Water rhyme canal, poetic water town
■ Wang Weisheng
"Poetry is based on words, and words are used to carry the Tao." Although the text has a structure of algae, proportion, structure, and situation, the poem is the essence of the text for two reasons:
The first is to take the contract, which is minimal. Jia Dao said to himself, "Two sentences and three years, one chant and two tears", and Lu Fangweng's sentence "Red crisp hands, yellow wine, and willows on the spring palace walls of the city" are extremely subtle and have no ruler marks.
The second is improvisational expression. Every time I climb the mountain and look at the mountains, I improvise a poem, the sound of the sound shakes the canyon, and occasionally wade through the river, and the sound of the waves is ups and downs.
Du Fu's "Ascending" has a saying that "he is often a guest in the sad autumn of thousands of miles, and he has been on stage alone for more than a hundred years", which can be described as a depressing and healthy act. Li Bai sleepwalks in the sky, wandering among thousands of rocks and ravines, how refreshing. Tao Qian's "Morningside is desolate, and he returns with the moon and lotus hoe", how carefree. It can be seen that poetry contains great artistic energy.
"Yi" can be seen in the classics of the Warring States "Book of Songs". There is a saying in "University" that "those who want to correct their hearts must first be sincere in their intentions". And Wang Bi wrote in "Zhou Yi Mingxiang": "The intention is exhausted by the image, and the image is written by words." In fact, poetry refers to the emotions, consciousness and feelings expressed after the tempering of thoughts, if it is not so, how can there be Liu Yuxi's "Hospitality is vast and vernacular, poetic lingering in heavy things", Zhu Qingyu's "East Lake is poetic, Xia Hui is like spring".
Needless to say, Zhu Rongrong's works are intended to take poetry as the soul and the poetry of painting. It should be pointed out that poetry and painting are two different styles, poetry exists in time, and painting exists in space; Poetry is hearing, painting is visual. The combination of poetry and painting expands their respective artistic outreach and rises to a common aesthetic category. Poetry and painting are combined, poetry determines the essence of art, and painting reproduces the characteristics of art.
Su Dongpo said: "The poems of the taste of Maha, there are paintings in the poems; Looking at the painting, there is poetry in the painting. The explanation is that Wang Wei's poems are sound paintings, and the paintings are lyrical like poems. This aesthetic thought influenced the painters of the Song, Yuan, Ming and Qing dynasties, they regarded painting and poetry as the same thing, and Shen Zongqian of the Qing Dynasty said in his "Mustard Boat Painting": "Painting and poetry, both scholars write about temperament, and those who can enter the poem can enter the painting." ”
It should be said that Zhu Rongrong's ink canal landscape has poetic characteristics. First of all, his paintings represent the Jiangnan contained in traditional Chinese culture. After the Southern Song Dynasty, Chinese culture moved southward, and it can be said that Jiangnan scholars and their corresponding psychological states bred a style of writing, poetry and painting with Jiangnan temperament.
Zhu Rongrong grew up in Wuzhen, Jiangnan, and was full of dreams of water towns as a child, and studied painting with Mr. Liu Xueqiao as a young man, and later entered the China Academy of Art. His vision and painting themes have always been centered on canal water towns, and the "poetry" in his paintings is mainly the cradle of his life, Wuzhen.
"At night by the bridge in Wuzhen in the moonlight, I still call to see the mountains in my dreams." His "Spring Smoke and Rain", "Fog Moistens All Things", "Water Town Rain", "Spring Run", etc., are not the Jiangnan in the poem? Smoke and rain, Xiao'an, stone bridges, and canopy boats, you can't help but think of the poem "Idle dreams of Jiangnan plum ripe day, night boat flute and rain Xiao Xiao".
The gray walls and black tiles, lattice doors and windows, pond corridors, hidden in the thick bushes, the south wind blows, the drizzle continues, the water vapor rises, like smoke, take you into the poetry and water town.
Of course, Zhu Rongrong's canal water town not only has poetic characteristics, but also its charm lies in his unique use and innovation of the corresponding formal language.
He melts the scenery of the canal and water town into a language full of personality, not a poetic scene like a general small bridge and flowing water, but a new image and new structure. In the pursuit of "new", he did not ignore the expression of brush and ink skills, but rhythmically wrote the images of objects, and the ink rendering also had charm, weakening the sense of depth of traditional landscapes in composition, tending to a modern plane structure, emphasizing the opposition and unity of points, lines and surfaces in the picture.
Zhu Rongrong's canal water town is different from the water town painted by Yang Mingyi in Suzhou. If Yang Mingyi is good at using the thin lines of sketching, like a long-standing orchestral silk bamboo to express the beauty of Jiangnan Juanna, Liu Maoshan is good at using dots, lines, surfaces, light and color to express the beauty of the gorgeous and splendid, then Zhu Rongrong is good at using traditional and modern ink structures to express the simple beauty of the canal water town.
His works are the presentation of poetry and emotion, truth and illusion. The water town is quiet, when the mist is about to drift. Zhu Rongrong's works are light and soft in ink, showing a gray luster that is misty and flickering, and the composition and interest are similar, as if they were randomly dyed, but they are extremely subtle, seemingly simple but rich, showing a moving artistic charm.
The beauty of art is often between truth and illusion, perception and dream, Zhu Rongrong weaves a charming canal water town, he recites the poetic Jiangnan, and also recites the poetry of life and the life of poetry.
(The author is a famous art critic and professor of Chinese People's University)
Appreciation of Zhu Rongrong's works
Brief introduction
Zhu Rongrong
Alias: Hong Zi, art researcher (senior title), visiting professor of Hebei Academy of Fine Arts, member of China Artists Association, painter of Guoyun Painting Institute of Chinese and Foreign Cultural Exchange Association of the Ministry of Culture, director of Zhejiang Chinese Painters Association, director of Zhejiang Chinese Flower and Bird Painters Association, researcher of Zhejiang Contemporary Chinese Painting Research Institute, researcher of Lu Yanshao Research Association of Zhejiang Painting Academy, librarian of Jiaxing Cultural and Historical Research Museum.
Vice Chairman of the Landscape Painting Art Committee of the Hong Kong International Academy of Painting, President of the Tongxiang Humanities Painting Institute, Honorary Chairman of the Tongxiang Artists Association, and member of the Tongxiang CPPCC Painting and Calligraphy Institute. His works have been selected for the 9th, 10th and 13th National Art Exhibitions.
He has published more than 10 albums such as "Zhu Rongrong's Ink World". In 2001, CCTV's "Art Starry Sky" featured his works, and he was praised as a "poetic painter of water towns". In 2003, he was invited to hold an exhibition in Taiwan, in 2014 he was invited to hold an exhibition in Bulgaria, and in 2018 he was invited to hold an exhibition in Tokyo, Japan.
[From: Jiaxing Literature and History]
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