和而不同 仁泽天下 ——记艺术国际联合会主席 徐建君

和而不同 仁泽天下——记艺术国际联合会主席 徐建君　　

吴马山

　　“每个时代都需要有自己的伟大人物，如果没有这样的人物，历史就要塑造出这样的人物来。”(马克思)

　　凡作传世之文者，必先有可以传世之心。【典出】清·李渔·《闲情偶寄》

　　徐建君先生身为当代轩辕宗士夫学派领航人物，以传承中华文脉之志，襟怀创作传世文画之心，上追圣贤，下随时代，立宗开派。

　　恩师朱豹卿先生题字

徐建君作品赏析

　　《黄帝颂》是其诗文代表作：

　　《黄帝颂》

　　一

　　中华元祖尊黄帝

　　河浩岳峨功表彰

　　名永记五千年德

　　泽长流九万里疆

　　庆今圆梦国兴盛

　　远古开初家旺昌

　　动地桥山三献礼

　　文明肇此照遐荒

　　二

　　开创发明万世功

　　农医兵器并交通

　　车船算历内经学

　　网罟衣冠矛箭弓

　　征服东夷伐逐鹿

　　造成书契整军戎

　　蚩尤平息九黎定

　　制律绥猷统大同

　　历史悠久的中国画，不仅是中国乃至东方的艺术瑰宝，也是世界艺术宝库中一颗璀璨的明珠。它不仅深受华人和东方人的喜爱，也深得西方各界人士的青睐。与西方引以自豪的西画相比，中国画同样有其博大精深的文化内涵和独具特色的民族风格。

　　传统中国画家要求具备多学科知识、深厚的文化涵养及高尚的道德情操，中国画作品中不仅体现了文学的意味深长，哲学的深邃奥妙，历史的厚实积淀，自然的丰富多彩和气象的变化万千，更可窥见画家的聪明才智和真性情。西方画坛泰斗毕加索曾热情地赞扬中国绘画：“在这个世界上谈艺术，第一是中国。中国画的神奇在于看上去一无所有，其实包含一切。”

　　中国绘画在几千年的历史长河中，高峰迭起，大师辈出，各领风骚。中华人民共和国成立以后，特别是改革开放以来，国画迎来了又一个春天，许多有胆识、有才华的画家深入生活，广泛吸取东西方绘画营养，既传承古法又勇于创新，极大地推动了中国画的发展。值此联合国教科文组织总部举办联合国中文日庆祝活动之际，我们特向海内外推介当今中国画坛颇有建树，且画风独到，才华横溢的中国大写意画家徐建君先生。

　　徐建君，轩辕皇帝后裔，家谱排行(詩字輩)軒轅畫派創始人，字道陀，号北斗砚主。现系联合国世界文化多样性组织副秘书长、艺术国际联合会主席、文化部青藤泼墨大写意中国画非遗传承人、中国美术家协会会员，俄罗斯皇家艺术科学院院士、东方中国画艺术研究院院长，英国牛津大学客座教授。

　　徐建君于上世纪六十年代出生于浙江诸暨的一个绘画世家，父亲徐海彬先生是浣沙书画社发起人，幼时看书画社老一辈艺术家挥毫泼墨，耳濡目染，潜移默化。后又被朱豹卿先生收为入室弟子，闻道开悟后，创立了轩辕学派，作品诗、书、画、印互为融通，是当下中国士夫文人画的领军人物。他专攻书画，所作诗文简约俏逸，寄托高远，书法上主张帖学和金石学融合，擅长水墨大写意，其篆刻汲取南北流派，印风雄浑苍莽，极具现代感。他综合诗书画印，在理论研究和创作实践中取精用宏，形成了自己独特的艺术风格。从传统的写意画来看，文人画追求意境，不为格法所囿，着墨不多，却又富于变化，大都诗书画印配合出现，讲究书法趣味。

