What Does a House Painter Do?

Ye Wei (Mao Yiwei), born in 1940, was born in Changshu City, Jiangsu Province. He graduated from the Fine Arts Department of Nanjing Normal University in 1961 and was taught by Master Fu Baoshi and Master Yang Jianhou. The graduation creation "Green Manure" was published in the twelfth issue of Fine Arts in 1960, and was published on the cover of the New Rural Scenery album in 1963. In 1974, he created the "Jiangsu Painting Magazine" magazine, and the "Jinling Ancient Prints" album edited in 1994 won the 8th China Book Award. He is currently the editor and reviewer of Jiangsu Fine Arts Publishing House, a member of the Chinese Artists Association, a specially-appointed artist of the Jiangsu Province Chinese Painting Academy, and the president of Shajiabang Academy.

Chinese name: Mao Yiwei
Alias: Ye Wei
Country of Citizenship: China
People: Han nationality
place of birth: Changshu, Jiangsu

date of birth: 1940
Occupation: Chinese painter
graduated school: Department of Fine Arts, Nanjing Normal University
Major achievements: Member of the Art Committee of Jiangsu Chinese Painting Society ^[1]
representative work: "Xiajiang Morning Dawn", "Jasui stays in the south of the river", "Mochou Lake"

About Ye Wei

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Ye Wei photos (6 photos)

Ye Wei (Mao Yiwei) was born in Changshu, Jiangsu Province in 1940. He graduated from the Fine Arts Department of Nanjing Normal University in 1961. He was taught by masters such as Fu Baoshi, Chen Zhifo, Lu Sibai, Yang Jianhou, etc., and was taught by his predecessors, such as Yaming and Qian Songyan. He is currently a member of China Artists Association, editor of Jiangsu Fine Arts Publishing House, special artist of Jiangsu Province Painting Academy, master of New Jinling Painting School, and president of Changshu Shajiao Painting Academy. ^[3]

In 1974, he founded the "Jiangsu Painting Magazine" magazine. The album of "Jinling Ancient Prints" edited in 1994 won the 8th China Book Award.

Graduation creation "Green Manure" was published in the twelfth issue of Fine Arts in 1960, which was used as the cover of the "New Rural Scenery" album in 1963.

His works have been exhibited, won, published and published many times at home and abroad. He has held solo exhibitions at the National Art Museum of China, Shanghai Art Museum, Jiangsu Provincial Art Museum, etc., and has been invited to visit Austria, Vienna, Slovenia, Japan, South Korea, Canada, Vietnam, Egypt, San Francisco, USA, Indiana Pennsylvania University Art Gallery, etc. Personal art exhibitions and art exchange activities.

His works "Spring Breeze and the South Bank of the Green River" and "Two Steps and Three Bridges in the South of the River" were selected in the 6th and 8th National Art Exhibitions respectively. "Mochou Lake" won the "18th National Japan Ink Painting Exhibition" Excellence Award "Xiajiang Morning Dawn" won the gold prize of "National Celebrity Painting and Calligraphy Exhibition on the 45th Anniversary of the Founding of the People's Republic of China"; "Jasui stays in the south of the river" won the first bronze prize of the Jiangsu Fine Arts Festival; many works were won by Zhongnanhai, Beijing Great Hall of the People, CCTV, China Art Museum, Jiangsu Art Museum and domestic and foreign institutions.

Ye Wei's main works (17 photos)

Published a number of personal art collections such as "Ye Wei Chinese Painting Collection", "Xia Yin-Ye Wei Chinese Painting Works", "Contemporary Artist Painting Library-Ye Wei", "Ye Wei", "Ye Wei Jiangnan Landscape Paintings" and "China Contemporary "Chinese Painting Masterpiece Works", "Chinese Painting Collection", "Contemporary Jiangsu Painting School Masterpiece Collection" collection, etc. Published academic monographs include "Landscape Painting Methods", "How to Draw Water", "Landscape Painting Techniques" and "New Mustard Seed Garden Painting · Landscape Volume", "Twelve Lectures on Freehand Landscape Painting Techniques" and so on.

His biography is compiled into large-scale dictionaries at home and abroad, such as "Chinese Art Dictionary", "Chinese Modern Art Family Names Dictionary", "Contemporary World Celebrities", "Cambridge International Celebrities". ^[4]

In 2005, he was awarded the honorary title of "Messenger of World Peace" by the United Nations.

On May 9, 2007, the "Children of the Orient" column of CCTV's "Oriental Time and Space" filmed and broadcasted Ye Wei's feature documentary "Harmonious Great Jiangnan". ^[3]

Ye Wei Art Review

Ye Wei grew up in Changshu, the hometown of fish and rice in the south of the Yangtze River. He studied and was employed by the Fine Arts Department of Nanjing Normal University and Jiangsu Fine Arts Publishing House. For him, Jiangnan is not a dream in his dreams, or a horse and a flower on his way to sketching, nor is he a tourist in Wei Zhuang's words, "Everyone talks about Jiangnan well, and tourists only meet Jiangnan old". For him, the mountains and rivers, the grass and the trees in Jiangnan condense the affectionate memories of childhood, the ignorant fantasies of young people, and the first feelings of youth. The sunrise and the change of seasons and the four seasons here touched his sight and grew into a poetry in his heart.

