Interview with Gong Jixian

Hua: Mr. Gong, you are a famous contemporary painter of freehand brushwork flowers and birds and finger painting in China. You also presided over the editing of Art Yuan Yi Shadow for a long time, and spared no effort to introduce the ancient art of calligraphy and painting. I'd like to take this opportunity to ask about your art course. How did you first embark on the road of painting and calligraphy?

Gong Jixian: Speaking of which, my father is in aviation and my mother is a math teacher, which has nothing to do with art, but our home is near the Donghuamen of the Forbidden City in Beijing. At that time, the management of the Forbidden City was lax. When I was a child, I often skated on the moat (commonly known as Tongzi River) and caught insects in the grass of the Forbidden City. I was fascinated by ancient cultural relics and magnificent ancient buildings. Whenever there are various art exhibitions in the Forbidden City, I always go in and watch them and learn to doodle slowly. Grandpa saw that I liked it, so he bought a copy of Mustard Garden for me. Later, I copied the meticulous flower-and-bird paintings of Song Tuan Fan and Mr. Yan Fei, and I really liked painting unconsciously. 1958, graduated from high school and entered the Central Academy of Fine Arts and the University of Science and Engineering. I remember the fine brushwork flower-and-bird painting in the Academy of Fine Arts. As a result, both the Central Academy of Fine Arts and Beijing Institute of Mining and Technology accepted me, and finally I chose the Central Academy of Fine Arts. Hua: Entering the Academy of Fine Arts to receive formal art education is definitely very different from self-study. What was your biggest feeling at that time?

Gong Jixian: As soon as I entered the Academy of Fine Arts, I felt completely liberated. Everything is new and I want to learn everything. According to the curriculum, the lower grades should learn landscapes, flowers and birds, figures, sketches, copying, meticulous brushwork and freehand brushwork, regardless of subjects. In addition, there are a series of lectures on calligraphy, seal cutting, watercolor, ancient prose, poetry, Chinese and foreign art history, philosophy, aesthetics, classical music, Beijing opera and so on. I am like a sponge in water, trying to absorb it. This has played a very big role in my later artistic promotion. At that time, my dean was Ye, and professors were Li Keran, Jiang, Yu Zhizhen and so on. Painters hired outside the school are Pan Tianshou, Huang Zhou, Liu, and so on. They are all famous artists and idols that I admire for a long time and can't get close to. The fourth and fifth grades began to be divided into subjects. I entered the freehand flower-and-bird painting studio, specializing in flower-and-bird painting. Li Kuchan teaches freehand brushwork, Guo Weiqu teaches freehand brushwork, and Tian Shiguang and Yu Zhizhen teach meticulous painting. Our student life is full and simple. There are classes every morning, and I often go to second-hand bookstores to read books and buy materials in the afternoon. At that time, there were many good books in second-hand bookstores, and the prices were also cheap. I also often go to Liulichang, the Forbidden City and other places to enjoy calligraphy and painting. The Forbidden City displays paintings and calligraphy of the Ming and Qing Dynasties all the year round, and paintings and calligraphy of the Tang and Song Dynasties are exhibited every autumn. They give special treatment to the students of the Central Academy of Fine Arts, and there is no charge for visiting the exhibition. In Xu Beihong Memorial Hall, Xu Beihong's wife Liao always receives any painting we want, even if it is not on public display, she will take it out of the warehouse and hang it for us to copy. As for the evening, it is even more interesting. We finished dinner early and went to the teacher's house together, where we listened to the teacher's painting and life, and there were many stories about painting. At that time, the teacher was really good and treated the students as their own children, which was very kind. For example, Mr. Li Keran talked about Mr. Qi Baishi, saying that his painting ability can carry the tripod. "At the beginning of the exhibition, we didn't dare to hang our paintings next to him because the contrast was too big and embarrassing." Teachers often say: "Now you are not required to understand, but only to absorb and lay a good foundation. Why is the pyramid high? Just because the foundation is thick and broad. You will understand this later. " I was influenced by my teachers in a subtle way and accepted the concept of "high personality and high painting style", especially Mr. Li Kuchan, whose salary is not high, but he often pays paper and pens for poor students. Later, I learned that when he was young, he pulled a rickshaw and cooked a pot of porridge every day. When the porridge was cold, he divided it into three parts, one for each meal. Under such difficult conditions, he completed his studies in Beiping Art College. Later 1937, when Beiping fell, the Japanese puppet troops threatened the world-famous Mr. Kuchan to work in the pseudo-Xinmin Society, but Mr. Kuchan refused. 1939, they imprisoned Mr. Milan Kucan in the prison of Japanese Gendarmerie Command on the charge of "colluding with the Eighth Route Army" and tortured him for 28 days. Finally, they had to let him go. My husband's indomitable spirit deeply influenced me.