　　徐建君作品赏析

　　徐建君的书画以骨法用笔为内质，以书写为法则，落笔豪放，浑然天成。其恩师朱豹卿先生生前看了徐建君的《逍遥游》巨幅作品后说：徐建君画，雄浑而开阔，有潘老气勢。并为《徐介君金石书画集》分别题写“天降大任予斯人也”和“冀北空群”，预言其必将成为画坛的中流砥柱。徐建君提出中国画艺术的本质就是点、线、块为基本组成单位，万物皆由点、线，块组成，点、线、块的内质决定艺术境界的高低。谓之“取精用宏”。就这一点来说，传统文人画王维的山水，苏、文的竹石，米芾父子的云山，梁楷、石恪的减笔描，黄公望、倪云林等元人的枯木竹石，以及明清士夫文人画的作品都具备上述特点。

　　清李重华《贞一斋诗话》云;善写意者，意动而其神跃然欲来，意尽而其神渺然无际，此默而成之，存乎其人矣。中国花鸟画自青藤白阳行大写意之风后，辈有来者，然而真正能够有所成者都有着与众不同的心性与情感。“意动”由心中一念而起，此一念必有不同常人之“感”，才能成此独有之“意”，由“意”驱笔行墨，于纸素之上行乎不得不行，止乎不得不止。这是写意画创作的真正状态。因此写意花鸟对于创作者有很高的要求，简率的笔墨并不是简单轻易之举。笔墨对于“意”，呈现的充分有效性关系到作品的最后成功，因此笔墨的功力是一个极为重要的要求，是创作成功的必要保障。而作品的最终要求是“神”，“神”跃然纸上，则所绘物之形态表象已为其次，重要的是以神形物，超然形外。物之“神”与作者之“神”合一。

　　大写意中国画的发展，青藤、白阳、八大山人以后有扬州八怪诸家，清末民初有海上诸家，二十世纪有吴昌硕、齐白石、潘天寿以写意花鸟名世，各有建树。其后吴、潘影响着江浙中国画的发展，而齐则对以北京为中心的北方中国画发展起着极为重要的作用。

　　徐建君的写意中国画受恩师朱豹卿的熏染，在笔墨形态及审美意味上与这三家有所不同，显现了明显的个人特色，以风神之萧散与笔墨之简远为特征。其中，吴、齐、潘三家的成功均与各自援用书法成就相关。吴昌硕以秦《石鼓文》为突破口，齐白石用心于魏碑与汉碑，潘天寿多临写甲骨文、金文汉碑。三家都以用笔厚重、刚毅、凝练为总体特征，显示了大写意中国画的情势与力量。

　　徐建君的写意中国画继承了前贤对于笔墨质量的严格要求，但是并没有囿于笔墨自身的表达，而是将笔墨与心意相合，在萧散简远的笔墨趣味中抒发旷达豪迈的文人情怀。时下多有写意花鸟画家学习吴、齐、潘三位大家而走入误区，以为将他们的笔墨特征夸张化运用，以为大写意就是笔墨的布陈，而缺乏笔墨内在的意韵，更有画家以为写意就是随意地“自由”舞弄笔墨，全然不顾写意画简率之下内在的严格要求。

徐建君作品赏析

　　徐建君的画以意为高，意在象外，因此不会对物象作过多的雕琢，同时以意涵情，情在意的统摄之下，不恣肆，而自有其深处。其笔墨萧散故无滞浊，简远离于繁杂。无论花卉、虫鸟都有一种逸致，这种逸致是其人离于俗地的必然表现。观其画作，拙趣溢于纸外。宋姜夔说“雕刻伤气，敷衍露骨。若鄙而不精巧，是雕刻之过;拙而无委曲，是敷衍之过。”徐君的创作注重心性的直现，无求悦于人的迎合，因此呈现了一种独立的人格，这在当下呈现出极为可贵的文人画情操。

　　石涛说:“夫画者，从于心也。″道出了中国绘画的精髓。绘画所表达的是画家的思想与精神境界。徐君之画作，有对生活的感受，有观察事物的态度，有发现美和表现美的手段能力，以及对生活的感受。正如石涛所述的“画受墨，墨受笔，笔受腕，腕受心”，心受万物，万物受天，天受道，道法自然，由此，“吾道一以贯之″。徐建君的画作，充分彰显了中国画的笔墨精神。