Jiangnan is the place where poetry is rich. In history, a large number of literati have gathered to produce the most interesting poems and the most poetic paintings. It has a small bridge, a magnificent spring, a tea house, and a bay water purification. Poetic and poetic stories. However, the poetic Jiangnan has become history. Today, those poetic bridges, flowing water, and teahouses are disappearing from our eyes, and replaced by clusters of large buildings in the city and towering buildings standing in the rice fields. The developing information age has expanded the vision of Jiangnan people, accelerated their savvy, and gradually lost the romantic, natural and human changes they once possessed, which have eroded the cultural traditions of Jiangnan. ^[5]

Ye Wei's main works

Ye Wei's Overseas Landscape Works (36 photos)

Ye Weijiang South Landscape (60 photos)

Published books (16 photos)

Ye Wei from all walks of life

Ye Wei's Landscape Painting Art (Sun Ke in Jinghua Road in October 2007)

^[6] Brother Ye Wei and I are friends who have known each other for many years. We have the same profession: Brother Ye Wei has been an editor at the Fine Arts Publishing House for many years. I worked in the editorial department of Chinese Painting for ten years. It s the same thing about working hard for people s wedding dresses, but it s hard to return to work hard. It can do a little for the majority of artists, help support those talented young people, and make a lot of friends in the painting industry. This is what makes us feel like we want to come. Pleasure. Editing is hard work. It may not be the ideal job for the young people who studied painting such as Ye Wei, but we live in an era where only "obedience" is allowed. Personal hobbies, ideals, future, and destiny cannot be said by individuals. Even if. Therefore, Ye Weixiong's talent for painting has not been revealed, but I know that Ye Wei did not relax his artistic ideals and pursuits in those years because of the busy work. I often see him paint and paint constantly in the activities of painters, accumulate materials, and constantly see his exploration in landscape painting. In fact, he was accumulating energy and prepared well for his subsequent soaring sky.

Award certificate (15 photos)

Jiangsu has always been the region with the best humanities, and the culture of Wu and Yue has been accumulated since ancient times. Since the records of the painters, it is difficult for countless people and famous people to appear along the Yangtze River coast around Taihu Lake. From Cao Buxing of the Three Kingdoms of the Eastern Wu Dynasty, Gu Kaizhi of the Eastern Jin Dynasty to Ni Yunlin of the Yuan Dynasty, from the Wumen Painting School of the Ming Dynasty, Jinling Bajia in the early Qing Dynasty to Jinling Bajia in the 20th century vocal painting, all played a role in the development of Chinese painting Overwhelming influence. The coming of the new era of reform and opening up has become a new opportunity for the development of Chinese painting. The development of Jiangsu Chinese painting, with the appearance of a large number of talented and well-trained young painters, has steadily improved the mature and middle-aged painters, making the overall level and activity of Chinese painting in Jiangsu Degrees are kept in good condition. The grand new Jinling School exhibition held recently at the China Art Museum in Beijing, including Ye Weixiong, have introduced famous artists who have decades of experience in the arts, exquisite art, and deep accumulation of life. They have swept the market tide that has swept the art world today. Being indifferent to China, insisting on their beliefs and striving to climb to the peak in their hearts, their achievements are very exciting. It was at this exhibition that I admired Ye Wei's landscape paintings at a close distance, and gained a better understanding of his painstaking pursuit and progress over the years.

Brother Ye Wei was formerly known as Mao Yiwei. He graduated with honors from the Fine Arts Department of Nanjing Normal University in 1961. His hometown, Changshu, Jiangsu, is the birthplace of the famous Yushan School, which has had a great impact in the history of ancient landscape painting. This traditional influence is known as Zhong Lingyuxiu and Earth Spirit, which is also reflected in Ye Wei brother. The predecessor of the Fine Art Department of the Southern Normal University attended by Mr. Ye Beihong was the former Fine Art Department of Central University, where Mr. Xu Beihong was the head of the department. His teaching system is strict and the teaching team is strong. A solid foundation in the profession and a high starting point in the arts are even more important for artists.

The development path of Chinese painting in the 20th century is not smooth. The reason is that the cognitive aspects of treating traditional and Westernization are often disturbed by political and social factors. However, the brand of Chinese painting, a national cultural brand, has very strong internal vitality. A brief review reveals that with the development of the century, his development and progress are unprecedented. Among them, the most significant change is figure painting. Followed by landscape and flowers and birds. It is well-known that modern figure paintings benefit from the integration of western law, while landscape paintings have evolved into the state of today's painting circle from the decline of the late Qing Dynasty through several generations of painters' exploration of the interlaced choice between nature and tradition. The promotion of sketching and closeness to nature is the main way to get rid of the fossilized formula in the landscape painting of the 20th century, which has greatly changed the face of landscape painting. However, because different types of painters have different understandings and orientations between the expression of natural and traditional styles, the results are quite different. The achievements of the New Jinling Bajia that year were, of course, related to several major sketching activities in the 1950s and 1960s. The painters broadened their horizons, raised their minds, and activated their creative inspiration. What's more important is that the painters' understanding of the spiritual connotation of Chinese painting and the grasp of traditional language laws and techniques are significantly higher than ordinary people. Therefore, with the passage of time, people's appreciation requirements continue to increase and change, but Fu Baoshi is the representative. The new Jinling Bajia's historical status is unshakable and more noble. Brother Ye Wei has painstakingly explored and sought his own way in art for many years, and has been highly connected with his predecessors. He has entered the mature stage of life and art. It is worthy of a new exploration and exploration in the field of landscape painting.

Brother Ye Wei's hometown, Changshu, is a typical hometown of fish and rice in the south of the Yangtze River. It is rich in people and beautiful, and has beautiful scenery. It is worthy of pride and nostalgia, and it is the place he is most familiar with. For many years, he has always taken the endless mountains and lakes surrounding the Taihu Lake, the dreamy poetic scenes of the small bridges and flowing water, as the theme of his own creation. It should be said that this is a wise choice because any successful art The premise of creation is necessarily the artist's familiarity, in-depth understanding, and broad interest in the object to be expressed. Due to the improvement of financial resources and traffic conditions, many landscape painters are now working hard to find unique landscapes to prevent people from taking pictures in rare places. They think that they can draw good works, but the results may not be ideal. The problem is that what Chinese landscape painting is pursuing is the expression of the emotion that blends human and nature, and the shaping of the artistic conception full of spiritual connotation, so the artist can concentrate on his familiar life, dig deep, and try to find that others have not noticed, Find. Something that hasn't been shown. In the eyes of talented and devout artists, nature is always alive and vibrant, with infinite charm for people to discover. And how to express and paint is an infinite world for painters to gallop. This may be why we are deeply attracted and moved by his art when we appreciate Ye Wei's brocade paintings.

