People's education publishing house middle school Chinese curriculum teaching materials research and development center
Brief introduction of the author
Feng Zikai (1898 ~ 1975), a famous painter, writer, art and music educator in modern China, is a master of literature and art with remarkable achievements. After liberation, he served as executive director of China Artists Association, chairman of Shanghai Branch of Artists Association, president of Shanghai China Painting Academy and vice president of Shanghai Foreign Culture Association. Feng Zikai's unique cartoon works have great influence and are deeply loved by people. His works are profound and intriguing.
Feng Zikai's prose also has a great influence in the history of China's new literature. His main works include Yuan Yuantang's Essays, Yuan Yuantang's Rewriting, Twenty Essays, Sweet Memories, Artistic Interest, Frank Collection, etc. Except for some artistic comments, most of these works describe his own personal experience and daily contact with people, showing a strong interest in life.
Art origin theory
The origin of art has always been called the "Sphinx mystery" by academic circles, mainly because people know little about the early history and art of mankind. Nevertheless, many scholars in history have made unremitting exploration and efforts in this field, and put forward various theories about the origin of art from different angles. These theories reveal some conditions and bases for the occurrence of human art from different angles, which are of great value to the research and education of art. Although these theories on the origin of art inevitably involve all aspects of human art, the discussion on the origin of art is usually an important aspect of these theories. First, briefly introduce several theories about the origin of human art in history, and make comments:
1, representing the theory:
This is the oldest theory about the origin of art, which began with ancient Greek philosophers. This theory holds that imitation is the innate nature and instinct of human beings, and art originated from human imitation of nature. In the eyes of ancient Greek philosophers, all art is the product of imitation. Aristotle thought: "The object of artistic imitation is the real world. Art not only reflects the appearance of things, but also reflects the inherent laws and essence of things. Artistic creation relies on the ability to imitate, which is the nature and instinct that people have since childhood. " After the ancient Greek philosophers, Leonardo da Vinci, the French enlightenment thinker Diderot and the Russian writer Chernyshevski all inherited and developed this theory to varying degrees. This theory still has great influence until the end of 19.
2, the game says:
Game theory holds that art originated from games, which is an influential theory in the theory of art occurrence, including art. Its representatives are Schiller, a famous German aesthete, and Spencer, a British scholar, so people call game theory "Schiller-Spencer Theory". Through the comparative study of the relationship between games and aesthetic freedom in Education Letters, Schiller first put forward the view that art originated from games, and thought that art was a game of aesthetic freedom with the purpose of creating formal representations. "Freedom" is the essence of artistic activities and is not limited by any utilitarian purpose. Only in a mental game can people get rid of the shackles of pragmatism and utilitarianism completely, thus gaining real freedom. Game theory also believes that people's aesthetic activities, like games, are the use of excess energy, and the remaining energy is the driving force for people to play this spiritual game of art. People are higher animals and do not need all their energy to engage in material activities to maintain and prolong their lives, so they have excess energy, which is reflected in free imitation activities, including games and artistic activities. Spencer, like Schiller, also thinks that games are the vent of excess energy. Although it has no direct practical value, it helps players to practice their organs, so it has biological significance and is beneficial to the survival of individuals and the whole nation.
Game theory emphasizes the important relationship among game impulse, aesthetic freedom and human nature perfection, which is of great value for us to understand the occurrence of art in aesthetics. It reveals some necessary biological and psychological conditions for the occurrence of art, such as surplus energy is an important condition for artistic activities, entertainment and aesthetics of art, and reveals that spiritual freedom is the core of artistic creation, which is instructive for us to understand the essence of art.
3, performance said:
This theory holds that art originated from the need of human beings to express and communicate emotions, and that emotional expression is the most important function and the main motive force of art. This theory is mainly held by British poet Shelley, Russian writer lev tolstoy and some modern and contemporary aestheticians in Europe and America. According to this theory, all primitive arts have only one main driving force, that is, they express their feelings through various arts, thus contributing to the occurrence and development of art. For example, Tolstoy said: "Art originated from a person who wanted to convey the feelings he had experienced to others, so he reawakened these feelings in his own heart and expressed them with some external symbols." These external symbols are artistic images expressed through actions, lines, colors, sounds and words. Through the exchange of these artistic images, others can feel the same feeling. In this way, the feelings experienced by the author infect the audience or audience, which is an artistic activity.
