picture of a pigeon, and he was embarrassed by it. On weekdays, I just look up and never look down at how the pigeons fly. So he climbed the tall tower to watch the pigeons rise and fall, and then began to draw. Yu Feimin, who had no intention of raising pigeons, accidentally became an expert and wrote a monograph, but unfortunately it was covered up by the title of the painting.
He also paid attention to the nature of the teaching method, and even though his reputation was growing in his later years, he still always paid attention to the hundred-and-a-half insect birds in order to be precise. Whenever the peony blooms in the park, or hears about a chrysanthemum exhibition somewhere, be sure to go and carefully appreciate it, and sketch out several manuscripts to keep.
▲ "Gongbi Flowers and Birds" vertical axis
In the last 10 years of his life, Yu Feimin ushered in a period of prosperity in his artistic creation. In his paintings, the blue sky is clearer, the pigeons are more comfortable, the peonies are more abundant, the brushwork is firmer, the colors are brighter, and the composition is more rigorous.
Wu Guanzhong once said: "The cultural level of most painters in the art world is not high, so their works do not come to a higher level of feelings and realms. This phenomenon has been a persistent disease since modern times, which is the main reason why most painters stop at progress. Yu Fei learned to paint in middle age, but he can stand out because of his extra-painting skills.
▲ "Flowers and Birds" mirror heart
Yu Feimin's thin gold body is second to none in modern times, which stems from the foundation of his learning calligraphy when he was a child, starting from the Jin and Tang Dynasties, going back to the Qin and Han Seals, changing to Yu (Shinan) Chu (Suiliang) after middle age, and then specializing in thin gold, yunbi Yujin jian is soft, light and slippery, intriguing. For the brush painter, the thin gold body can not only exercise the pen strength, but also complement the calligraphy style and the frame. In addition to calligraphy, Yu Feimin is also good at governing the seal, learning from Qi Baishi, but there is no trace of a drastic approach, and the style tends to the west, which is quite interesting to the ancient seal.
▲ "Elderly Rich" vertical axis, 1948
In addition to the book print, Yu Feimin also has achievements in writing articles. In May 1928, Yu Fei min published "Dumen Fishing Record", "Dumen Yilan Record", "Dumen Pigeon Record", the latter and English translation came out. From 1930 to 1934, he served as an editor in the "Yipu Edition" of the literary and art supplement of the "Morning Post", and under the pseudonyms of "Non-Factory Idler" and "Non-Min ManMo", he serialized articles in newspapers and periodicals in Beijing, Tianjin, Shanghai and other places, and was a well-known columnist at that time.
Although Yu Feimin was gifted, he was still diligent, and he would paint and paint every day, and he would never tire of his old age. Although he only lived in 3 huts in his later years, he still did not slack off due to the cramped environment and spent days in class.
▲ "Grasshopper Grasshopper" vertical shaft, composed by Chengzi (1936).
In the last year of his life, Yu Feimin struggled with illness and titled "Magpie Willow Tree Diagram" And said: "From the five generations and two Song Dynasties to Chen Laolian is the first stage of my learning tradition, specializing in Zhao Tuo is the second stage, since then he has engaged in sketching on some of his own knowledge of planting flowers and raising birds, and also learned folk painting methods, but the business position of Wen into painting has not been neglected. With such hard work to this day, I deeply realize that life is the source of creation, and thick makeup, light makeup and all the performance skills are also produced. ”
With such hard work, it is worth learning from the artists for the younger generations.
On July 3, 1959, he died in Beijing and was buried in Fengtai, a suburb of Beijing.
In yu Fei's paintings,
The fine brushwork does not conflict with the bright colors,
Will not be "colorful" and "vulgar",
This is where the master painters excel.
The color of beauty and the meaning of high antiquity run through it as a whole
is the root of identifying his work,
Coupled with the "thin gold body" skinny book style,
Complement the gongbi strokes, and the ancient meaning is stronger!
【Yu Non-Min Gong Pen Flower and Bird Painting + Thin Gold Body】
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