It can be said that the five years in the Central Academy of Fine Arts were five years when I grew up eating "a hundred meals", and the superior artistic environment provided me with rich and comprehensive nutrition. So my biggest gains and feelings are as follows: First, I broadened my horizons, improved my horizons, and felt the profoundness of China's traditional paintings. The second is to know how to become a real artist and what kind of spiritual realm to achieve. These two points have benefited me for life. Hua: 1963, you were assigned to work in Shanghai People's Fine Arts Publishing House, which was a major turning point in your artistic career. On the one hand, you have studied under the masters of Shanghai School, such as Xie, Pan Tianshou, Wang, Lu and so on, and gradually formed your own unique artistic style. On the other hand, you edited the series "Art Yuan Yi Shadow", which had a great influence on the national painting circle. As for artistic achievements, let's put them below. Can you tell me something about "Yi Yuan Ying" first?

Gong Jixian: This series is really worth introducing. Founded in 1978, it is a fine printing plate of coated paper. I started editing in the seventh issue and later became the editor-in-chief. The words "Yiyujuanying" were written by Marshal Chen Yi. As can be seen from the title, at first we wanted to make a comprehensive publication introducing ancient art, so the previous issues included porcelain, Dazu stone carvings, Sichuan murals and so on. After several issues, we feel that it seems a bit complicated, and many readers have written to suggest that we should not have too much content, so we should specialize in painting and calligraphy, so we changed it and introduced the ancient art of painting and calligraphy in China. The manuscript source of Yi Yu Juan Ying mainly comes from the collections of public and private collectors. We have been to almost half the museums in China, such as those in Beijing, Shanghai, Liaoning, Tianjin, Shaanxi, Anhui and Jiangsu. Private collectors include Deng Tuo, Wang Cunxin, Zhou Huaimin, Liu Zuochou and others. In addition, the work of soliciting contributions, selecting paintings and taking photos was also done by several of us. I remember joking at first because of inexperience. For example, Yan Lu Tu, written by Bian Shoumin, one of the "Eight Eccentrics of Yangzhou" in the Qing Dynasty, was selected for the inaugural issue, but the description introduced that he was from the Ming Dynasty, and the "description" became unclear. For another example, we saw a landscape painting of Jianjiang, one of the four eminent monks in the Qing Dynasty, in a museum, which was excellent in pen and ink, so we chose it. I always feel uneasy afterwards, which seems a little too good. Later, at a seminar, we brought it up for discussion and concluded that it was a neighbor's fake. In this way, we learned a lot from our mistakes. We learn, edit and change, choose more rigorous paintings, and firmly grasp the standard of "truth". Needless to say, we would rather not use or accommodate those suspicious and controversial people. I remember a painting, which the collector insisted was painted in the Tang Dynasty, and with the inscription of a famous contemporary artist as evidence, we were not sure whether it was horizontal or vertical, and finally gave up love. In this way, Yiying gradually won the welcome and trust of many experts and calligraphy lovers at home and abroad. Many people have no chance to contact the original, so they study the series seriously and regard it as a good product that is "not as good as the original". Until now, it is still the object of collectors' pursuit. It is said that in February, 2005, an auction house sold a set of "The Shadow of Yuan Yi in Iraq", with 70 issues, and actually sold 654.38+0.65 million yuan! This shows its popularity.

Working conditions were very difficult at that time. Once, I was filming at Tianyi Pavilion in Ningbo. Unfortunately, the voltage is unstable and I can't work. I finally got the consent of the collector, and let us transport this painting to the naval headquarters. I thought the conditions there might be better, but I still couldn't shoot normally, and finally I had to return in vain. For another example, when we went to Shaanxi Museum, it was very hot, there was no air conditioning, and the electric fan could not be used. Several tall men who looked elegant had to go shirtless. Wait, the list goes on. Of course, compared with the difficulties, we have received more cooperation from relevant parties. Many museums open their storerooms and offer the best collections that are not open to the public for us to choose from. Jiangsu Taizhou Museum has a huge landscape of Yuanjiang River in Qing Dynasty, which is too long, so the museum hangs from the second floor to take pictures of us, and many touching things can't be described one by one. Personally, I think that through this work, I can have a chance to get close to the fine works of various eras and appreciate them carefully, which is a once-in-a-lifetime thing! I can't say too much about improving my artistic significance. Hua: Let's go back and talk about your artistic achievements. Many experts have commented that your freehand flower-and-bird painting undoubtedly belongs to the category of traditional literati painting. The works emphasize verve, artistic conception, composition, structure and pen and ink, and combine the quality of the northern school with the prose, bone and rhyme of the southern school, so the pen and ink are bold and unconstrained without losing the statutes, gloomy and vigorous, and concise. How did you get to this state?