4, witchcraft said:
Witchcraft theory is the most influential and powerful viewpoint in the western theory on the origin of art, which is put forward on the basis of directly studying the relationship between primitive works of art and primitive religious witchcraft activities. It was first proposed by Taylor, a famous British anthropologist, in his book Primitive Culture. This view explains the origin of art with practicality, and holds that primitive art has great practical and utilitarian value in the minds of primitive people. According to this theory, although there are many beautiful animal images in prehistoric cave murals depicted by primitive people today, they are inspired by a motive unrelated to aesthetics, namely witchcraft. For example, many cave murals and sculptures in the late Paleolithic period are often located in the darkest and inaccessible places in caves. Obviously, they were not made for appreciation, but prehistoric humans tried to ensure the success of hunting through witchcraft. Some animals are painted or engraved with marks of being stabbed or struck by spears or sticks. According to witchcraft, this is because there is a kind of sympathetic witchcraft in primitive tribes. Primitive people think that the image of anything has a real connection with actual things. If you influence the image of something, you actually influence it. Painting scars on animals means that they can successfully hit their prey in actual hunting. These animal images with stab wounds or wound marks in the original murals have become strong evidence to support the theory that art originated from witchcraft. Witchcraft theory is of great significance for us to understand primitive art, especially its motive force, and the non-aesthetic nature of these arts at that time.
The above theories about the origin of art can help us to understand the origin and reasons of primitive art from different aspects. Although there are essential differences between primitive art and children's art, they also have many similarities, especially in the form of expression. Therefore, understanding the occurrence of human art is of reference significance for us to correctly understand and understand children's artistic activities.
Children's Painting (Feng Zikai)
Children often hide charcoal sticks, yellow clay blocks and chalk heads in their schoolbags, which are their painting tools. When adults are not looking, they secretly take out these painting tools and display their works on snow-white walls or bright doors and windows. Adults flew into a rage when they saw it, saying it was dirty, immoral and unsightly. It is harmful to cleanliness, morality and aesthetics and must be strictly prohibited. While trying to destroy these works, he cursed their authors and confiscated their painting tools. However, this prohibition is often ineffective. After a few days, the children had that kind of painting tool in their schoolbags, and that kind of work was published on the walls and windows.
My Lord is right. Painting doors, windows and walls at will is really detrimental to cleanliness, morality and beauty. However, when destroying these works, if we have to look carefully and think a little, the criminals in this family will definitely be able to stop and get a good teaching opportunity. Because if you look at this smear carefully, you will know that it is the discovery of children's painting instinct. Both pens and pens flow from a small artistic heart, and the pictures are suppressed by small feelings, so you can't bear to destroy them. However, you should consider how to cultivate this artistic heart and this feeling.
In fact, in addition to malicious graffiti, children's murals are often more artistic than the school's fine arts department's scroll scores. Because this is automatic, not forced, not artificial, and always accompanied by enthusiastic interest. So his paintings are often novel, bold and lively, which adults can't see or describe. However, this kind of painting, unfortunately, violates the family ban and is difficult to preserve. In a slightly superior family, there is no filth on the wall in the room of Qionglou Yuyu, and this kind of painting will never be seen. You can see a little in the houses of poor people. Abandoned temples, ancient temples and road pavilions are the places where village children's art plays a role. I once recalled that during my trip, when I was sitting in a temple or Taoist temple, I enjoyed watching the dragons and snakes on the wall, exploring their interests and recognizing their strokes. It was endless. I often think that if I can concentrate on visiting and studying this kind of painting, I can really understand the reality of children's life in a place and really understand their feelings. As far as I can see, planes have appeared on the ruins of abandoned temples in the countryside recently. It is shaped like a huge strange bird, fighting with each other. I didn't know it was an airplane at first. After we met, we got to know each other a little. Later, I heard a village woman say, "Foreign devils fry children there to make planes, so he has eyes and can fly." It suddenly dawned on me that it is not without reason that children paint airplanes like this. After listening to this, I saw this kind of painting and recalled the impression of something hovering in the sky recently, just like the big bird on the wall. What an interesting theme of children's painting! Correct the ignorance of village women, "animate" the plane into a strange bird with artistic methods, and imagine its battle in the sky! This kind of painting has never been seen in many children's pictorial in Shanghai, but it was published in a ruined temple in a remote part of a poor village.
