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Zhou Rushui
No.: Ailiantang people, Lianyungang, Jiangsu Province, Born in May 1964, Graduated from Nanjing University, Member of Chinese Painters and Painters Association, Member of Jiangsu Artists Association, Member of Jiangsu Flower and Bird Painting Research Association, Deputy Secretary-General of Lianyungang Artists Association, Researcher of Beipai Landscape Art Center, Painter of Beijing Rong Baozhai Painting Academy, Director of Capital Painting and Calligraphy Institute of China Federation of Literary and Art Circles, Director of Haizhou Painting Academy, Researcher of Painting and Calligraphy Art Research Institute of Hebei Provincial Department of Culture, Director of Beipai Landscape Lianyungang Art Center, First-class Artist.
Open yourself to the world with Chinese painting
Zhang Wenbao
It is recent years to know Zhou Rushui. He is the general manager of Lianyungang Landscape Decorative Art Design Co., Ltd., mainly engaged in planning and design. I was taken aback when I heard that he was a painter, especially good at Chinese meticulous painting and landscape painting. Businessmen who are busy designing and decorating all day can calm down and do art and sink down to paint? In my impression, he doesn't talk much, is kind and enthusiastic, won't refuse what others entrust, and will blush with embarrassment when he does not do well.
He opened his heart to me with his paintings and subverted my world.
Without talking, the land can grow crops, let them sprout, sprout, blossom, fill and bear fruit.
People are taciturn and silent, which does not prevent the strong inner sun from shining, awakening seeds and urging generate of spiritual strength.
Unexpectedly, art and painters can also grow in remote, poor, saline-alkali land, rivers and reeds. The tribulations in life have not become the scars of Zhou Rushui, but have become an unyielding and high-spirited life spirit, giving out warm love to life. Born in Dongxin Farm in 1964, his family was destitute. The darkness of poverty did not block him from looking for spiritual sunshine, and his heart was illuminated by comic strips, which opened up hazy painting language. He can't afford to buy ink, paper and inkstone. During the day, he paints with sticks on the way to pick pig dishes, and at night, he paints on his own earth wall.
The endless reeds along the river of Dongxin Farm awakened, summoned and illuminated Zhou Rushui, and he suddenly found that the land under his feet was not short of artistic nutrition.
I am familiar with that land and have lived there for forty days. In the autumn wind, the reeds are surging like waves. It can be imagined that Zhou Rushui was conquered by the beauty of nature and painted passionately on paper with a pencil.
Thinking of this, Zhou Rushui's eyes glowed. He said that it was really out of control, and he spent all his spare time painting, copying other people's works from comic strips, brochures and newspapers.
An accidental acquisition of a magazine "Chinese Painting" made Zhou Rushui walk out of the shade of the art tunnel and enter a bright new world. When Shanghai sent educated youth to Zhou Rushui's magazine, it became his treasure knot in one's heart. He looked through it for 30 years, and even the magazine was worn out from the inside out. I carefully held the magazine and looked at it. It was the February 1960 issue, like a pile of yellowed and tattered pieces of paper. When I opened the magazine gently, I was amazed. There were famous works such as Pan Tianshou, Wu Changshuo, Wu Zuoren and Gao Qifeng, and there were many articles on Chinese painting theory.
Zhou Rushui told me the past with strong feelings. In front of me, there is a Shanghai educated youth who can draw stippling. He teaches Zhou Rushui to be a carpenter and learn to play a small bench. Although it is simple, it has four legs and eight forks, but it is not easy to achieve "stability". Shanghai educated youth also applied the trick of playing benches to painting, practicing basic artistic skills by chiseling mortises and drawing lines.
Standing on a high place and looking far away, Zhou Rushui's paintings become more and more formal and become a famous "little painter" on the farm.
Liu Qing, a writer, said that literature is the cause of fools. I said, painters are also fools' careers. It is not clear how many people are engaged in painting. How many real works can be immortal? Painters are constantly squeezed by artistic quality, urged by transcendence and tortured by inheritance.
Zhou Rushui was lucky. When he was anxious, someone helped him.
