"Ten Idlers" Sketch--Su Brigade's Evaluation of He Weiren
Su Brigade
Guangxi Art Publishing House Deputy Editor Editorial Critic
Weiren is jokingly referred to as the "Tenth Idler" of Guangxi, the "Ten Idlers". The tenth idler", the number "ten idlers", as for the nine "idlers" in front of the last name, it is not clear. I can't imagine that those Guangxi guys can be more "idle" than Brother Weiren: working at home, and that's on the beautiful Li River, facing the home of Nanxi Mountain, Wearing Mountain and Tashan Mountain; no leader to control, no registration and punching card, no chores not related to himself, and even no coworkers, as long as he is willing to sleep for 24 hours a day or go to the northwest or southwest somewhere to play for a year, or to play for a year. If he wants, he can sleep 24 hours a day or go to the Northwest or Southwest somewhere else to play for one or two years without taking leave from anyone, but of course he has to have thick money to support him, which is unfortunately his weakness, so he can only stay in Tibet for a month, instead of staying in his favorite plateau of Ali all day long with the Tibetan antelope. However, he is also the most idle person in Guangxi, I prefer to call him "the tenth busy person", although I can barely make up a list of nine people who are busier than him or as busy as him. What is he busy with? It goes without saying that painting and writing were his daily chores, and he practiced them every day. I remember that more than ten years ago, my brother became obsessed with Wang Xizhi, and opened his mouth and closed his mouth to read and write Lanting, and wrote a post of 300 words for three years, so that the imitation messed up the real book. At that time, I thought the brother was old. After practicing Lanting for a few years, my brother Weiren became younger and younger, and his hair, which was already a bit white, became darker and darker, and grew more and more wildly, which made me, as a balding man, a bit sour and unhappy, knowing that I was a generation younger than he was! The younger brother Weiren naturally stopped writing Lanting, and started to busy himself with some young things, such as doing "24 Hours Obscured by Civilization" with his young friends, the largest performance art in Guangxi first alarmed the citizens of Guilin, and the over-zealous citizens rushed to report the case to the relevant authorities, which almost caused a storm. Luckily, Weiren and his friend were lucky, after some dry words about art and environmental protection and life, art won the victory, the citizens and the government's intervention inadvertently became part of the work, Weiren's first performance art was successfully completed, and occupied dozens of MB pages in media such as Sina.com, which was an avant-garde art addiction that puts a lot of the younger generation to shame. In addition to painting, writing and doing avant-garde art, he also raises orchids, collects strange stones and praises Buddhist scriptures, and actually has time to help a nationally renowned advertising agency as an art consultant. It would be fine if he didn't ask questions, but he is so full of ideas that he is often personally involved in creative planning and copywriting. Looking at the long Beethoven-style hair of Brother Weiren's over-energy all day like a clockwork, sometimes I really marveled at how the Creator accidentally created a guy like Brother Weiren, who is surrounded by art elves and is always young. Brother Weiren's youthfulness is also manifested in his personality, generally at his age, pretending to be a Taoist priest, pretending to be a monk, a highly respected person, relying on the old to sell the old, doing the appearance of a sour and corrupt Confucian or doing the appearance of a drunken and meaty village boy, what kind of children, but not like Brother Weiren's truthfulness, honesty, nature, and easy-going, compared to his own younger generation, and even to his own students, he always poses as an equal, and does not have the least bit of the contemporary art jungle of that kind of easy-going, honesty, nature, and ease. In the art world, the kind of art always hold the boss and senior shelf, and enjoy the treatment of the younger generation of tea and cigarettes, the kind of nauseating habits. Because of this, Brother Weiren has won the respect of young artists. Brother Weiren's youth is more concentrated in his art, although the Chinese ancient masters of the famous tablets and posters and paintings are quite self-competent, and from the ink and brush you can definitely see Brother Weiren's deep traditional skills, but Brother Weiren just refused to hold on to the old ancestor's chapter and verse, no matter what landscape, flowers, birds, fish, insects and characters, he always want to change the shape, or lengthened or shortened, or away from gravity, slanting or simply floating in the air. This often reminds me of my childhood, when I had a lot of time to fly or float in the air, without the use of any tools, I use the bicycle pedal action or like a bird flapping wings (should be hands), you can fly as you wish, easy and comfortable. Years later, when I was dragging my heavy legs in my dreams, I realized that dreaming of flying is a patent of human childhood. Brother Weiren's pen and ink are those of his old ancestors, but his heart is so young that sometimes I even wonder if, perhaps, this youth has harmed his art.