If this kind of painting heart is correctly guided and cultivated by adults, so that they don't have to hide charcoal sticks, yellow clay blocks and chalk heads, and they don't have to secretly smear on walls, doors and windows, but have special painting tools and public painting rights, its development will certainly be more impressive. At the same time, there will be significant progress in the future of art education.
1March 7, 934, wrote an inscription for the primary school teachers of Jiangsu Provincial Department of Education.
(Selected from Feng Zikai's Art Essays, Shanghai Literature and Art Publishing House, 1999 edition)
Chinese painting and western painting (Feng Zikai)
Eastern and western cultures are fundamentally different. So the performance of art is also different. Perhaps eastern art emphasizes subjectivity, while western art emphasizes objectivity. Oriental art is poetic, while western art is dramatic. Therefore, in painting, Chinese painting emphasizes charm, while western painting emphasizes shape. Compared with the two, there are five differences:
1, Chinese painting lines are full, while western painting lines are not obvious. Most lines are not original objects, but the realm used by painters to express two objects. For example, in Chinese painting, an egg-shaped line is drawn to represent a person's face. In fact, there are no such lines around people's faces. This line is the dividing line between face and background. Another example is to draw a ruler line to represent a person's nose. In fact, there is no such line on the nose. This line is the dividing line between nose and face. Another example is landscapes, flowers and so on. There are no lines in the object, but the painter uses lines. The lines in the landscape are specially named "Qiaofa (Qiaofa; A brief history of western painting). The western paintings before post-impressionism are unremarkable.
2. Chinese painting does not pay attention to perspective, while western painting pays attention to perspective. Perspective is the representation of three-dimensional objects on a plane. Western painting strives to be as simple as the real thing, so it pays great attention to perspective. Look at the streets, houses, furniture, utensils and so on in western paintings. The shapes are all right, but they are the same as the real thing. If you describe a corridor, you can show the distance of several feet in inches. If you draw the front of the railway (looking out from the middle of the railway), you can actually express the distance of miles in inches. Chinese painting, on the other hand, is not willing to draw things with obvious three-dimensional sense, such as streets, houses, furniture, utensils, etc., but is willing to write clouds, mountains, trees, waterfalls and so on that look like natural flat objects from a distance. Occasionally describing house objects, without paying attention to perspective, is arbitrary. For example, painting scenes deep in the courtyard, curved corridors and new houses, seems to be seen when flying in mid-air; And I haven't seen it for a while, but it's flying up and down. I've seen it several times. So the hand scroll of Chinese painting, the mountains and rivers stretch for dozens of feet, as if it were seen on the train. Chinese painting stands, mountains and rivers overlap, as if seen in a plane. Because painting and poetry are the same in China, you can paint wherever you want, and you can't be bound by perspective. So the perspective of Chinese painting is sometimes wrong. But it doesn't matter if it's a mistake. We can't use the rules of western painting to criticize Chinese painting.
3. Oriental figure painting does not talk about anatomy, while western figure painting attaches great importance to anatomy. Anatomy is the study of the expression shape of human skeletal muscle. Westerners must learn anatomy before drawing characters. This anatomy is called art student anatomy, that is, art anatomy. So it's not like a physiological anatomist. Physiological anatomy focuses on the structure and function of various parts of the human body, while artistic anatomy focuses on the form of expression. However, remembering the names of bones and muscles and their various abnormal shapes is a difficult study. But western painters must learn. Because western painting pays attention to realism, it must be depicted like a real human body. But China figure painters never needed this knowledge. People in China paint figures only to show their body characteristics, but they don't talk about the size and proportion of each part of the figure. So the men in Chinese painting look strange, quaint and don't bark. Women are moths, eyebrows, lips and shoulders. These characters will look terrible if you take off their clothes. But this is not only harmless, but also the benefit of Chinese painting. Chinese painting has a strong impression of desire, so it expands the characteristics of the characters, makes men more majestic and women more beautiful, and fully shows the character of the characters. So don't be realistic, use symbolic methods. Do not seek similarity, but God's similarity.
