Oil paintings fully depict the essence and spirit of Xiangshan, while also showcasing its rich literati temperament
In Teacher Chen Zui's "Fragrant Mountain Love" exhibition, the works that first caught our attention are: "Fragrant Soul Mountain: Dragon Rhyme", "Fragrant Mountain Soul: Dragon Residence", "Fragrant Mountain Soul: Dragon Court", "Fragrant Mountain Soul: Dragon Source", "Fragrant Mountain Soul: Shuangqing Villa", "Fragrant Mountain Soul: Giant's Residence", "Fragrant Mountain Soul: Giant's Chair", which are dragon shaped trees, habitats behind trees, courtyards, courtyards, villas, chairs that giants have sat on, and so on, They are all expressing the charm of the Fragrant Mountain, which is a holy land where the Chinese dragon spirit and giant spirit have lived. Therefore, it seems that the teacher's works have taken off their own coat of painting and are already the blooming of the inner spirit, which is a microcosm and reproduction of the national spirit; This is the expression of poetic language in art works; Yun is labeled with refined literati paintings.
The first time I gained a deep understanding of Teacher Chen Zui was at the dinner table after the painting exhibition by female painter Teacher Zeng Yingchun. At that time, Professor Sun Ke was also present. The three of us have taken a photo together. I remember Teacher Chen Zui as an insignificant scholar and painter in the art world today, as well as a researcher and doctoral supervisor at the Institute of Fine Arts of the Chinese Academy of Art; Members of the 9th, 10th, and 11th National Committee of the Chinese People's Political Consultative Conference, as well as experts from the Ministry of Civilization, have made outstanding contributions, but there is no hint of a steady expression on their faces. On the contrary, he is humble and respectful towards women, but also a bit shy, embodying the wisdom of a wise man and a person at a high place. After the outbreak of the epidemic this year, the news release meeting of my creative poetry and calligraphy collection "Three Zhang Machines" was largely intertwined with the teacher's "Xiangshan Love" art exhibition, and there were other things that needed to be taken care of. As a result, I missed the art exhibition to join the teacher from left to right. Feeling guilty, it seemed that a small number of them were for the teacher, and more departments were for their own failure. This time, I visited Xiangshan Spring personally, The opportunity to showcase the teacher's 60 works and bring them to life. The regret in my heart feels like a little girl who missed the first subway bound for spring.
But through collection, rather than at the "immersive" Xiangshan scene, I was still moved by Professor Chen Zui's works related to Xiangshan, and my soul lived out. Regarding the history and political civilization of Xiangshan, I have climbed Xiangshan before and revisited it in the teacher's preface. As the teacher regretted, the Tang Dynasty poet Du Mu's "Journey to the Mountains": "In the distance, the stone path of the cold mountain slopes, and there is a family where white clouds grow. Park your car and sit in the love maple forest at night, and the frost leaves are redder than the spring flowers." Why is it not the description of Xiangshan?
When Teacher Chen Zui created this batch of works, I thought that a tense part of the emotions involved were all conveyed through the teacher's brush, and the meaning of Du Mu's poetry was infused into the oil painting reproductions works, reading obscure and warm, with autumn red leaves like curtains of dreams, Our thoughts are embedded in his works, such as "Fragrant Mountain Soul - Red Leaves", "Fragrant Mountain Prayer", "First Frost Troubles the Garden", "Feeling in the Courtyard", "Golden Valley Sunset", "Red Leaves Have Not Gone with the Wind, Still the Most Valuable Love of Changteng", "Stone Trail Brilliant Beauty", "Everywhere Gold Can't Bear to Tread"
The divine intention in Du Mu's poetry is swaying. The teacher only strengthened the softness, warmth, elegance, and delicacy of the fragrant maple leaves, as well as the resilience and stubbornness of the vine. Now, at the end of my pen, I can feel the fragrant breeze overflowing from my custom oil painting works, inhaling into my heart. My soul trembles in the dewdrops with new green flowers... The penetration of beauty, in fact, does not require me to participate in more rouge and pink ink. Entering the picture, staying in the teacher's brush is the best.
Furthermore, through the research topic that Teacher Chen Zui once conducted, we can still find the red leaves of Xiangshan in his works, such as the shy traces of pale beauties wrapped around them. Such relics are the strange language of the teacher's paintings, and also the taste of his portrait painting works as a scholar's background.
In short, Teacher Chen Zui's paintings not only fully depict the essence and spirit of Xiangshan, but also reveal its rich literati temperament and inner essence. There is also a mix of Zen, childish, humorous, and playful elements in it, making those who understand his works full of desires to express and communicate with them. And every maple leaf that knows how to speak seems to be the child he wants to protect. Those children, we all love them very much; And those trees, residences, and so on exude the grandeur of Western oil painting elements from the inside out with the strength and backbone of dragons.
After finishing the above, I expressed my thoughts on the teacher's art exhibition that I had collected and joined through the process, but I am still not fully satisfied. Looking forward to the next art exhibition, I am the first presenter and the first person to absorb the aura of my works.
June 3, 2023
Chen Zui, a scholar and painter. Researcher and doctoral supervisor at the Institute of Fine Arts, Chinese Academy of Arts. He is a member of the 9th, 10th, and 11th National Committee of the Chinese People's Political Consultative Conference, and has outstanding contributions from the Ministry of Civilization. He enjoys special subsidies issued by the State Council. Member of China Artists Association, member of China Writers Association. Focusing on the research and creation of naked art, his representative work is the monograph "On Naked Art", which has won the Good Scientific Research Efficacy Award, the World Book Gold Key Award, and the World Ten Good Out of Stock Book Award in 1988. Six versions of the book have been published, and manuscripts have been donated to the Chinese Contemporary Literature Museum. There is also a collection of papers titled 'Goddess's Waist Suo' and a collection of essays titled 'Strolling with the Wind'. The creative nature of painting is bright, emphasizing the fusion of traditional custom oil painting spirit and contemporary perspectives. The work exudes a sense of meaning, grandeur, and scholarly elegance. Calligraphy is unrestrained and unrestrained, especially skilled in large cursive script. Write more poems and express profound cultural secrets. His representative works include oil painting "Fire Sacrifice", Chinese painting "Everlasting Regret Song" and calligraphy "Slight Rain Field Mulberry".
Commentator Introduction: Peng Ming, female writer. Former pen name: Mint Blue, currently residing in Beijing. Deputy Editor in Chief of an Internal Reference Magazine; Member of the Chinese Poetry Society. The works are scattered in publications such as Star Poetry, Poetry Monthly, and Genesis. Awarded as a "Good Member for 2021 and 2022" by the Chinese Poetry Society. The work has been selected for multiple editions this year. Collaborated with Teacher Yang Wuhu on the "Complete Book of Historical Review". He has published poetry collections such as "Impressions of Morning Light", "Wood Pain", "The West Is White" (Volume 1 and Volume 2), and "The Lotus Fragrance of the World". The creative collection of poems, characters, and paintings "Three Zhang Ji", edited and inspired by the new editor in chief.