　　徐建君先生认为：笔墨是中国画传统演进过程中形成的一整套独特的形式语言体系，是中国文化大体系中的一部分，是世界范围内独一无二的中国式的视觉表达方式。之所以讲独一无二，是因为形体、色彩、构图是全世界绘画共同的要素，中国绘画亦如是。但是笔墨却是中国绘画所独有，而全世界其它民族的传统绘画中都没有的要素。所以，这是一种独一无二的中国式的视觉方面的精神表达方式，中国人的文化精神在传统绘画中有相当大的比重是凭借这套独特的视觉语言来表达的。

　　作为一个继承传统和发扬传统的中国画家，徐建君把这一独特因素继续发扬光大，把诗、书、画、印的文化修养带入到绘画创作的过程中，在传统绘画创作中充分体现了新时代中国人的文化精神。

　　徐建君非常认同陈师曾先生的这段话:“文人画之要素:第一人品，第二学问，第三才情，第四思想，具此四者，乃能完善。”吴昌硕笔墨的“重、拙、大”、“画气不画形”;齐白石笔墨的“平直刚健”、“大方质朴”;黄宾虹笔墨的“浑厚华滋”直至“纯用焦墨”;到潘天寿的“苍古高华”、“一味霸悍”，朱豹卿的“笔墨遒劲古拙，意趣清新超逸”，到徐建君这里是“正本清源，革故鼎新”，一脉相承，一以贯之。

　　20世纪传统派艺术大家所标识的这条精英性的传统主线，其共同趋势是中国画点、线、块笔墨的进一步独立与解放。笔墨与对象形体的关联性更为松散，更为概略，笔线与笔触进一步放大，从小笔小墨趋向大笔大墨，在画面上形成独立于客体形象之外的自重节奏韵律。这种独立的节奏韵律是笔墨语言自身的美，即“书写”之美，而不是客体之美。画家手下的一笔一墨如同音符，在手的运动和主体心绪的支配把握中，起伏，跳跃，曲折流淌，构成整幅画面的华彩乐章，呈现出阔大沉雄、质朴高华的总体气象。这是在更高的艺术本体层面上对雄浑博大的民族精神的领悟与张扬。其中饱含着刚正和谐、朴拙内敛的力量感，透露眷一个历经沧桑的古代文明寻求伟大复兴的意志与企盼。

徐建君作品赏析

　　从创作者和欣赏者两个角度说，对画面笔墨细微变化的敏感和总体气象格调的领悟，始终是最为关键、最具文化深度、最不容易理解与驾驭的枢纽。其中，特别值得深思的是，这里所谓的独立与解放，并不是笔墨的任意一种独立和解放，也并非仅仅是新意和有趣，而是与知识精英们共同的人格理想及其思想取向相一致的独立和解放。以吕凤子、吴昌硕、齐白石、陈师曾、黄宾虹、潘天寿、朱豹卿、徐建君为代表的近现代笔墨趋势是对于文人画末流轻秀促弱之风的反拨，是对于汉魏碑刻所记录的远古雄风的追慕，是对于中国近现代社会巨大变革的审美回应，是中华民族自立自强的群体性心理期待的象征。

　　徐建君作为中国当代杰出的士夫文人代表画家，具有朴素而强烈的家国情怀，这在他的诗文和画作中都有充分体现。

　　徐先生有对自己文化理想的坚持，对中国传统绘画生命力的坚持，尤为可贵的是在新的文化语境中拥有充分的文化自信。

　　徐先生以天、地、人的总体关系，建立了强大的意象思维体系和审美体系，确立了以中国精神以真为道和以笔墨结构为核心的意象造型法则。

　　徐先生深谙中国画创作于实象与抽象的表现间自有神化的意象，介与“实象"与“抽象”之间，诚如宗炳所说的“圣人含道映物，贤者澄怀味象”的中国画式的“意象”创造，始终保持自己的民族传统时代符号。他在创作中往往逆笔涩行，锋变入纸，万毫齐力，深得屋漏痕、折钗股、锥画沙、虫啮木、铁铸锈诸法，笔线如千里之阵云，万岁之枯藤，遒劲有力，浑厚苍莽，其点如高山坠石，渴骥奔泉，老辣纷披，错落随心，体现出本源金石碑碣气弥满的持征，作品有强烈的时代感。由此，徐先生的画也充分彰显了中国画当代原创的“笔墨意象精神”。