4. Chinese painting does not emphasize the background, while western painting emphasizes the background. Traditional Chinese painting does not emphasize the background, such as writing plum blossoms, hanging in the air and surrounded by white paper. Write characters, hanging in the air alone, as if riding a cloud. Therefore, the paper of Chinese painting leaves a lot of blank space. A long piece of paper with a vegetable or a stone under it becomes a piece of paper. Western painting is not like this. Everything has a background. For example, it is a thing, and its background is a table. The background is people indoors or outdoors. So, all the drawings are filled in, leaving no blank. This difference between Chinese painting and western painting is also due to the difference between realism and vividness. Western painting emphasizes realism, so it is necessary to describe the background. Traditional Chinese painting emphasizes vividness, so Qiang Ming, whose subject matter is trivial and close-up, must be deleted to impress people.
The theme of oriental painting is mainly nature, while the theme of western painting is mainly people. Before the Han Dynasty, Chinese painting also took characters as the main theme. But in the Tang Dynasty, landscape painting became independent. Until today, landscape is often the normal state of Chinese painting. Since the Greek era, man has been the main theme of the West. The religious paintings in the Middle Ages were mostly about the masses. For example, the final judgment, the victory of death, etc., there are countless people in a painting. It was not until19th century that there was an independent landscape painting. After the independence of landscape painting, figure painting did not give way, and nude painting is still the main theme of western painting.
The above five points are the differences between Chinese painting and western painting. It can be seen that Chinese painting is interesting and western painting is simple. Therefore, for art research, western painting is not as profound as Chinese painting. For people to appreciate, Chinese painting is not as common as western painting.
(Selected from Feng Zikai's On Art, Fudan University Press, 1985)
Respondents: Shaanxi 2006- Flower Exploration 1 1 Grade 4- 14 00:47
Feng Zikai's life
1898165438+1October 9, Feng Zikai was born in Shimen Bay, Chongde County, Zhejiang Province (now Shimen Town, Tongxiang County).
When Feng Zikai was born, his mother had given birth to six daughters. He was the eldest son of the family. Because my father has only one sister, he is the hope of Feng Jia fireworks and is cherished by people. His father named him "Ciyu". In the eyes of his family, he is really a treasure. His grandmother dotes on him, his parents and aunts love him, his sisters love him, and even the guys in the dye house like him. Feng Zikai was surrounded by warmth since he was a child, which later accompanied him all his life and soaked his character, making him always look at things with a gentle and compassionate heart; Divergent in his pen, it has become a plain style of writing and a pure style of benevolence and righteousness.
When I was six years old, I studied in my father's private school, and my scientific name was rich.
His father Feng Huang was a juren in the late Qing Dynasty. After the abolition of the imperial examination, he set up a private school at home to teach children to read. Feng Zikai learned the Classic of Three Characters and Poems of a Thousand Families from his father, and also learned the etiquette of drinking, eating crabs and enjoying the moon in the Mid-Autumn Festival night ... When he was 9 years old, his father died and his mother sent him to another private school to continue his studies. Until 12 years old, Feng Zikai received traditional education. These six years' edification left him with the tenderness and sensitivity peculiar to the traditional literati in China. Perhaps because of the family dyeing house, Feng Zikai was sensitive to lines and colors since he was a child. The black and white characters in Poems of a Thousand Families, which enlightened him, were all painted in colors by him. He painted the scores of the characters, showed them to his classmates and villagers, and even painted Confucius for the school on the orders of Teacher Xue. He was called a "little painter". The charm of lines and colors was discovered by him and attracted him all his life.
19 10 studied in the county's third higher primary school and changed its name to Feng Ren.