Under Yang Bingchang's door, Zhou Rushui bid farewell to the original "wild way" of self-painting, learned the training methods of western oil painting, started from sketch, gouache, watercolor and other foundations, and moved closer to specialization. Worship Wang Hongxi as a teacher. Wang Hongxi's works are huge in length, sketching vivid faces with writing brushes, showing people's yearning for better and better life. Wang Hongxi in his eyes is a high mountain.
Master led the door and practiced in himself. Zhou Rushui carefully discovers the beauty of Chinese painting and inherits it better.
The return came. Unexpectedly, what he got was related to the road he had to go all his life. In 1986, in the calligraphy and painting contest held in Dongxin Farm, he stood out and won the first place in painting and calligraphy. Zhou Rushui was hired by the farm to the Arts and Crafts Factory and served as production designer. He was only twenty-three years old that year. Later, he became workshop director, deputy factory director and factory director, and did not lose his beloved brush. I think Zhou Rushui's stubborn pursuit has been integrated into the blood and become a spiritual thing, and he has to complete his life.
Architecture is a bright spot in Zhou Rushui's works, and even illuminates the whole painting.
I know that he graduated from the School of Journalism and Communication, Nanjing University, majoring in advertising, but he did not associate his studies and decoration design with painting. I think the painter's activities can only take exhibition, sketching and reading as the axis, which has little to do with decoration design. After reading Zhou Rushui's works, my heart lit up. Painting is used to express life, and real works of art are an expression of life feelings. For a painter, the works he creates must be cultural precipitation and life experience that cannot be abandoned. I think real works of art come from the depths of artists' hearts.
Architecture is picturesque, and architecture can sing. What happens to Zhou Rushui is often a miracle. In the era when computers did not rise, Zhou Rushui used his hands to draw drawings, and he drew hundreds of drawings. This makes a painter. Someone can paint mountains, water, trees and grass Fine and vivid, but when painting architecture, I write in a hurry. Zhou Rushui painted buildings with few pens, and wrote gods in form, with both form and spirit.
I am full of respect for his pursuit spirit. However, he was flushed, humble and ashamed, saying that so many painters in Lianyungang painted well, and I haven't caught up yet, so I should learn from them.
There is some truth in what he said, which is true. In his business days, he almost left his brush behind. Understandably, can you have your cake and eat it too? Time is fair.
He only picked up his brush again in 2014.
I laughed and said, you can't put down your brush completely. You should be in Cao Ying and thinking about art. To say this, I have my own reason. He didn't take a brush for more than ten years and came out of the mountain again, but his works are refreshing and not what they used to be. How is it possible?
He admitted that when he was in business and didn't take a brush, he always thought about painting and painting in his heart, and often went to Beijing, Shanghai and Nanjing to observe art exhibitions.
He followed Tang Hui and Zheng Baizhong, tutors of Beijing Rong Baozhai Painting Academy, to write about the snow in May in Taibai Mountain, Qinling Mountains, Shaanxi Province, to write caves in Yulin, northern Shaanxi Province, and Zhang Ziwen, president of Haizhou Painting Academy, to write temples and temples in Taihang Mountain, Henan Province, Qiyun Mountain and Chaji Ancient Town, Anhui Province.
In the autumn of 2015, he participated in the advanced research class of Shi Enzhao Studio of Northern School Landscape Art Center of Renmin University, which determined his determination to learn the landscape of Northern School. After more than one year's study, his landscape paintings have reached new heights.
While sipping tea and chatting, I talk more, but he talks less. I feel the charm of "blank" in Chinese painting. Like the simple farmers I have seen and respected, he only knows how to bow down and sow seeds on the land, let the seeds germinate, sprout and blossom.
Zhou Rushui sowed the seeds of life on the heavy land. In his works, he can see the endless Taihang Mountains and the towering and handsome Qinling Mountains, which are full of colors and reach "I". Zhou Rushui wants to express people's praise for the new life through his works.
Zhou Rushui uses Chinese paintings to open himself to the world, make his own voice, make the sound of life stream flowing tirelessly, and make the sound of the times running and roaring...
(The author is the vice chairman of Jiangsu Writers Association and a first-class writer)
November 26, 2016