Brother Ye Wei has known each other for many years. He feels that in addition to Southern Heyue Congmin, he has more affection, openness, openness, and atmosphere. This temperament is also reflected in his art. Watching his works, and carefully looking through the samples of his paintings, the first feeling is a strong nostalgia. It is because no matter how ruthless the years are, it will not detract from the slightest emotions. It is the watertown and moonlight of childhood. Nostalgic nostalgia deeply moved me, this is the feelings of a traveler who has been away from home for many years. The development of modernization is rapidly changing the face of cities and villages. The time when the hometown was violent became rusty. The bitter nostalgia condenses the vicissitudes of time. I was identified in Ye Weixiong's paintings. In the paintings of "Taihu Fishing Sail" (1996), "Song of the Water Lane" (2005), "Frosty Moon River South" (1989), "Deep Lanes" (2005), "Golden Autumn Red Leaves" (2004), etc. The dim moonlight, fishing sails, waterfront houses and curved stone roads tell the story of the past like Jiangnan silk bamboo, highlighting the masterpieces of the artist's grand pursuit, Ye Weixiong fully demonstrated In his temperament, he has an open and smooth side.

Over the years, contemporary artists have accumulated a lot of experience in painting the waters of the south of the Yangtze River. The works of the former rich Song Yan and Song Wenzhi have become classics. There are also some painters in the Jiangnan Water Village, who pay attention to the beautiful and beautiful scenery. The brushes are gentle and the colors are beautiful, but most of them are more feminine and lack of bone strength. They are more graceful and lack air, and they are not durable. Ye Weixiong has painted water villages for many years. He has accumulated a lot of materials and exploration experience, and continues to seek breakthroughs. While struggling to find out, he said that he once climbed Yushan and looked around, suddenly open-minded and open-hearted, which made him very excited. Just as Jia Xuan s words said, The people searched for thousands of Baidus, and they looked back, but the person was in a dim light. Only after the search of Thousands of Baidus did they have sudden results. For most artists, Almost all have such a journey. I imagine that the painterly landscape of lakes and mountains and vast waves seen by the painter at a high place in Yushan is by no means found in Quxiang Xiaoyuan and the low back of the bonsai deep courtyard. It seems that it is also a fate method just obtained by Brother Ye Wei. However, I think that the painter who climbs the mountain and looks far away is afraid of more than one person. Brother Ye Wei can get this inspiration and be represented on the screen. First, it is related to his bright personality and open-mindedness, and secondly to him for decades. The cultivation, rich materials and deep skill are closely related. Brother Ye Wei's efforts succeeded in painting the Jiangnan water village in a natural atmosphere and style without losing its unique expression. Like "Bibo Jiangnan" (1999), "Xiaohe Wanwan" (2000), "Fish and Rice Town" (2003), "Jasmine Fragrant Jiangnan" (2005), "White Bridge Qianfan" (2005), "Spring Comes to Shajiabang" ( No matter the size of the paintings, the works of "Nature Yide" (2006), "Spring Breeze and the South Bank of the Green River" (2007), "Jiangnan Jasper Map" (2003) and so on are all common. Zong Bing said that "three inches of vertical drawing, when the height of a thousand centimeters, the number of feet across the ink, the length of the body is hundreds of miles", that is, in Chinese landscape painting, "look at the big picture". These works use the traditional Pingyuan method and the far-reaching method very successfully. In addition, it must be mentioned that Ye Weixiong's pen and ink skills are superb, the pen center is strong and the ink color is used properly, which is an important reason for the intriguing work. Of course, the talent of the artist is manifested in many aspects. I also like his strong or inspiring works. His passion and exuberance are one and the same. The "Melon Ripening Season" (1987), "Jiangnan Ruixue Map" (1990), "Yunlin Qingxiao" (1993), and "Cuigu Family" (1997) in the picturesque collection are all exquisite fine works.

Ye Weixiong's paintings are about to be published, and the paintings are so beautiful that I am very grateful. I would like to congratulate him on his "Water Country Jiangnan" part. Brother Ye Wei is in his prime, and his art is mature and energetic. I believe that his harvest is still coming. ^[7]

Author Sun Ke in Jinghua Road in October 2007

Sun Ke

Member of Theoretical Committee of China Artists Association

Secretary-general of chinese painting art committee

Visiting Professor of PLA Academy of Arts

Editorial Board of Fine Arts Magazine

Member of Art Committee of China Art Museum

Love the Jiangnan Water Village (Ma Hongzeng's 1994 "National Painter" Issue 3)

Ye Wei's Impressions of Landscape Painting

The splendid Jiangnan is magical and beautiful, and it has made history painters fascinated, expressive and lyrical for it. Among this mighty team, there are Dong Yuan, Mi Yan, Ni Yan, Gong Xian, Shi Tao, Huang Binhong, Fu Baoshi, Qian Songyan, etc .. There are more lovers in the contemporary era. It is not easy for a painter to distinguish himself by painting the waters of the south of the Yangtze River.