The third county high school is a new school established in response to the revolutionary trend. Here, Feng Zikai cut off his braid. In order to meet the needs of democratic elections, Mr. Wang changed the word "run" into the word "ren" in his name, which is easy to write and identify. The new school offered a music class, and the students sang Li Shutong's Song of the Motherland and encouraged them to study. The shocking power of the notes greatly infected Feng Zikai and became the beginning of his later study of music. 19 14 In the spring, Feng Zikai graduated from the third higher primary school in the county with the first place.
19 14, admitted to Zhejiang First Normal University, renamed Zikai.
Since the second grade, I have studied painting and music in Li Shutong and Chinese in Xia Mianzun. 19 14, Feng Zikai lived up to the cakes and zongzi (meaning high school) prepared by his mother before he left, and was admitted to Zhejiang No.1 Normal University in Hangzhou. In this famous normal school, the center of the New Culture Movement in the south of the Yangtze River at that time, Feng Zikai met two teachers, Li Shutong and Xia Mianzun, who had a great influence on his life. The former not only inspired him in music and art, but also set an example for him in life. The latter advocates the use of lively vernacular Chinese to express his true feelings truthfully, which has always been regarded as Gao Gui by him and became the most amiable and lovely feature in his later prose creation. In these two teachers who have deep friendship with him, Feng Zikai found three things to accompany him in his life-literature, painting and music.
19 18 years, Li Shutong became a monk, and Feng Zikai became attached to Buddhism.
Li Shutong was Feng Zikai's first real mentor. He not only teaches music and painting, but also teaches life. In Li Shutong, Feng Zikai learned the method of sketching and was fascinated by it, so he "made up his mind to concentrate on painting and devoted his life to art without changing his original intention"; More importantly, he learned a lot of valuable spirit from Li Shutong: Li Shutong is a serious person, and Feng Zikai is meticulous about everything; Li Shutong pays attention to personality cultivation, and thinks that to be a good artist, one must first be a good person. Feng Zikai was a gentle gentleman all his life. He believed that "a great artist must have a great personality". Li Shutong converted to Buddhism with compassion, and Feng Zikai also had compassion for others. His paintings are full of tenderness not only for people, but also for kittens and birds and willow branches and plum blossoms. After middle age, Feng Zikai also converted to Buddhism. Instead of becoming a monk, he took a dharma name as a baby and became a vegetarian from then on. Although Feng Zikai said after he became famous that he wouldn't have taken the road of painting if he hadn't met him, Li's influence on him was not negative, which had a lot to do with Feng Zikai's temperament and endowment.
19 19 after graduation, the "China Aesthetic Education Association" was organized and launched. Organizing Shanghai Normal University, serving as academic director and western painting teacher.
After graduating from normal school, Feng Zikai and his classmates Liu Zhiping and Wu Mengfei founded the first art normal school in the history of education in China-Shanghai Normal University in an old house on Huangjiafa Road in Xiaoximen, Shanghai. Before the school was listed, Feng Zikai, Wu Mengfei, Liu Zhiping, Liu Haisu and Jiang Dan wrote books. Organized China Aesthetic Education Society, one of the most influential art education societies during the May 4th Movement, and founded Aesthetic Education magazine. Most of the members are music and art teachers in primary and secondary schools across the country. They popularize the knowledge of pictures and music and train them. While devoting himself to art education, Feng Zikai consciously explored the theoretical research of art education. In the preparatory stage of Shanghai Normal University, Feng Zikai was invited to teach in Shanghai East Asia Sports School. Painting Teaching Method and Sketch were published in the school magazine. The former is an abridged translation of Sketch by Japanese scholar Tamiguichiro, and the latter is the earliest translation of Feng Zikai's works on art teaching. In Aesthetic Education magazine, Feng published "The Life of the Painter" and "The Principles of Art Education", regarding the painter's moral cultivation as his own life.
192 1 I went to Japan to study art at the beginning of the year and returned to China ten months later.
