Black and White Oil painting 《院儿》 We have many ways to enter the old Beijing hutong and walk into the courtyard. Most of the time, we follow the light and shadow of black and white photos. When the old houses appear in the camera, the mottled remains the same. This time is different.
We walked into the 《院儿》 with the brushstrokes of black and white oil paintings, and entered the memory of childhood. Needless to say, the oil painting is foreign-style, and it is matched with Xiaoyanglou and Western Restaurant; and if the Hutong Courtyard is not rustic, it is at least a folk custom, and it is very compatible with the biscuit and the bean juice. Therefore, using Western painting to express the ancient capital residence, it is wearing a suit pull Huqin, it is likely to see how it does not match. It is an adventure for the painter Tian Yingren to walk in the hutong with a picture box. It can also be said to be an offense. She uses the seemingly incompatible Western art form to express the scene of oriental life. What will be the result? If it is not categorical, it may be very embarrassing. You know, her oil paint is not the Burgundian palace and wine cellar, not the arch bridge and gondola of Venice, not the pier and tower of Rotterdam, and not the snow and the Yosem of Mont Blanc. Mitty’s moon…but the brick-and-mortar courtyard that she has never lived in but the old and noisy hutong courtyard, although she has traveled numerous times, it is just a passer-by. In fact, it is true for anyone and things. Familiarity and unfamiliarity are not complete, but they are counted. When the old Beijingers are familiar with them, and they can touch the door of the 《院儿》 with their eyes closed, our inner touch is no less than a long-lost haircut. I really want to hit him and punch him. Or hug him tightly. First of all, we like this black and white color too much, not a kind of elegant atmosphere, quiet and comfortable feelings, highlighting the simplicity and subtleness of the Hutong courtyard. The painter boldly used the subtraction method in the composition, and removed all the debris that was commonplace in the hospital, leaving only one courtyard door to occupy a conspicuous position. There is no single character in the whole picture, but it seems that there is a living life in it. Not only the temperature of life can be felt, but also the secret story is hidden. – A seemingly inadvertently decorated women’s bicycle, reclining on the courtyard wall next to the door, like a vigorous old wood, blooming a delicate flower. Obviously, the hostess of the bicycle is making a short stay, otherwise she will put the bicycle in the yard. So who is the person she visited? How come she has a special trip here? What kind of impression will she leave for the small courtyard children? Although we are talking about black and white oil paintings, we can use black and white chess as a metaphor. It can be said that: a good game, full of life. This bicycle, which is quietly curled up in the lower right corner of the picture, is like a pen of God. It does not have a word, and it makes the whole painting vivid and vivid. So we can’t imagine what would happen if there was no such bicycle in the picture. Art, often seeing the spirit in subtleties. I remember that when the world singer Pavarotti of the Apennine peninsula sang on the stage, he always did not forget to wear his little ornaments as props. He always tied a white towel on his wrist and waved it from time to time to let him I am very chic and natural in the eyes of the audience who support him.
The Tian painter, who had been arguing in Italy and holding a painting exhibition, witnessed the style of the song king and borrowed the atmosphere of “small eyes”. The oil painting 《断“臂”之痛》 is a rare thing to see a picture. What’s more, this is a superposition of two kinds of pain, which is a mixture of psychological and physical pain.
This black and white oil painting is called 《断“臂”之痛》, obviously this quoted “arm” is the “wall” homonym, it refers to the wall, is too much we see and The walls of the ancient alley courtyard that disappeared. Although the protagonist in the picture is a building, the ridges, beams, and bricks will shed tears. Because of their long history, their bodies have already been soaked in the life of their homes. The social turmoil of the world is not strange, but everyday life. The joys, sorrows and sorrows will not be unfamiliar. The old house gives us the feeling that it is a “living thing” with life temperature and memory. I don’t know why, I like this painting. It made me realize that the ancient buildings of the city where humans have lived can also be regarded as flesh-and-blood bodies. Our responsibility and obligation is to protect them as much as possible, and take care of them. Iron weapon damage, and even fracture or bleeding. I was thrilled to see these broken walls and prove that our soul has not yet been numb to our home. Our pain is just proof that we are still awake. The ancient city is surrounded by its old residential buildings, which are blood vessels, nerves and cells. Walking in the deep and quiet hutong is a specific field in which we meet with history and dialogue with historical figures. If the hutongs that have been in the world for at least five or six hundred years are not in existence and there are countless legendary stories in the courtyard houses, why do we care for the nostalgic feelings of a historical and cultural city like Beijing?