Middle-aged painter Ye Wei has his own ideas. He did not deliberately pursue unconventional, but he was a solid explorer, looking for. For more than three decades, he has embarked on a solid road on "water". He clings to life and makes "articles" around water villages. After reading his paintings, it seemed bland at first. Soon, he found that he had got rid of the "small bridge and flowing water" style of stereotypes, and felt a new and contemporary style of water and countryside. Many of them were unbeautiful. Uncreated realm. Even if he uses roughly similar "raw materials"-rivers, water lanes, stone bridges, sails, houses, trees, mountains, etc., he can ingeniously combine them into diverse and moving "finished products". Therefore, I once joked at a symposium that Ye Wei could not do without the "three waters"-mobilizing the materials of the water village, the technique of controlling ink painting, and creating a series of landscape paintings of the water village. The overall style of his works is Xiu Yi, Qing Qing, smart, soft, but intentionally or unintentionally integrated with a bit of heroic, vigorous, clumsy, and robust. It may be summarized as follows: softness is the main factor, rigidity and softness are both at the same time; The formation of this characteristic depends on his own endowment, character and temperament, on the one hand, and thanks to his love, understanding and understanding of the inner spirit of Jiangnan nature.

Ye Wei is the son of Water Village. Born in Changshu, an ancient city on the shore of Yangcheng Lake in February 1940, he is the same town as Huang Gongwang and Wang Shigu. Since childhood, I have received the ears of calligraphy and painting. In 1956, he was admitted to the Fine Arts Department of Nanjing Teachers College. He studied in Fu Baoshi, Chen Zhifo, and Yang Jianhou Zhu, and mastered a variety of art professional skills. After graduating in 1961, he successively engaged in art education, mass tutoring and editing, but never gave up creating. As early as his student days, his oil painting "Green Manure" was selected for the Jiangsu Fine Arts Exhibition and published in the "Art" magazine. In the early years when he focused his energy on landscape paintings, he was quietly working alone and unknown. Until the Sixth National Art Exhibition in 1984, he was unexpectedly selected into a "Spring Breeze and the South Bank of the Green River" to depict the magnificent scene of the water township. It made me feel the afterglow of Qian Songyan. However, Ye Wei does not repeat, but absorbs, melts, and changes her face. He often said that the artist's pursuit of artistic school does not have to be "one-to-one", but must have the mind to accommodate Baichuan.

Ye Wei's love for the water village can be said to be innate, and becomes stronger with age. The painting "Poems in the South of the Yangtze River" really expresses his heart. Of course, just love is not enough, but also the ability to enhance the beauty of nature and life into artistic beauty. Ye Wei believes that a good painting should have "four meanings"-artistic conception, interest, meaning and meaning. This generalization obviously includes his in-depth thinking on the integration of aesthetic connotation and subjective and objective landscape painting, reflecting his strict requirements for the content and form of landscape painting. Therefore, when he went to life, he was not going around in a flash, but observing his body odor repeatedly, absorbing his aura, taking his exciting points, and then conceiving, composing, and frightening his mind. Often it is long-term brewing and it is done in one go. This is a characteristic of his painting. It's another characteristic that he doesn't get confused. He never blindly follows a certain fashionable trend, nor violates his temperament to try for a certain interest. He also has the ability to quickly balance his mentality. In the busy and chaotic fast-paced life, he always has the ability to avoid impetuousness, stabilizes his mentality and emotions through self-regulation, and can use his creative ability in various environments. Maybe, all these factors are what made him stand out.

Ye Wei's painting has a wide road, showing a great momentum and a small emphasis on agility. Look at some of his big scene paintings, and use the bird's eye view of the "Thousands of Miles Away" to deploy troops on the basis of realism to set up positions, the false and the real, the dynamic and the static, the arrangement of all things, the treatment of light and dry, All are subject to the overall momentum of rendering. For example, a painting entitled "Heart Follows the Spring Breeze to the South of the Yangtze River", paintings of green hills, green hills, blue waves around the city, uneven buildings, towering ancient towers, and sails, just like the sky, how magnificent, imposing and beautiful are the hometown of Changshu " The portrayal of "Ten Miles of Qingshan Half-Entry into the City" is also a typical summary of "Fishery Township in the South of Jinxiu River". Works such as "Hometown Road, Shuipucheng" and "Jiangnan Chunxiao" belong to the same genre. Obviously, this type of work relies on his mastery of Western painting perspectives, and can be organically combined with the relations between Qiyun, form, spirit, and reality in traditional Chinese painting aesthetics. Only in this way can art be beautiful, fine and not greasy.

Another type of works often captures the scenes from the corners. The "close-up" pictures are small and large, and they have the charm and interest that people slowly taste. What impressed me most was the performance at night. From "Waterfall at Dusk", "Moonlight Song", "Hometown Moonlight", "You Moonlight", "Mo Chou Night" to "Dark Night" is a series. Infused with the unique Chinese aesthetics. The night was hazy, the moonlight was like washing, the objects seemed to be between nothing and nothing, everything was silent, a peaceful and warm atmosphere. For a busy life, this is an intoxicating poem. Ye Wei seems to prefer this situation, and tries to create a poetic environment by means of contrast. Sometimes a few white paddy fields are left in the thick ink, sometimes the shiny outline of the building is revealed in a dark, sometimes the moonlight is shining down the trees, and sometimes the flowing waterfalls are used to thicken the quiet atmosphere of the night , Sometimes using the flicker of lake ripples to deepen a certain kind of enlightenment. Therefore, Youzi's feelings of returning to the home, laboring people's self-reflection, thinking of high human understanding, mortal aesthetic thoughts can all be expressed and sent. Ye Wei himself borrowed a painting from "Jiang Zhongyue". In the beautiful melody intertwined by the bright moonlight and the long river, and the philosophy contained in the towering castle, he pinned his unwavering artistic pursuit, just as the painting The postscript wrote: "Ting Tao's feelings are in his arms, and tourists from all over the country forget to return ..." Existence. It's difficult to pour out Mojiang. This is a candid inner monologue of a middle-aged artist. It is natural for the middle-aged readers to resonate with the poetic and artistic context.