Brother Weiren is going to publish a new album, which has his landscapes, his birds and flowers, his characters and calligraphy, but also his oil paintings, I thought, specific comments on brother Weiren's art may be a rather stupid thing, painting and calligraphy, this kind of elegant thing is sometimes not able to use the words, but rely on the painter and the viewer of each other's mind to communicate. Brother Weiren's art stands in the album, just like the person he is: sincere, straightforward, atmospheric, old, young and charming. Whether in the circle of "idle people" or "busy people", I think, brother Weiren's art will have his soulmate.
Because of his self-appointment as the "10th idler", I was uninformed and thought there were really nine idlers in front of me. Later on, brother Weiren told me not, "ten idle hall master" is the Ming Hua Shu, "the number of ten idle: idle flowers, idle birds, idle clouds, idle mountains, idle water, idle thoughts, idle books, idle talk, idle days, idle body", "Fu leisure, Qingfu also! ". Woo-hoo! If Brother Weiren is not far away in Guilin, I think the most pleasant thing on weekends is to sit with Brother Weiren on the knee, enjoying the clear Li landscape, sipping Pu'er tea, smelling the orchids, and making a long chat all night long. The first thing you need to do is to get your hands on some of the most popular products and services in the world, and you'll be able to do it all at the same time.
Summer in the Pubei countryside in the B chief, when the rainstorm was pouring down, it was cool and refreshing
The article is a review of [He Weiren's collection of paintings, oil paintings and Chinese paintings]
Traditional Implications, Aesthetic Life--Wu Shanming's Review of Mr. He Weiren
Wu Shanming
Professor of the China Academy of Art
It was the first time I saw Mr. He Weiren's works that I was interested in, and it is the first time I have seen his works. It is my first time to see Mr. He Weiren's works, and I y feel that they are quite creative. This kind of composition and combination of different forms of figures has a different mood from others, and has a strong modern flavor. Because Mr. He attaches more importance to his traditional training, therefore, in the concrete expression of the combination and composition with western consciousness, he uses a free brush and ink method with traditional meaning, so that the whole picture supported by it still maintains the distinctive attributes and characteristics of Chinese painting. A style such as the one pursued by Mr. Ho will often focus on the pursuit of formal beauty to the detriment of the closeness to life, and will create a certain distance from the usual psychology and emotion of the Appearance. However, Mr. Ho, with his talent as a painter, has discovered and strengthened certain elements of beauty that exist everywhere in life and are often easily overlooked. These elements, through the author's original artistic Appearance, are sublimated into an aesthetically pleasing emotional ****sound that people can understand. It is not the same as life itself, but it may give the Appearer a sense of déjà vu in life, and it is perhaps for this reason that Mr. Ho's quest has a wider range of Appearance and the possibility of success. There are many painters who have made similar explorations, but Mr. Ho is undoubtedly one of the more mature in his artistic pursuit and practice.
2003.8
Special Comment on [He Weiren's Paintings, Oil Paintings and Chinese Paintings]
Published in Jiangsu Painting Magazine, Issue 6, 2004
Harmony and Difference--Liu Xin's Comment on Mr. He Weiren
Liu Xin
Associate Professor of the Guangxi Academy of Fine Arts. Art Historian
The values of Chinese oil painting should be and have been diverse. There are Western European and Eastern European, Chinese and Latin American ...... Even in the monotonous era of the sixties and seventies, our oil paintings survived the "folk" level like Liu Haisu, Wei Tianlin, Guanliang, Lin Fengmian, Ni Yide, Wu Dayu, Wu Guanzhong, and so on, Wu Dayu, Wu Guanzhong such interesting personalized value orientation.