Gong Jixian: This topic is too big. I'm afraid it's hard to say it at once. I can only try to say a few points. First of all, as I said before, I grew up eating "a hundred meals" in art. Everything that is good and useful to me adopts "takenism" and never avoids food. I won't repeat this point. Secondly, I have made great efforts in copying ancient and modern famous paintings. Facts have proved that this is the only way to learn Chinese painting. For example, why can Ni Yunlin paint a stone perfectly, but we can't? Among other reasons, I think the key is not to be too hard. The quality of freehand brushwork depends on the maturity of pen and ink. Some people have misunderstandings about plagiarism, just dabbling in it, always saying what to innovate and what not to follow the predecessors. At that time, Mr. Li Keran said very profoundly that copying should be done over and over again, and learning tradition should be "like a veteran breaking the array, seven in and seven out". He also said that he would "hit it with the greatest strength and hit it with the greatest courage." Nothing ventured, nothing gained? How to understand the essence of Chinese painting without knocking it in? What new things can you create? If you can't get out after copying, don't blame yourself, blame copying. Isn't that ridiculous? When I was young, I did a lot of copying work, and I came to the Eighth National Congress again and again, including Shi Tao, Ivy League, Bai Yang, Ren Bonian and Pan Tianshou. Even if it is a huge painting, I came according to the original size. I realized that it is better to watch it once than ten times, and efforts will not be wasted. Although I am old and famous, I have never given up this basic skill. In 2003, I visited Li Di's meticulous flower-and-bird painting "Snow Tree and Cold Bird" and Badashanren's "Bottle Chrysanthemum". After my visit, I had a new feeling than before, and my temporary works were also included in my recently published "Gong Jixian's Painting Collection". Realistically speaking, the pace of life is fast and people are inevitably impetuous. It is not easy for painters to resist the temptation, especially young painters, to calm down and do basic skills well. However, if you can't do this, you can't make a difference in art. Third, read more books. In my opinion, Chinese painting can be roughly divided into two levels: "Tao" and "skill". Copying and basic skills belong to the "technical" level. We need to go further and rise to the level of Tao. This is the truth that "technical progress is on the road" put forward by Zhuangzi Health Master. China's paintings are rooted in China's unique culture (including philosophy, aesthetics and literature), and are produced after observing with a unique world outlook and outlook on life. "Tao" in traditional philosophy guides and embodies the way of painting, that is, the law of art. For example, Chinese painting pays attention to artistic conception, portrays the spirit in form, advocates the painter's subjective "will" and expresses it by depicting the objective "environment". As the saying goes, "the image is born from the heart and the environment turns at will." This aesthetic requirement, which emphasizes the unity of subject and object, also comes from the idea of "harmony between man and nature" in traditional philosophy. For another example, Chinese painting pays attention to yin and yang, reality and contradiction to express the beauty of harmony, all of which come from Yi-ology and Taoism. Reading more books and studying China's culture are essential for "promoting technology into the Tao". Fourth, we should treat painting with the mentality of "seeking nothing from the world and entertaining ourselves". Hua: Speaking of which, I think, 1993, you resigned as the editor-in-chief of Shanghai, spent half a day at home painting, reading and relaxing, and named your studio "semi-leisure thatched cottage", probably because of your mentality of "entertaining yourself without asking for much".