Ye Wei s night scenes are by no means self-respecting. His heart is in harmony with the times and the people. Please see: The lake and mountain lights in "Happy Events in the Water Village" are so jubilant inside and outside the ship, it is a comic painting with folk colors; "Song of the Water Lane" under the moonlight, the residents of the river, quiet Boat boat, the girl who plays the piano, the fusion of light, color and acoustic imagery, ensemble an elegant serenade. One night, the artist created many fascinating moods through detailed aesthetic experience.

Ye Wei's painting rain scene is also quite distinctive. It is rainy in the south of the Yangtze River. Regardless of spring rain, summer rain, green rain, and autumn rain, the realm is mostly stained with shades of dark ink. It does not draw dark clouds and rolls, nor does it draw torrential rain. Instead, it uses the image of the picture-mountains, leaves, and air To create the rain feeling, rain feeling, just the right ink effect. Perhaps it was the water-saturated atmosphere in the south of the Yangtze River that inspired the painter, and many of his works made people feel water vapor. The safflowers everywhere in Spring City, flowers in the golden autumn season, the yellow tree full of fruits, and the ancient city of Yangzhou in March of Fireworks are full of moisture; soaked with tenderness. I can't help thinking of Shi Tao's inscription poem: "Pen contains spring rain and writes peach blossoms." Yes, only the pen, which is dominated by the heart, contains the "spring rain" moisturization, and can produce the "flowers" that are beautiful and dazzling. Techniques are the revealing technique of the painter's soul.

Ye Wei focused on creating landscape paintings in the south of the Yangtze River, but his vision was by no means limited to the south. In fact, he also ran across the southern part of the northern country to experience and enjoy the scenery from different places. He said that by observing the trend of the mountains and rivers, the "masculine" of the southern waters of Zhuangjiang is painted; the strange peaks and ridges are painted, and the "feminine" of the southern waters is better observed; through understanding and comparison, we can better understand the beauty of Jiangnan. In the Yunguichuan area, he used the peaceful mindset and delicate and affectionate eyes unique to Jiangnan literati to discover the heroes and the stability in danger, so he produced the beauty of Miao Village as interestingly as "Lande Twilight". Spectacular works. Sometimes he unexpectedly adopts modern exaggerated deformation techniques to express a strong first impression. "Green Melody" summarizes the block terraces, and "Stone Wall" is an example of Yishan's architectural mass. I prefer the waterfall image he created. The composition is simple, and the vitality of life is displayed in the corner of mountains and rivers. Instead of a line, relying on the surrounding ink stains to highlight the flow of the waterfall, magnificent but not aggressive, like natural human kind friends. The torrents of spring and the red houses that accompany the "Red Valley Villa" are not only pure in the realm, but also novel in artistic treatment. In particular, the "Song Waterfall Picture", many branches of springs descended from the branches, the momentum was extremely beautiful, the ups and downs, startled a group of birds, made people hear the sound. The endless waterfall of life echoes with the small life of the urn, which gives people a long and profound association.

Ye Wei is a constant explorer. He has full national self-confidence and self-awareness. He believes that Chinese painting is the world's greatest and oldest painting type, and is one of the strongest types of paintings with connotation, expressiveness, and "artistic character." What he calls "artistic" is different from what is usually called "artistic." "Skills" are also subordinate to "art", and "artistic" is fundamental. The huge capacity of Chinese painting is like a strange strong magnetic field. It can be said to be the "universe" of the freely traveling art world of mankind.

We have realized this kind of deep motive force from Ye Wei's rational thinking with strong emotional color. We are interested in this and love it so much. We have added more attention and expectations to Ye Wei's creative path.

Author Ma Hongzeng 1994 "Chinese Painter" third issue

Ma Hongzeng

Deputy Director of Theoretical Committee of China Artists Association

Vice Chairman of Jiangsu Literary Critics Association

Researcher of Jiangsu Art Museum

Beauty in Sri Lanka (Zhou Jiyin, October 1995)

Read Ye Wei's landscape paintings

Chinese painting is a bright pearl in the world's treasure house of art. It has long since gone global, and museums and collectors in many countries in Asia, Europe, and Latin America have treasures of ancient and modern Chinese paintings.

At the end of this century, some people in the Chinese art world published the "crisis" theory that "Chinese painting has reached the end of its end." It caused a great discussion. As a result of the discussion, most people denied this, saying that Chinese painting is the embodiment of the spirit of the Chinese celebrities, and it developed with the prosperity of the Chinese nation. During this period, the painters were reflecting, exploring, pursuing, and trying to take a new path of their own. What we saw was a scene of flowers and weeds. In general, it can be roughly divided into three paths: First, the so-called "new literati painting" all the way. The definitions of "new literati paintings" are different, and so far no conclusion has been reached. Some people have doubts about the existence of "new literati paintings". From their self-proclaimed works as "new literati painters," they are disappointing. Most of them are behind closed doors. They have neither originality nor style, and they lack the brushwork skills of traditional literati painting. Second, the so-called "avant-garde" all the way. This way, the use of Chinese painting tools and materials to deny the traditional pen and ink taste, I saw the horizontally and vertically painted pen marks and ink, composed of abstract or semi-abstract pictures, far from the traditional Chinese painting. This type of work is actually nothing more than a fry of leftovers from Western modernist art. It is still at the stage of imitation, not to mention how much of its own creation. The painters who follow these two paths are mostly "irritable". They are eager to get ahead and want to make a big splash, hoping to create an amazing miracle overnight, which will have a sensational effect, and the results will be counterproductive. Third, the so-called "tradition, life, creation" all the way. This way attaches importance to inheriting the tradition, does not exclude the absorption of foreign art, emphasizing in-depth life, and making bold creations on this basis. It must be obtained through long-term cultivation. In addition to the artist's natural talents, he must pay arduous labor. This is true of the great accomplished painters in the history of Chinese painting, and Wu Changshuo, Qi Baishi, Huang Binhong, Xu Beihong, Liu Haisu, Zhang Daqian, Lin Fengmian, Pan Tianshou, Fu Baoshi, Li Keran, etc. Contemporary accomplished middle-aged painters also follow this path, and one of the outstanding ones is Mr. Ye Wei. Mr. Ye is an aura and a very diligent painter. His creations and achievements have been recognized by experts and scholars. Following the success of his exhibition in Europe, his paintings will be exhibited in the United States. I believe it will also be successful, and will be more and more understood, appreciated and collected by overseas audiences.