　　中国书法对中国画的影响是历来强调的，因为书与画都是点、线、块的节奏组合，有共同的性质和理论基础，也有共同的审美趣味和鉴赏标准。因此，书与画互相渗透和深化，相辅相成。“骨法用笔”成为中国画表现形式最主要的组成因素，中国诗词对中国画的影响也是历来强调的，固为诗与画表现的是相似的意境，是同一种精神境界。其间深含着共同的民族性格，时代感情，人生哲理。诗情画意成为中国画的基本要求，诗、书、画、印的结合，正是传统中国画不同世界上其他任何画种的一大特长，也正是传统中国画的价值所在。

徐建君作品赏析

　　仁其義、道尊德、爱无彊!----是艺术国际文化全球化的九字箴言。西方文艺复兴是神性的复兴，东方文艺复兴是人性的复性。六艺之道就是要把人性所具有的本然之善，性德之真唤醒，让仁爱遍布人类命运共同体。我们本着“为天地立心，为生命立命，为往圣继绝学，为万世开太平。”此乃士夫学派创作指导思想。

　　中国画的笔墨，是以作者的情感、力与笔运用融化一体为标准。中国画，块是点的扩大，点是体积的，线是点的延长，点是力之积，积力成线使人有生死刚正之感，古人叫做骨法用笔，生死刚正谓之骨。徐先生深感民族的就是世界的。我们的民族必定要代表自己的民族符号，方能立足于世界文化之林。中华民族艺术的文化符号就是集诗书画印为一体的大写意。只有重新强化点、线、块这个民族符号，才能审视二十一世纪中国绘画艺术时代美学的新发展。我们正处在民族文化伟大复兴的历史洪流大潮中，民族意识在不断觉醒，中华民族的文化自信彰显了五千年文化传承责任与担当。中国士夫传统绘画拥有强大的生命力，不仅是推动中国画创新发展的力量，也是推动世界绘画创新发展的核心力量。

　　注：彼得罗夫艺术科学院，是俄罗斯最古老最重要的科学院之一。1724年1月28日根据沙皇彼得大帝的命令而创建的。前苏联时期，更名为苏联科学研究院。1992年4月19日俄罗斯联邦政府命名为彼得罗夫艺术科学院。科学院从建立之初至今，涵盖了多个研究领域，为俄罗斯乃至世界的艺术与科学发展作出了巨大的贡献。彼得罗夫艺术科学院院士的授予者均为当代杰出的艺术家，1958年潘天寿聘为苏联艺术科学院院士即彼得罗夫艺术学院现俄罗斯皇家艺术科学院，2016年7月，当代徐建君为俄罗斯皇家艺术科学院院士授予者。

徐建君作品赏析

　　Umasan

　　"Every age needs its own great men, and if there are no such men, history will produce such men." (Karl Marx)

　　Anyone who writes for the world must first have a heart that can be handed down to the world. 【 Canon 】 Qing · Li Yu · "Idle Love I Mail"

　　Mr. Xu Jianjun, as a leading figure of the contemporary Xuanyuan Zongshi Fu School, inherits the aspiration of the Chinese context, has the heart of creating the handed down literature and painting, pursues the sage, follows The Times, and establishes the Zongkai School.