If there were no trip to Japan, Feng Zikai's paintings might be completely different, or there would be no "Zi Yue comics" at all. In an old Japanese bookstall, Feng Zikai found the "Dream II Painting Collection * Spring" by Takehisa Yumeji, and the fresh and refined stick figure of Dream II attracted him at once. Feng Zikai called his paintings "silent poems" and praised his paintings as "poetic". It is this style of blending poetry and painting that caused a great sensation in his thoughts and emotions. Feng Zikai was deeply influenced by China traditional culture since he was a child. In art, the best poem is "happy without lewdness, sad without injury", and the best painting is "plain and naive", in short, fair and peaceful; Morally speaking, everyone is responsible for the rise and fall of the country. Dream II's paintings, without comic jokes, focus on daily life scenes, showing deep and serious life interests, paying equal attention to reason and interest, which not only conforms to Feng Zikai's literati temperament, but also plays a role in awakening the world and admonishing. They are not far from the life he loves, and they hit it off.
1922 was introduced by Xia Mianzun to teach in chunhui middle school, Baima Lake, Shangyu, Zhejiang Province, and began to use a brush as a stick figure.
Chunhui middle school, where Feng Zikai teaches music and art, is located on the tranquil White Horse Lake. Feng built a "Little Willow House" by the lake, lived a life of "Xanadu" with his wife and children. The comfortable life inspired his creation. Feng Zikai was deeply moved by the paintings of Liu Meici and Chen Shiceng. He was not satisfied with imitating the ancients blindly. He hoped to express the image of China people with western painting techniques and integrate ancient poetry and painting into modern life. One of Feng Zikai's earliest paintings was painted after he attended a school affairs meeting. He felt that his colleagues bowed their heads and bowed in their seats with different expressions. Since then, these neglected interests in life have often appeared in his works.
1924 published "After people disappear, a crescent moon is like water" and embarked on the road of painters.
Feng Zikai's first published work, After People Leave, a crescent moon is like water, was published in Our July magazine edited by Zhu Ziqing and Yu Pingbo. The picture is a corner of the teahouse, the guests have dispersed, the tea sets are scattered on the table, and a crescent moon hangs outside the rolled curtains ... Such a simple painting has high requirements for the painter. Liao Liao's strokes require the painter to have a solid sketch foundation and generalization ability; The inscription that makes the finishing point should have rich literary accomplishment; The choice of theme needs meticulous life experience, which Feng Zikai has and is good at. As a result, a kind of cartoon with "gentle and honest" China cultural atmosphere came into being.
From 65438 to 0925, Literature Weekly published his paintings one after another, and Zheng Zhenduo was named "Zikai Comics".
1924 to 1925 winter solstice, Feng Zikai, Kuang and Zhu Guangqian came to Shanghai to establish "Shanghai Private Lida Middle School". In Shanghai, Feng Zikai met Zheng Zhenduo, and Zheng loved Feng's paintings for a long time, so he was invited to make a series of illustrations for Literature Weekly, published under the name of "Zikai Comics", and published the first painting collection "Zikai Comics", which became famous in one fell swoop. Feng Zikai doesn't consider himself the founder of chinese comic. Before Feng, cartoons did appear in China, but they were only a flash in the pan. It was not until Feng's cartoon came out that the word "comic" was widely used, and the cartoon spread in China.
From 65438 to 0926, Feng Zikai participated in the initiation and establishment of Ming Kai Bookstore.
Ming Kai Bookstore, founded by a group of intellectuals at that time, has published a variety of primary and secondary school textbooks and progressive and beneficial books for young readers and the society. Feng Zikai was not only the founder of the bookstore, but also most of his works were published by Ming Kai Bookstore. For example, 1927' s Kai Zi Painting Collection, 1928' s Western Art History, 1929' s Nursing Student, 1930' s Twelve Lectures on Western Painting School, 193 1 Western Art History. 1935 humanity, lecture on western architecture, 1939 the true story of cartoon ah q, 1945 the complete works of Kai Zi cartoons. There is an introduction to art in 1928, a first love in 193 1, a suicide club in 1932, and an introduction to music. Selected works include 1927' s 50 famous China songs, 193 1' s Huai 'e bell playing method, 1932' s 100 famous English songs, and a selection of famous organ songs, etc. This tireless book list not only shows Feng Zikai's deep friendship with the bookstore, but also shows Feng's extensive knowledge in painting, music, architecture and literature. It is worth mentioning that Feng Zikai's books are all designed by himself.
1927165438+1October, he converted to Buddhism from Master Hongyi (that is, Li Shutong) and changed his name to Ying Xing.