His painting talents are multi-faceted. Oil painting, watercolor painting, and Chinese painting are omnipotent, and he is particularly good at Chinese landscape painting. The outstanding achievements in landscape paintings have successfully shaped the plain and innocent, beautiful and smooth artistic image of Jiangnan water villages with deep artistic conception, wonderfully clever ideas, skilled skills, and rich emotions. Observing his work, if you are in the realm, is endlessly exciting.

What the artist paints is the scenery of the water village in Changshu, the hometown of Jiangnan, which he is most familiar with. He loves the customs and customs of his hometown. He loves the mountains, rivers, grasses, bridges, houses, boats and sails of his hometown. He can best understand the mysteries of nature and the magic of nature. People are united, scenes are expressed with emotions, scenes are lyrically expressed, and the water village is vividly portrayed.

In modern times, he can use different pen and ink colors to represent different objects, and he is strong and graceful, showing the beauty of watertown paintings in different regions and seasons, the beauty of watertown poetry chanted by ancient and modern poets, and the artist s mind. The beauty of water town ideals, the beauty of today's water town symphony melody.

Most painters pay more attention to pen and ink, and often ignore the position of the rules. Therefore, "ten paintings are like one, and the middle hills are easy to be poor." Mr. Ye Qiu's hair grows endlessly, and the haze on his wrist is endless. Therefore, if you look at the work, one picture is better than the other. There is no similarity. This is the beauty of the first rule in the chest.

He has studied the history of painting and painting theory, and paid attention to the cultivation of literature. In some works, in order to make the image speak, only the paragraphs are written, without questions, and they are full of painting; some works have a sentence or two, which is very poetic and adds to the picture. If there is really a "new literati painting", then Mr. Ye's Chinese painting can belong to the real "new literati painting".

-Author Zhou Jiyin October 1995

Zhou Jiyin

Professor of Fine Arts, Nanjing University of the Arts

PhD Tutor

Deputy Director of Theoretical Committee of Jiangsu Artists Association

Preface to Ye Wei's Collection of Chinese Paintings (Chen Chuanxi in the Art Department of Nanjing Normal University in the summer of 1990)

I tasted the ancient and modern traces, watched the Chinese and Western paintings, and later knew the changes. The change of Western painting is based on the shape. Cubism, abstraction, and surrealism have different shapes. In Chinese paintings, the meaning is changed from emotion to interest, so although the shape is close, the emotions are different. When Europeans talk about hundreds of Chinese paintings, they are ignorant of their feelings and ignorance of their meaning. If the Chinese people are deformed due to their deficiencies and deficiencies, it will be a big fallacy.

Mr. Ye Wei is famous for his paintings, especially his affection. His paintings are more than a thousand, all of which are apricot blossoms and rain in the south of the Yangtze River. Plain and naive, blue and blue, clouds and storms, clean and beautiful. Bright inside and outside, elegant and interesting. The viewer sees it, the heart swims, the feelings move freely, and Ling Ran feels and responds, although he asks for the valley in vain, why should he increase it?

When Mr. Fuxiang undressed his clothes, he was harmonious with reason, without any sense of hearing, self-propelled by nature, encounter between God and things, strokes and breath, strokes and charm. Qi Ququ sucked his ink and brushed his ink, and he sought out the deformed ones, but he was uttered in the same year?

Mr. Ye Wei, also from Changshu. In its place, there are many talents in the mountains and rivers. Huang Zijiu of the Yuan Dynasty, Shigu, the King of the Qing Dynasty, have a long history of vigor, and EMI is called Saint. The gentleman learns from his heart and does not follow his trajectory. Thousands of miles south of the river, the clear waters of the country, the peach red and the white, the chest is long, full of power, Vientiane is beside. Therefore, for every picture you make, there must be a realm. Every time you write a realm, there must be a way. Although the sentiment is different, the styles are different; Breast-pumping;

He lived in the painting world for a long time, with fortitude and resilience. He was as light as a chrysanthemum. He was very vulgar. He was nourished and sounded in the hill garden. His traces were hidden in the world. Xunzi said: "Those who have no ambitions and no obvious achievements; those who do not have illustrious achievements." Although Mr. Yi does not intend to fight for the world, the world sees its paintings and knows its people. Zhuyu dives, while Lan Table is round.

In this special album, Yu Xi first glances at it, and is happy to preface it.