　　Ode to the Yellow Emperor is his representative poem:

　　Ode to the Yellow Emperor

　　one

　　The Chinese Yuan ancestor honored the Yellow Emperor

　　He Haoyue lofty commendation

　　Five thousand years of virtue

　　The land stretches for 90,000 miles

　　Celebrate this dream country flourishing

　　Ancient first home Wangchang

　　Moving ground bridge mountain three dedication

　　Civilization caused this deficiency

　　two

　　Create and invent eternal achievements

　　Agricultural medical weapons and transportation

　　Calculate the calendar within the study of longitude

　　A spear and arrow bow

　　Conquering the east and chasing the deer

　　Cause the letter of contract to reunite the army

　　Chiyou pacifies nine Li Ding

　　Regulate the law and act in harmony

徐建君作品赏析

　　Chinese painting with a long history is not only the artistic treasure of China and even the East, but also a bright pearl in the treasure house of world art. It is not only deeply loved by Chinese and Orientals, but also deeply favored by people from all walks of life in the West. Compared with the western painting that the West is proud of, Chinese painting also has its extensive and profound cultural connotation and unique national style.

　　Traditional Chinese painters require multi-disciplinary knowledge, profound cultural cultivation and noble moral sentiments. Chinese paintings not only reflect the significance of literature, the depth and mystery of philosophy, the solid accumulation of history, the rich and colorful nature and the ever-changing weather, but also reveal the wisdom and true temperament of the painters. Picasso once praised Chinese painting enthusiastically: "When it comes to art in this world, the first is China." The magic of Chinese painting is that it looks like nothing, but it is everything."

　　In the long history of Chinese painting for thousands of years, the peak is repeated, and the masters come forth in large numbers. After the founding of the People's Republic of China, especially since the reform and opening up, Chinese painting has ushered in another spring. Many courageous and talented painters have gone deep into life, extensively absorbing the nutrition of Eastern and Western painting, inheriting ancient methods and daring to innovate, which has greatly promoted the development of Chinese painting. On the occasion of the celebration of the United Nations Chinese Language Day at UNESCO Headquarters, we would like to present to the world and abroad the outstanding and talented Chinese brushwork painter Xu Jianjun.

　　Xu Jianjun, descendants of Emperor Xuanyuan, genealogy ranking (poem generation) founder of Xuanyuan painting school, word Dao Tuo, number Beidou inkstone master. He is now Deputy Secretary-General of the United Nations World Cultural Diversity Organization, President of the International Federation of Art, non-genetic inheritor of the Ministry of Culture, member of the Chinese Artists Association, Academician of the Russian Royal Academy of Arts, President of the Institute of Oriental Chinese Painting, visiting professor of the University of Oxford.

　　Xu Jianjun was born in Zhuji, Zhejiang Province in the 1960s into a family of painters. His father, Mr. Xu Haibin, was the founder of Huansha Calligraphy and Painting Society. When he was young, he was influenced by the older artists of the painting and calligraphy society. After being accepted as a disciple by Mr. Zhu Baoqing, he founded the Xuanyuan School, whose works of poetry, books, painting and printing are integrated into each other, and is the leader of the current Chinese literati painting. He specializes in calligraphy and painting, the poetry is simple and elegant, sustenance high, calligraphy advocates the integration of calligraphy and gold and stone, good at ink and brushwork, its seal cutting from the north and south schools, the printing style is strong and wild, very modern. He synthesized poetry, calligraphy, painting and printing, and made use of the essence in theoretical research and creative practice, forming his own unique artistic style. From the traditional freehand painting point of view, literati painting pursuit of artistic conception, not for the lattice method, ink is not much, but rich in changes, most of the poetry, calligraphy and printing appear, pay attention to the interest of calligraphy.

徐建君作品赏析

　　Xu Jianjun's calligraphy and painting takes the bone method and the brush as the inner quality and the writing as the law. His teacher, Mr. Zhu Baoqing, said after seeing Xu Jianjun's huge works of "Carefree Travel" : Xu Jianjun's paintings are vigorous and open, with the momentum of Pan Lao. And for the "Xu Jiejun stone calligraphy and painting collection" respectively wrote "the great responsibility of heaven to Si Ren also" and "North Hebei empty group", predicting that it will become the mainstay of the painting world. Xu Jianjun proposed that the essence of Chinese painting art is that point, line and block are the basic constituent units, and everything is composed of point, line and block, and the inner quality of point, line and block determines the level of artistic realm. It is called "use the essence and macro". In this regard, the traditional literati paintings of Wang Wei's landscape, Su and Wen's bamboo stone, Mi Fu's Yunshan, Liang Kai and Shi Ke's brushstroke, Huang Gongwang, Ni Yunlin and other Yuan people's dry wood and bamboo stone, as well as the literati paintings of the Ming and Qing dynasties all have the above characteristics.