There are always different opinions about Feng Zikai's conversion to Buddhism. Some people say that he was born, while others think that he actually joined the WTO. In fact, Feng Zikai was a layman all his life and did not formally become a monk. This is inseparable from his love for the world. He can't forget the beautiful scenery of the world, the people of all kinds and the future of the country, so he painted, wrote, started education and opened a bookstore ... and religious belief gave him a compassionate and sensitive heart, which influenced his artistic view. He always thought that art should be "benevolence-oriented" and "benevolence-oriented", and the most direct product of this thought was later nursing students.
1933, the new home "Yuanyuantang" in my hometown was completed. Since then, I have devoted myself to translation. In five years, more than 20 Yuan Yuan Tang with various works were destroyed by the war in 1938.
Anyone who knows Feng Zikai knows Yuanyuantang. It is not only the house where Feng Zikai once lived, but also the witness and interpreter of his creation.
1933, in Shimen, my hometown, the tall, square, concise and lively Yuanyuan Hall was written by Feng Zikai with his "Red Parker Pen" (Feng Yu, meaning to build it with the payment). The south-facing brick hall of the building is hung with the halls and couplets of Ma Yifu and Li Shutong; There are organ and thousands of books in the study; On the four walls of the canteen are Shen meicuo's ink; Upstairs is a spacious bedroom; There are peach blossoms outside the door, plantains, cherries and roses in the patio, and holly, osmanthus, vines and swing frames in the backyard; Most importantly, there are a group of carefree children! The peaceful and comfortable life here has made Feng Zikai's creation fruitful. In the past five years, he has published three collections of paintings, such as Human Images. Five essays, such as Rewriting in Yuanyuan Hall; Three music works, such as "Enlightenment Music Lecture"; Eight works of art such as painting and literature. Yuanyuan Hall is like a three-dimensional annotation of these cartoons and essays. It is literary, lively and reserved, and always cares about the world. Feng Zikai has deep feelings for Yuanyuan Hall. When he learned that he was destroyed by Japanese artillery fire in 38 years, Feng Zikai wrote two articles, "Return My Yuan Yuan Tang" and told Yuan Yuan Tang that it was in the spirit of heaven and was full of grief and indignation to show his mourning.
1937- 1945 took refuge in his hometown and traveled to Tonglu, Quzhou, Shangrao, Nanchang, Pingxiang, Xiangtan, Changsha, Guilin, Yishan, Zunyi and Chongqing.
With Feng Zikai's character, he hated war the most, but his fate made him toss and turn in the war for nearly ten years. On the way from one place to another, the horror of war deeply touched him, which made him pay special attention to the propaganda function of comics. He still draws cartoons, but only "anti-Japanese war cartoons" to promote the war of resistance, showing what he saw and heard along the way. The painting increases people's suffering and hatred for the invaders, and the style is depressed. He not only paints this kind of painting himself, but also teaches students to paint when teaching in various places. After painting, he went to the countryside to post propaganda for the war of resistance. When he was in Zunyi, he also rearranged the old and new works and compiled the Complete Works of Zikai Comics, which was published by Ming Kai Bookstore as 1945. From 65438 to 0942, Feng Zikai came to Chongqing, which was relatively stable, built a "shaping hut", resumed his life of painting and composing, and took the opportunity of holding art exhibitions in Changshou and Fengdu to appreciate the mountains and rivers of Sichuan. In Chongqing, Feng Zikai still took it as his duty to popularize art education, and published works such as Art and Life, Common Sense of Chinese Painting, Poetry in Painting and the Beginning of Music. In War of Resistance against Japanese Aggression's time, what Feng Zikai saw was the composure and courage of China literati to cope with disasters calmly. They expressed their patriotic feelings and positive attitude towards life in their own unique way.
1946- 1949, lives in Hangzhou.
After the Anti-Japanese War, Feng Zikai returned to Jiangnan from Chongqing. He once went back to his hometown, but Yuanyuan Hall was gone. People and things are different, old dreams are hard to find. After a heavy drink, he settled in Hangzhou.
1949 after the founding of People's Republic of China (PRC), he settled in Shanghai and devoted himself to translation.
After the founding of