Author Chen Chuanxi in the Fine Arts Department of Nanjing Normal University in the summer of 1990

Zhou Haige (painter, deputy editor-in-chief of Jiangsu Fine Arts Publishing House):

In his works, Mr. Ye Wei, I feel several characteristics: the first is the innovativeness of painting, that is to say, he has innovated traditional themes, focusing on Jiangnan water village, showing the middle of the scene of Jiangnan water village flowing from a small bridge, showing The second characteristic is the uniqueness of painting, Ye Wei s paintings, the lines are more expressive, and the colors show the vibrant, great Jiangnan momentum. The colors are very fresh, and the picture is a moist and beautiful. The feeling and the treatment of the water surface create a mirror-like effect, which is very individual and unique. It gives people the feeling that "the rain on the street is as smooth as the grass, and the grass is far away but not close to it." It makes people seem to hear a kind of melodious music of Jiangnan Sizhu from the painting, which conveys a kind of poetry and musical sense; The three characteristics, the picture does not express itself with obscure techniques, nor does it play with ink and wash to show modernity, but the real source of inspiration from the teacher's creation, which reflects the painter's love of life, the expression of nature, and the promotion of harmony and positiveness. Attitude to life. His paintings are positive, uplifting, and positive, so they are bound to be widely loved by people.

Cheng Dali (painter, theorist, chief editor and president of People's Fine Arts Publishing House):

Mr. Ye Wei is my colleague. When I worked at Jiangsu Fine Arts Publishing House, the two of us worked in an editing room. He was a few years older than me. He was an excellent and old art editor. For decades, he He is diligent and dedicated, has compiled many outstanding works, and compiled many outstanding achievements for contemporary artists. The most valuable thing is that he persists in landscape painting creation, artistic research, and has achieved enviable artistic achievements. His landscape paintings are based on the scenery of his hometown, Changshu. Everyone knows Changshu, the hometown of Huang Gongwang, Wang Shigu, and Weng Tongsu. Ye Wei is familiar with his hometown. For decades, he has used brushes to express this place. His language is very individual. Only with his own personality is his own style, which is the manifestation of his wisdom and his personal accomplishment. So today, as a publishing unit of the People s Fine Arts Publishing House, and as an old colleague of Ye Wei, as a fellow of a painter, I am very excited and very happy to attend this conference. I actually flew from South America yesterday. Come back, but I think I must come today. First of all, I thank the leaders, guests, and friends from the art theory community who attended the meeting, and thank the theorists. All of us who are here today are important theorists in our country. Several big-name theorists have arrived. Jiangsu Fine Arts Publishing House and Changshu Municipal Party Committee Propaganda Department have specially dispatched people to participate, as well as our senior diplomats and old leaders. Mr. Wang, who has been an ambassador for several countries, has arrived. I think it is the greatest encouragement to Ye Wei.

Sun Ke (Member of Theoretical Committee of China Artists Association, Secretary-General of Chinese Painting Art Committee, Editorial Board of "Art" Magazine), etc .:

Everyone knows that Jiangsu Province has always been one of the most important central areas of Chinese painting in history. Starting from Gu Kai, from the great painters on record, the influential painters in history have never been broken, and they are very important painters. Landscape artists such as Huang Gongwang and Wang Shigu are figures with great influence. In recent years, many painters have also appeared. In Jiangsu Province, in the 20th century, Chinese painting in Jiangsu Province developed particularly rapidly. The old predecessors that everyone is familiar with, and who later became the new Jinling Bajia, are no longer there. These seniors have made significant contributions to the development of Chinese landscape painting. Qian, Ya, Song, and Wei all had a huge influence. We later, under their reputation and under their influence, have a very favorable side, we can continue to work hard, there are some seniors, it can be said, how can we break through them, how can we continue on their artistic path Moving forward is not easy. Therefore, at a painting exhibition held by the New Jinling School last year, Ye Wei and Yu Jigao all came over, indicating that Nanjing's artistic goals are still very clear, and we must continue to work hard and continue to develop.

It is also the determination of the leaders in Jiangsu Province. To make a difference, I think this is very relevant. Only they work hard to launch these mature painters, give them another propaganda from the arts, and give them a boost to make their art a step further. This is very important. If a mature painter is inspired, in a good state of mind, his art will develop faster and there will be more breakthroughs. Mr. Ye Wei s Jiangnan Water Village is well-painted. Ye Wei did not stay in that state. Instead, he used his own brushwork, his artistic conception, his mind and temperament to integrate into his art, and broke out of his own water village. New expressions and methods of expression have emerged and are worthy of our appreciation.

Xue Yongnian (Professor and Doctoral Supervisor of the Central Academy of Fine Arts)

We have two kinds of artists and painters: from my professional identity, one is a professional painter. For example, we have painting schools at all levels. He is painting himself. As for training courses, it is him. There are still more responsibilities to take; there is also a kind of, like our school, art publishing department, he is semi-professional and semi-amateur, you say it is amateur, because what he does is art, prosper art publishing, and train fine art authors In fact, there isn't much time of my own. In fact, compared with the Academy of Painting, my own time is much less. It is also very necessary for Mr. Ye Wei to make this collection today. Because this is a very accomplished force, and also created very good works. Show it specifically for display, urging professional painters to contribute more good works, he has made a lifetime contribution in this regard. My first and most important impression is a piece of Jiangnan painted by Mr. Ye Wei. It is beautiful, open, and has a certain momentum. Maybe it is big, it is not mean. This is my first impression. It is both beautiful and flowery. There is such a characteristic in color. It is both quiet and has a certain momentum and weather.