　　Qing Li Chonghua "Zhen Yizhai poem" cloud; Good freehand, meaning to move and its God is eager to come, meaning to do and its God he boundless, this silent into, there is a person. Chinese flower-and-bird painting has been coming since the wind of Qingteng Baiyang, but those who can really achieve have different hearts and emotions. "Meaning movement" from the heart of a thought, this thought must be different from ordinary people's "sense", in order to become this unique "meaning", by "meaning" drive pen line ink, on the paper must not do, stop must not more. This is the real state of freehand painting creation. Therefore, freehand flowers and birds have high requirements for creators, and simple ink is not simple and easy. The full effectiveness of pen and ink for "meaning" is related to the final success of the work, so the skill of pen and ink is a very important requirement and a necessary guarantee for the success of creation. The final requirement of the work is "God", "God" appears on the paper, then the shape of the painted object has been secondary, and the important thing is to be God-shaped object, transcendent form. The "god" of the object and the "God" of the author are one.

　　In the development of brushwork Chinese painting, there were eight strange families in Yangzhou after Qingteng, Baiyang and Eight Mountain people, there were sea families at the end of the Qing Dynasty and the early Republic of China, and Wu Changshuo, Qi Baishi and Pan Tianshou were famous for brushwork flowers and birds in the 20th century. Later, Wu and Pan influenced the development of Chinese painting in Jiangsu and Zhejiang, while Qi played an extremely important role in the development of northern Chinese painting centered in Beijing.

　　Influenced by his teacher Zhu Baoqing, Xu Jianjun's freehand Chinese painting is different from those of the three schools in the form of brushwork and aesthetic meaning, showing obvious personal characteristics, characterized by the wind spirit and brushwork simplicity. Among them, the success of Wu, Qi and Pan are related to their respective achievements in using calligraphy. Wu Changshuo took Qin's Stone Drum Writing as a breakthrough, Qi Baishi focused on Wei and Han tablets, Pan Tianshou wrote oracle bone inscriptions and Jin Wen Han tablets. The three are characterized by heavy, resolute and concise brushwork, showing the form and power of large brushwork Chinese painting.

徐建君作品赏析

　　Xu Jianjun's freehand Chinese painting inherited the strict requirements of the former sages for the quality of the brush and ink, but was not limited to the expression of the brush and ink itself, but to match the brush and ink with the mind, and express the bold and heroic feelings of the literati in the simple and simple taste of the brush and ink. Nowadays, many freehand flower and bird painters learn from Wu, Qi and Pan and go into the wrong area, thinking that their brushwork characteristics are exaggerated, thinking that freehand brushwork is the layout of brushwork, and the lack of the inherent meaning of brushwork, and some painters think that freehand brushwork is to freely "free" dance with brushwork, completely ignoring the inherent strict requirements under the simplicity of freehand brushwork.

　　Xu Jianjun's paintings are high in meaning and are intended to be outside the image, so they will not make too much carving of the image, and at the same time, they will be controlled by meaning and feeling, not wantonly, and have their own depths. Its pen and ink xiao scattered so no stagnation, simple away from complex. No matter flowers, insects and birds, there is a kind of escape, this escape is the inevitable expression of people away from the common place. Looking at his paintings, the dull interest overflows out of the paper. Song Jiang Kui said, "Carving hurts qi, perfunctory and explicit." If it is despicable and not delicate, it is the fault of carving; Foolishness without compromise is perfunctory." Xu Jun's creation pays attention to the direct expression of the mind, and does not seek to cater to others, so he presents an independent personality, which presents a very valuable sentiment of literati painting at present.