This is a requiem that is specially sung for the residential buildings that the city is gone for. It is a singer of blood and blood that is written with lines and color blocks of black and white oil painting. The sad reminder, sad and helpless and sorrowful sigh though Silent and uninteresting, it can’t change the reality, but it has already blown our hearts. Just like a strong electric shock, the mood can’t be calm for a long time. I even wondered who was unreasonably pushing the old historic buildings of the city onto the operating table. The lame surgeons who had no medical knowledge and literacy were waving scalpels. For them, cut off the ridge of a house (also known as the “big ridge”, that is, the intersection of the two slopes at the top of the house) together with the beasts (building decorative objects, swallowing the ridges) and the beasts Kissing the beast is the same as the ornament, looking out the way), just as easy as going up the mountain to cut wood, just like the potato in the vegetable field. The ancient capital is the body of its ancient architecture, but it is clear that not everyone has a sense of skin and brotherhood. If we say that ancient urban buildings used to bleed or are bleeding, then Lu Xun’s words would come in handy. He said: “The real warrior, dare to face the bleak life, dare to face the dripping blood…” Perhaps Lu Xun, who likes to recommend woodcut prints to readers, is alive, he will love the painting of Tian Painter. The subject matter and style of this painting are bold and direct, sharp and sharp, and how close to Lu Xun’s character and thinking.
The Tian painter really loves Lu Xun. She has no feelings for most modern Chinese writers, but she is very interested in Lu Xun, who has always been stabbed, ridiculous, unrequited, and naked. She also appreciates his character. , the rhetoric of words and speech. She said: “In any case, there is a Lu Xun is really good! Unfortunately, only one of them, if there are a few more Lu Xun, then it is better!” It is also interesting to say. The gentle-tempered Tian painter’s body and his works actually have some “hard bones” Lu Xun’s shadow. The two don’t really take it. Who said that a painting cannot be as sharp and weighty as an essay; who said that a weak woman cannot have the heart and feelings of a great husband; who said that the oil painting 《断“臂”之痛》 can not be the backyard of Lu Xun’s former residence. Jujube tree with thorns.
The Black and White Oil painting 《冻坏的家》 is space art, literature, and time art. When space art has the characteristics of time art, the immortal cause is done. In front of this, the black and white oil painting created by Tian Yingren – 《冻坏的家》 is a typical example.
It declares the organic combination of image art and text art, except that the image is tangible and the text is silent. Those who need to read the picture to carefully draw and carefully try to figure out and play. There is no outstanding painting in the history of art, and there is no intriguing literary color. If we change the name of the painting “Frozen Home” slightly, such as a “frozen house”, then it seems to be well understood. You see, the walls erected on the left and right sides of the picture, the broken look, can also be called the wall, clearly two piles of loosely stacked bricks, but also some inconspicuous corrosion, broken bricks. In the distance, there is a slightly decent courtyard door, but there are still broken traces around. The hutong was shrouded in cold snow, as if the snow had not been finished yet. However, the paintings of the Tian painter are not called “frozen houses” but “frozen homes”. – This name is stressful! The house that is frozen is probably home, maybe not home, and the home that is frozen is definitely in the house. When it comes to home, people will have a warm feeling, and the frozen snow is a threat to the home, but also a kind of destruction of the warmth of the home. – In this case, the profound implication of this painting lies in the hidden dangers of threat and destruction, and it is still an inevitable reality or result. The hutongs of the ancient capital Beijing are disappearing. The original thousands of hutongs have been demolished, and the exact number of survivors is difficult to count. From this painting, we not only see the broken and decaying, but also see a kind of broken beauty and farewell. Just as we are awe-inspiring in front of the statue of the Mexican modernist sculptor Francisco Zuniga, the old grandmother, we also have a sacred and solemn sense of awe in the ancient hutongs and alleys, and we will taste the hardships of ordinary people. The taste of taste… Obviously, the feeling of freezing is the body of the body, and it is more of a soul. The pain of the soul is the real pain, deep and long-lasting, and has divergence and conductivity, even the universal feelings and values are also contained. All spiritual people will have this pain, and all who have pain will have spirituality. A painting is not only in the form of minerals through pigments, but also in the realm of the mind through emotions and thoughts. People who appreciate art are also promoted from being creatures that are easily materialized to life with souls. Such a black and white oil painting is unfolding in front of us, just like a witness to the coexistence and common prosperity of physical life and spiritual life. The world can be miniatureed into a section or silhouette of an alley, and the memory of all our lives can be stimulated and awakened in an instant. It is not only the memory of individual life, but also the memory of the whole city… I have been asking myself, I like this picture, why is it impressed by it, is it that these houses are not comfortable? Still not a complete alley for this article? The artist’s extraordinary feelings bring us super stimulating, numb people simply don’t look at the painting, or can only see the painting… There are always some seemingly random strokes that touch our nerves, if we are sensitive enough or enough nerves. Especially those who take the city as their home, they will be more tempted by the 《冻坏的家》.