In addition, everyone said that Yu Shan was Mr. Ye's hometown, and Huang Binhong criticized the late Yushan School: "Yu Shan's old porridge is more rice, Yangzhou's eight strange and more sparse." Of course, Mr. Huang's views can also be discussed, I think He criticized the painting of Wang Shigu in the middle and late Qing Dynasty. But even though Mr. Ye is from Yushan, he has also inherited the good tradition of Yushan. But his paintings have no ambiguity, including his pens. Although his pens are very deliberate and casual, but very robust, this is the first point; the second point, which I find very inspirational, is I look at his paintings. For example, there is Changshu Tian. Many of the paintings have a spring breeze and green. It seems to have something to do with the harvest fields painted by Mr. Qian Songyan. They are all painted in Changshu. Have learned. We can also see some paintings like Song Wenzhi, especially Mr. Fu Baoshi. Many seniors have absorbed their nutrition. However, I think he attaches great importance to the poetic and the situation of painting, and this poetic and situation is different from his predecessors. In this respect, Mr. Ye Wei has inherited, but I think he pays more attention to another aspect, because landscape painting can represent both the change of the times and the eternal factor in the change. This is a tradition that can be inherited in Chinese landscape painting, and is valuable for building a harmonious society and even a harmonious world. So we see, of course, his paintings include stone bridges, water lanes, smoke waves, and sail shadows. Some of the beautiful scenery in Jiangnan are included in the painting. There are also Changshu Tian, which is as big as Mr. Qian, but he does not deliberately say that he must paint the house in the painting, the boat in the painting, and the ship. He does not deliberately paint these too periodical features thing. Pay more attention to this poetic harmony with nature, and build this spiritual home. I think this consciousness is very conscious. It also reflects that since our accession to the WTO in the 1990s and into the new century, our landscape painting has adapted to the needs of the times, but it is a very important aspect to spiritually affect the public.

Some paintings have a larger mood, which has been summarized. It is a kind of mood in Jiangnan. There are specific situations, such as playing the pipa in a water alley, very specific, drawing people, very vivid and infectious. There is another point. In terms of art, I think that in the artistic expression, Mr. Ye Wei s paintings have both this aspect of traditional Chinese painting, and there is no absorption of oil paintings, as well as the absorption of watercolors or gouache. Studied. He fuses these kinds together, so we feel very interesting to see his painting, for example, this large area of Changshu Tian. When you look at it, your sight is of course looking down, but Looking down at it, your foothold is relatively low. For his house, you can see the roof, but you can't see it in the sky, you can only see the roof. He also has a three-dimensional impression. But when you go to see Changshu Tian, you feel that his viewpoint of looking down has increased again. So the realm of this picture is very big, and he is not exactly looking down like an airplane, that is the pattern. So, including the treatment of space, he is not the traditional three-distance method, the four-distance method, and the wide-distance method, so what do I call his name?

I came back to look through the album last night, called Guangyuan, he added a kind of Guangyuan. In addition to the Song Dynasty, we talk about three distances: Pingyuan, Gao Yuan, and Shen Yuan. In the Yuan Dynasty, our teacher Liu Longting often reminded us that there is another kind of Guang Yuan. Now, you have added another Guang Yuan. I think that in space processing, many paintings Reflecting such a feature, it is still very flexible to use the law of perspective and develop it using the traditional three-distance rule. This is a feature that he is very good at painting water. He has all kinds of water in it, even small ones. , Whether it is a small lake or a vast lake, his characteristics are achieved by painting that shadow, which also plays a great role. We have sailing boats, thousands of sails are about to go, the sails are on the top, the pens on the bottom are, That shadow, if it is a house, next to the river, just a few strokes, the feeling of water comes out, this is still a combination of Chinese and Western. It not only exerts the benefits of ink painting, but also plays the role of reflection on the surface of the water. Actually, this reflection also exists in ancient times, but it has not formed a universal one. I think it is very meaningful in this regard.

When he was painting that shadow, he was both expressive and not completely restricted by traditional brushwork. He was so fine. You can say brush strokes are fine, you can say it is a brush stroke. Anyway, this form just accounts for the reflection. Set off the boat and sail above, the strokes are more square. Some are parallelograms, not traditional calligraphy stippling, but it is expressive and he uses a lot. There is another point. I think that his painting of trees has his own characteristics. He is a traditional stylization, a certain decoration, and a combination of branches and leaves of traditional landscape painting. One of them is to draw a fir tree. His fir tree is like a big idea, it is not the kind that turned the idea into a moss in ancient times. In fact, if you look at the tree painted on a distant mountain in Zhan Ziqian's "Spring Tour", it is him. In this painting method, you can see the tree crown, but there is something in it, than Zhan Ziqian, it has some lines to explain some of the structure and some feelings in it. There are two kinds of lines. One is to draw with ink first. The structure of some branches is slightly decorative. And some of them, take the green color, whether it is stone green or advertising green, I don't know. This method is to develop the early ideas of landscape painting into the ones we continue to use, and put them in ink paintings. The second is to put the idea of flower and bird painting on gold and put it on the tree crown. I think he has a lot of ideas. So his characteristics are different from others. Another is to first draw the structure of the branches, take the ink dots, and the outline is more decorative, and then take the vermillion dot. That ink dot and vermilion are staggered. This expression is the same as that in Chinese painting. Summarized by dotted lines, it also pays attention to decent relationships, so it is very novel. Not very useful to others. As for his painting of the small tree next to Changshu Tian, he used the method of landscape painting to paint fir trees. I find it very interesting. As an editor, if you want to get in touch with all kinds of paintings and painters, it's easiest to get a wide range of knowledge and understanding, not to mention that he has learned extensively.

I think in this regard, we can see that he has some positive explorations, and has the courage to explore and innovate this consciousness in digesting various methods. Taking this already symbolized idea into reality has not lost some of the stylized and decorative features. There are also a few paintings that impressed me very much. One is for the golden autumn, the other is for the winter, and the golden autumn is filled with the vermillion ideas. The whole painting is very bright. There is only a little exposure in Tibet. This kind of thing has reached the good painting that Dong Qichang talks about. It looks at the curtain and the moon and the water. It is implicit and poetic, and it is also about painting snow. So Wanshan Blizzard, whether it is popped or sprinkled, its snowflakes also occupy a large place in the picture, making the scenery more hazy. This expressiveness has strengthened the poetic flavor of his works, and has a lasting aftertaste. Another point is that in the landscape paintings of our Chinese paintings, he still pays attention to the combination of ink and traditional green to change into a new look. ^[8]

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