　　Shi Tao said: "The painter, from the heart also." It shows the essence of Chinese painting. Painting expresses the painter's thought and spiritual realm. Xu Junzhi's paintings have the feeling of life, the attitude of observing things, the means of finding beauty and expressing beauty, and the feeling of life. As said by Shi Tao, "painting receives ink, ink receives pen, pen receives wrist, wrist receives heart", heart receives all things, all things receive heaven, heaven receives Tao, Tao is natural, thus, "my Tao is consistent". Xu Jianjun's paintings fully demonstrate the spirit of Chinese painting.

徐建君作品赏析

　　Mr. Xu Jianjun believes that brush and ink is a unique set of formal language system formed in the evolution of Chinese painting tradition, a part of the Chinese cultural system, and a unique Chinese-style visual expression in the world. The reason why it is unique is that form, color and composition are the common elements of painting all over the world, and Chinese painting is the same. However, pen and ink are unique elements in Chinese painting, which are absent in the traditional paintings of other peoples around the world. Therefore, this is a unique Chinese visual aspect of the spirit of expression, the Chinese cultural spirit in the traditional painting has a considerable proportion of this unique visual language to express.

　　As a Chinese painter who inherits and carries forward the tradition, Xu Jianjun continues to carry forward this unique factor, bringing the cultural cultivation of poetry, books, painting and printing into the process of painting creation, and fully embodies the cultural spirit of Chinese people in the new era in the traditional painting creation.

　　Xu Jianjun agrees with this paragraph of Mr. Chen Shizeng: "The elements of literati painting: the first character, the second knowledge, the third talent, the fourth thought, with these four, can be perfected." Wu Changshuo's brushwork is "heavy, clumsy, large", "painting qi does not paint shape"; Qi Baishi's brushwork is "straight and vigorous", "generous and simple"; Huang Binhong's pen and ink "thick and rich" until "pure coke ink"; To Pan Tianshou's "ancient Gao Hua", "blindly bully", Zhu Baoqing's "pen and ink are strong and primitive, fresh and elegant", to Xu Jianjun here is "original clean source, reform and innovation", one line of succession, with a consistent.

　　The common trend of this elite traditional main line identified by the traditional artists of the 20th century is the further independence and liberation of Chinese painting dots, lines and blocks of ink. The correlation between brush and ink and the body of the object is looser and more general, the brush line and brush stroke are further enlarged, and the small brush and ink tend to the large ink, forming a self-weight rhythm independent of the object image on the picture. This independent rhythm is the beauty of the pen and ink language itself, that is, the beauty of "writing", not the beauty of the object. The strokes and inks under the painter's hand are like musical notes. In the movement of the hand and the dominant grasp of the subject's mood, the ups and downs, jumps and twists and turns flow constitute the colorful movement of the whole picture, showing the overall atmosphere of broad and profound, simple and lofty. This is the understanding and publicity of the vigorous and broad national spirit at the higher level of art ontology. It is full of upright and harmonious, simple and restrained sense of strength, revealing the will and expectation of an ancient civilization that has gone through vicissitudes of life to seek the great revival.

　　From the perspective of both creators and viewers, the sensitivity to the subtle changes in the brush and ink of the picture and the understanding of the overall meteorological style are always the most crucial, the most cultural depth, the least easy to understand and control the hub. Among them, it is particularly worth thinking about that the so-called independence and liberation here is not any kind of independence and liberation of pen and ink, nor is it just new and interesting, but independence and liberation consistent with the common personality ideal and ideological orientation of the intellectual elite. The trend of modern brush and ink represented by Lv Fengzi, Wu Changshuo, Qi Baishi, Chen Shizeng, Huang Binhong, Pan Tianshou, Zhu Baoqing and Xu Jianjun is a reversal of the trend of light and weak in literati painting at the end, an admiration for the ancient strong style recorded in Han and Wei inscriptions, and an aesthetic response to the great changes in modern Chinese society. It is a symbol of the group psychological expectation of the Chinese nation self-reliance and self-improvement.

　　Xu Jianjun, as an outstanding representative painter of Chinese contemporary taxi men and literati, has a simple and strong feeling of home and country, which is fully reflected in his poems and paintings.

徐建君作品赏析

　　Mr. Xu insists on his own cultural ideals and the vitality of traditional Chinese painting. What is particularly valuable is that he has full cultural confidence in the new cultural context.