The Black and White Oil painting《胡同口》 looks very ordinary people but looks good, which is common in life. And although some faces are very beautiful, they are a bit unbearable. Just like the scenery in Tian Yingren’s black and white oil painting 《胡同口》, the old house lined up in the remnant snow, a bare bare tree, how to look at how inconspicuous, indeed looks plain, and can’t even attract you too much interest.
Impulsive, but as long as you watch it over and over again, it will be slowly moved, chewed and then tasted. correct. This is not an amazing oil painting, just as there are always amazing faces in the world. Is it true that we appeal to our visual organs and visually appreciate paintings, and do we have the inner beauty that describes people as being invisible? Of course, this is the same as a person. There is a culture of intoxication and infiltration in it. There is also a style of inner beauty and elegant meaning. The so-called “inner beauty” is also. The term “inner America” is derived from Qu Yuan’s “Li Sao”: “There are both inside and outside, and they are important to repair.” Since we don’t win the brilliance of the outside, we must make the work intriguing. In the picture, the roof of the house, the door, the window, the steps… give the image of the Sui and Tang Dynasties, not only the dryness, but also the margins. However, from the perspective of the overall organic composition of the picture, there is quite a charm and symbolic meaning. Su Shi’s two poems – “roughly wrapped in a big cloth, full of poetry and self-satisfaction”, used to describe this painting is very suitable. Here, the ordinary scenes must be made unusual. Simple pictures require us to fill in with rich emotions and thoughts. Wu Guanzhong, the master of painting, said that “the pen and ink are equal to zero”, but the saying is “there is nothing to say”. For the author, it can be said that “Kung Fu is outside the poem”; and for the painter, it is “Kung Fu is outside the frame.” A picture without thought is just a picture; with thought in it, the picture has life. The reason why art is noble and immortal is because there is life and there is a soul. This black and white oil painting “Hutongkou” is a simple poem. We think of our own lush years, often agreed to gather in the Hutong mouth. The sky is still bright, a large group of teenage middle school students riding bicycles, starting from the Hutong mouth, heading for the Xiangshan in the western suburbs… The young boys and girls who started in the sinus often start their first date in the same life. It is an anxious wait and hope that makes people feel at ease, and they confuse each other and repeatedly explain: “Let’s say hello, at the mouth of the alley, under the tree at the mouth of Hutong, I will see you!” I thought that the primary school had stipulated that the hutong children would line up and go to school. The class teacher stood in the Hutong mouth every day to monitor and look at the Hutong mouth. For the children who grew up in Hutong, there are too many stories for the residents of the courtyard, too much too much. Memory. The Hutong mouth is in the Hutong people, just like the village entrance to the villagers. It is a sad place for far-off people who have left their homes and farewell to their family members. Of course, it is also the joy to welcome the returnees of thousands of miles. The complex feelings and feelings expressed by the Tang Dynasty poet Song Zhiwen, “The hometown is more awkward, dare not ask people”, are the same for the city and the country. If the Hutong mouth is a port, then the courtyard in the hutong is the harbor, and the trip is a boat that travels between the heavens and the earth. Nowadays, in ancient Beijing, where are there so many well-knit, eye-catching alleys and alleys? ! Therefore, we can not blame the scene in this painting 《胡同口》 is too shabby, but in the chill of the residual snow, there is a warm and harmonious friendship.
The Black and White oil painting 《今日胡同》 Beijing’s Hutong is a historical and cultural carrier. It was once neat and quiet, but it was not wide but had plenty of room for activity. However, today it is a bit overwhelmed, forced and squeezed by ruthless external forces, and even somewhat distorted and deformed. The painter Tian Yingren’s black and white oil painting 《今日胡同》 vividly and vividly describes the cramps and embarrassment of this alley. Hutong, becoming fashionable so quickly, is what we didn’t think of.
The memories of childhood disappeared with the disappearance and reconstruction of buildings. So what is the memory of this ancient city? We really don’t want to think more. Between the hutongs and the hutongs, wherever we go, what we see is like a deja vu, and it seems strange, and it has never been seen before. In the painting, the small shop in the Hutong mouth, the curtains are not earthy, not in the west. The broken tiles on the roof are old objects, and the floor-to-ceiling windows and sliding doors are new things. Two sly bicycles and four sly cars, one left and one right, clearly stood up against each other. Going deep into the hutong, the figure of the mini sedan is faintly visible. Only scattered trees are still the original ecological landscape. You see, is this the corner of the hutong? That’s right. This is a glimpse of the alley we live in today. However, I would like to say that this alley gives us a little funny impression. You have to say that it is not a hutong, you have wronged it; you have to say that it is an alley, and you have to turn yourself. It gives me the feeling of being incomprehensible, just like the Chinese people wearing the Western hats in the Qing Dynasty. Who is it, let our hutong become this one.