Gong Jixian: Right. However, this is only my personal choice, and not everyone has to do it. Quiet personality, not good at making friends with people. Let me be the editor-in-chief and handle the manuscript. Later, I was asked to participate in some administrative affairs, so I couldn't do it. After all, I am a painter, and I just want to paint, and I don't want to spend too much time in other aspects. I resigned as editor-in-chief, and some people said I was stupid. "Others want to also can't want to. With the official title, the price of selling paintings can be higher. " However, at my age, the burden of fame and fortune has long been lost. After returning home, I paint every morning, rest for an hour at noon, drink a cup of tea, read books, read posts and talk about art with my friends in the afternoon. I don't compete with others, I am relaxed, I have no pursuit, and everything goes with the flow. If you are happy, you can read books, including Confucianism, Buddhism and Taoism, culture and art, poetry and prose, ancient and modern, Chinese and foreign. As Tao Yuanming said: "Good reading, not seeking more understanding. Every time I know something, I am so happy that I forget to eat. " If you like painting, you can paint, pick up a pen, send spring scenery to several peach blossoms, show life to two or three waterfowl, express your feelings with pen and ink, feel the rhythm of life, and make the soul and life harmonious. It is a great enjoyment to put aside worldly trifles with a stroke of the pen. I firmly believe that only by entertaining myself can we entertain people. Hua: You just said "no pursuit", which is my understanding. What you said is nothing more than the pursuit of fame and fortune. What you are committed to is the pursuit of self-cultivation. This is the temperament of a scholar. You treat life with leisurely interest and detached attitude, and express your personality cultivation in a freehand way. We know that the basic feature of literati painting is "expressing feelings", and you have done it. Your understanding of life and your love for life can be expressed through painting, which in turn will enrich your heart. Painting has changed from "external things" to "internal things". In other words, art and life have become one.

Gong Jixian: It can be roughly understood that way. Hua: One last question. In addition to your freehand brushwork, your achievements in finger painting are equally outstanding. Some critics say that your finger painting can dominate the contemporary painting world. Please talk about this situation.

Gong Jixian: No, I'm just interested. As the name implies, finger painting does not need a brush, but directly uses fingers, nails and palms to dip in ink for painting. It is said that this unique art originated in the Tang Dynasty and has already appeared in the records of famous paintings in past dynasties. However, it was not until the Kangxi period of the Qing Dynasty that a large number of finger paintings by Gao came out and were officially recognized. Because he was dismissed as a "deviant", no one took care of it later. In modern times, except Pan Tianshou, few people set foot in this field and made achievements. As for me entering this field, it's very interesting. 1989, I held a solo exhibition in Singapore. I went alone, and the exhibits were sent by plane. Because there is no writing brush, I can draw finger paintings to relieve boredom when I have nothing to do. Who knows, by coincidence, there was a little mistake in the consignment of the exhibits, which could not be delivered on time. On the other hand, the opening ceremony and the minister's ribbon-cutting have been arranged and the time cannot be changed. Everyone is anxious like ants on hot bricks, and they don't know what to do. Willy-nilly, I borrowed a pen temporarily to catch some paintings, and hung them together with some finger paintings from the other day, thinking that a dead horse should be a living horse doctor and deal with the past first. To my surprise, however, the finger paintings drawn casually received rave reviews and were collected by collectors. It is really an "unintentional mistake." Since then, I have been out of control, and I have been painting my fingers seriously. After more than ten years of hard work, it has become more and more handy. Hua: What do you think is the similarity between finger painting and strokes? What's the difference?

Gong Jixian: I think the essence of finger painting lies in freehand brushwork, and the basis of freehand brushwork lies in meticulous brushwork. Although finger painting does not use a pen, it can not be separated from the principle of pen and ink, and it is also necessary to pay attention to charm, bone technique, artistic conception and composition. When strokes are drawn to a certain proportion, finger painting is not a big problem, and the two are the same. As for the difference, of course, fingers are not as soft as brushes, and the lines drawn are easy to dry up, stiff and lack of layering, which is the difference between ink painting. Finger painting creation must pay attention to this difference and take appropriate measures to remedy it. Generally speaking, when I draw finger paintings, I often feel that my fingers are connected with one another. Drawing directly with your fingers is handy and watertight. It seems that it is easier to show spiritual signs and show the taste that strokes can't express. This is why I am interested in finger painting. Hua: Before the interview is over, can you tell me more about your future plans?

Gong Jixian: We live in the golden age of painters. I often say that the older generation of painters have reached a high level in art education. We should strive to enrich our art education. Art is endless, and we are much better than them in material life. Think about them. What are we dissatisfied with? In our line of work, you can't expect a large number of "fans" to wave light sticks like stars and singers, cheer for you, enjoy life quietly and be happy. At the same time, I express my feelings and love for life through painting, add some pleasure to modern people who are eager for inner peace and spiritual habitat, arouse the voice of aesthetic interest, and realize what I have always advocated, "Only by entertaining myself can we entertain people." I have done this before and intend to do it in the future.