　　Based on the overall relationship between heaven, earth and man, Mr. Xu established a powerful image thinking system and aesthetic system, and established the image modeling law with the Chinese spirit taking truth as the path and the structure of pen and ink as the core.

　　Mr. Xu is well aware of the deified image between the real image and the abstract expression of Chinese painting, and between the "real image" and "abstract", just as Zong Bing said, "the sage contains the Tao and reflects the object, the sage has a taste of the image", and has always maintained its own national traditional symbols of The Times. In his creation, he often reverses the brushwork, the front changes into the paper, 10,000 milli, deep house creases, hairpin strands, cones of sand, worms gnawing wood, iron casting rust and other methods, the pen line is like a thousand miles of clouds, long live withered vine, strong and thick, the point is like a mountain falling stone, thirsty steed running to the spring, the old, scattered heart, reflecting the original stone tablet Qi full of signs, works have a strong sense of The Times. Thus, Mr. Xu's painting also fully demonstrates the original contemporary Chinese painting "pen and ink image spirit".

　　The influence of Chinese calligraphy on Chinese painting has always been emphasized, because books and paintings are rhythmic combinations of points, lines and blocks, and have a common nature and theoretical basis, as well as a common aesthetic taste and appreciation standards. Therefore, books and paintings penetrate and deepen each other and complement each other. "Bone method with brush" has become the most important component of the expression of Chinese painting, and the influence of Chinese poetry on Chinese painting has always been emphasized, which indicates that poetry and painting express similar artistic conception and the same spiritual realm. It contains the common national character, the feelings of The Times, and the philosophy of life. Poetry and painting have become the basic requirements of Chinese painting, and the combination of poetry, book, painting and printing is a major specialty of traditional Chinese painting, which is different from any other painting in the world, and is also the value of traditional Chinese painting.

　　Benevolence and its righteousness, Tao and virtue, love without wide-ranging! ---- is a nine-word motto for the globalization of art and culture. The Western Renaissance is the Renaissance of divinity, the Eastern Renaissance is the renaturation of human nature. The way of the six arts is to awaken the natural goodness of human nature and the truth of sexual virtue, so that benevolence can spread throughout the community of human destiny. We are in the spirit of "for heaven and earth to establish the heart, for life to establish life, for the sage to continue learning, for eternity to open peace." This is the guiding ideology of the Shiff school.

徐建君作品赏析

　　The ink of Chinese painting is based on the author's emotion, strength and the melting of the pen as a standard. In Chinese painting, the block is the expansion of the point, the point is the volume of the point, the line is the extension of the point, the point is the accumulation of force, the accumulation of force into the line makes people have the sense of life and death, the ancient people called the bone method, the bone of life and death. Mr. Xu deeply felt that the nation is the world. Our nation must represent its own national symbols in order to stand in the forest of world culture. The cultural symbol of Chinese national art is the brushwork that integrates poetry, calligraphy, painting and printing. Only by re-strengthening the national symbol of point, line and block can we examine the new development of aesthetics in the era of Chinese painting art in the 21st century. We are in the historical tide of the great rejuvenation of national culture, the national consciousness is constantly awakening, and the cultural confidence of the Chinese nation reflects the responsibility and responsibility of cultural inheritance for 5,000 years. The strong vitality of traditional Chinese painting is not only the force that promotes the innovation and development of Chinese painting, but also the core force that promotes the innovation and development of world painting.

　　Note: The Petrov Academy of Arts is one of the oldest and most important academies in Russia. It was founded on 28 January 1724 by order of Tsar Peter the Great. In the former Soviet Union, it was renamed the Soviet Academy of Science. On April 19, 1992, the Government of the Russian Federation named it the Petrov Academy of Arts. Since its inception, the Academy of Sciences has covered a wide range of research fields and made great contributions to the development of art and science in Russia and the world. In 1958, Pan Tianshou was appointed as an academician of the Soviet Academy of Arts, that is, the Petrov Academy of Arts is now the Royal Russian Academy of Arts. In July 2016, Xu Jianjun was awarded as an academician of the Royal Russian Academy of Arts.