Never think that our oil painting has only the so-called "mainstream" or "official" historical stereotypes, and in this way regard Chinese oil painting is completely regarded as a subordinate flow that follows the West and Soviet Russia without any autonomy.
In fact, I think that when we reflect on and criticize the value of following the West and the Soviet Union, we have already made the mistake of narrow-minded populism, which suppresses another monotony with the same monotony. We thought that China had thus acquired the right to speak on oil painting, and thus had the autonomous status of oil painting. In fact, the evolution of art is not the same thing as political autonomy. It is a situation of diverse ****ing glory, and people need this situation, on the basis of which there is the legitimate existence of such things as difference and individuality. That is to say, diversity is a kind of basic value level, no matter whether it is impressionist, or itinerant painting, or modern post-modern, or Han and Tang meteorology, Ming and Qing mood, as long as from the painter's sincerity, natural, artistic choice and performance, it is a part of the normal ecology of Chinese oil paintings, and it should be a part of the people's aesthetic happiness. I don't think that Chinese oil painting has more than one impressionist, and there is a kind of Soviet-Russian style, and Chinese oil painting has been dwarfed since then; people who hold on to the idea of authentic oil painting are even more fussed and blamed for the respective expressions of the current oil paintings and some of the alternative methods similar to the Chinese symbols, and I am afraid that one of the biggest hats is "no oil painting flavor! One of the biggest hats I'm afraid is "no oil painting flavor". This is almost the same as the populist value concept from one extreme to another extreme rebound.
Chinese oil painting is in such a kind of forward and backward looking, wrapped feet put feet in the tossing slowly forward, they put on a tightly banded headgear, and then from time to time, someone will read to you on the mantra of something like "no oil painting flavor", so you dare not boldly move forward as if you have made a mistake.
Chinese oil painting is really the time to have a tolerant concept. Only in this way will there be richness in art, more new methods and new styles, and then society will have a free and democratic value base.
A round of discussion down, is nothing more than to see He Weiren oil paintings on the current targeted some of the feelings, a kind of affirmation and a kind of appreciation.
However, strictly speaking, this is really considered to be an episode in his ink career. He knew his place, and from then on, he closed the door to oil painting.
However, in 2004, the year of the first, Chinese, British and Australian painters, poets **** group of "Li River" sketching activities of the team traveled to Guilin, Mr. Dai Shih and his party of a number of people, the night visit to the "Ten Leisurely Hall", observed this batch of less than 40 pieces of oil paintings, far and near the taste, the He Weiren Oil paintings, far and near the product, after standing for a long time, Mr. Dai Shihe immediately invited He Weiren to the Central Academy of Fine Arts to hold an exhibition. So in Mr. Dai's urge, to determine the 2006 He Weiren with oil paintings, Chinese paintings to Beijing exhibition.
In order to add color to this exhibition, He Weiren once again tensed up the canvas, picked up the long-lost oil paintbrush, and painted nearly 30 oil paintings.
He Weiren's oil paintings are always combined with his own ink thinking and practice. It was like that the first time, and it is like that this time too. I believe that
Painting is something that for talented people, staying up for years is an advantage that young people can't learn from and can't hope to achieve. A few years ago, I was watching Mr. Feng Fazhi's late life sketches, I y felt the power of that kind of old spice and old sharpening, and this kind of trait in Liu Haisu and many other old gentlemen also have. Of course, when He Weiren started to paint oil paintings, the kind of transparency, self-confidence, casualness and the state of not being able to paint badly even if he wanted to is also obvious, and it is also emphasized in his understanding of the feeling of harmony and difference. He paints large birds and flowers that are very taboo, abandoned factories, and the mountains and brick buildings in the urban and rural areas that he is familiar with. ...... Everywhere, there are his imaginations and methods.
He Weiren's practice of harmony and difference is, I think, not only a national tradition of understanding between the East and the West, but also a value he believes in and a direction he is pursuing.
2005.7.7 Written at Half Leaf Zai
This article is the preface of [He Weiren's collection of paintings, oil paintings, and Chinese paintings]
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