Inscription and signature
229 x 120 cm; 235 x 119 cm; 235 x 121 cm; 229 x 121 cm
Painted in 2020
Style: drizzle and quiet flowers are spring. The Gengzi Mid-Autumn Festival is written like a ponder under the window of Jingqingzhai.
Seal: Jia Shensheng (Zhu Wen), Ru Zhuo (Bai Wen), Jingqing Yuanzhu (Zhu Wen), Yin Feng Xiaoyue Drinking Wine and Seeing Flowers (Zhu
Text), smoke and clouds at the bottom of the pen (white text)
Unlimited towers misty and rainy
Recognition: Unlimited buildings are misty and rainy. The Gengzi Mid-Autumn Festival was written in Jingqingzhai.
Seal: When the flower falls, Fengjun (Zhu Wen), Jia Shensheng (Zhu Wen), Cui Shi (Bai Wen), Ru Zhuo (Zhu Wen),
Yin Feng Xiaoyue Drinking Wine and Seeing Flowers (Zhu Wen), Smoke and Cloud at the Bottom of the Brush (Bai Wen)
Style: Qiulin Yuandai. Gengzi Qiu Ruzhuo was written under the window of Jingqingzhai.
Seals: Jingqingzhai (Zhu Wen), Ruzhuo (Bai Wen), Yin Feng Xiaoyue Drinking Wine and Looking at Flowers (Zhu Wen), Smoke and Cloud at the Bottom of the Brush (Bai Wen)
Style: Xiaoxue in the mountains. Gengzi was written in ancient Jinghua in late autumn.
Seal: Chaoyi Xiangwai (Zhu Wen), Jingqingzhai (Zhu Wen), Cui Ruzhuo Yin (Bai Wen), Yin Feng Xiaoyue Drinking Wine to See Flowers
(Zhu Wen), Smoke and Cloud at the Bottom of the Brush (Bai Wen)
Estimated price to be inquired
Let's learn from the past
Former Executive Vice President of the Palace Museum
Cui Jun is amazed by his extraordinary kind. Why is it? Therefore, it is said that people are strange in love, love is strange in painting, and painting is strange in books, but there is nothing strange about Cui Jun.
Cui Jun is a Chinese man who is less intelligent, long-term and broad-minded, and highly knowledgeable. Suitable for the "Cultural Revolution", reading books all day long without questioning world affairs. Looking around, but burying the first study, all the books and pictures, and more to read, for its interest. At the time of Kuchan, the flowers and birds are taught by Xu Weifang, Baishiqu, Tianshouhun, and Kuzen. However, there are many methods of Shitao brush, Binhong ink, bouldering meaning, and thick dyeing, which are the samādhi of the eight schools of painting. Such as the collection of magnificent wealth, the Ding Yizun, and the painting and calligraphy stele, there are many fine works, so as to dredge the soul and wiping out the wisdom, so as to remove the mimicry of painting from the disease of painting. For example, he has great ambitions, frequently collects styles, and travels. Trekking the mountains and rivers in order to support love, Huaxiumao is pleasing to the eyes, and the size is abrupt to express pride. Where the cloud of smoke disappears, the water and rocks are flowing, the calyxes are old and tender, the shape of the open and open, the state of ridges and ridges, and the scenery after Xun Tiao is the best. The ink is majestic, old and hard, straight to the bones, sweeping away the bold, slender and vulgar charm of the modern painting world, although the brush, finger, and wrist cannot be left behind, but they are not connected, but the three are in one breath. Turning decay into a miraculous person is not a person who can calligraphy or painting, but a person who is like a man.
The view is like a painting, you only need to point to the ink vertically and horizontally, spray the ink straightly, the thousands of rocks and mountains, and the glance, look like thunder and rushing to the clouds, and the village will rise; the wind and rain are coming, the smoke and clouds are endless; the super easy and dusty, calm and joyful. Using the affection inside and outside the environment like this, can it not make the viewers sigh? Viewing is like cutting a book, a book comes out from the courage to recognize it, and its fingers fall into the ink, and the book is written with the intention. It is no longer the ancients, and the ancients are nowhere to be used, and the ordinary structure is swept away. On painting, Cui Jun uses the true nature of the landscape and plants as his manuscript, knowing that the big piece has its own true face. On the book, Cui Jun mostly used his palms to speak, with many hairpin feet and omission marks. Cui Jun's intention is that the ink is born and the wrist is alive, going horizontally and vertically, empty and practical, and the weight and weight are far away, all from the middle finger of the wrist. The main meaning of the meaning is the word "loose". Those who are loose are born with unpredictable changes. Therefore, the looser and tighter, the farther and closer, the more modern and ancient. Zhennai "the little water and the big mountains have a thousand inks, one mound, one gully, and one river smoke. In old age, the knuckles must be put together, and the green walls are beyond me." Today, Shi Tao's poetry is used to view it, thinking from the bottom, looking forward to the scene, outside the scene of luck, the pen and ink are all eager to fly, it really makes people dance without realizing it.
Such as the majesty of calligraphy and painting, it is out of ambition, scattered out of pen and ink, according to Shi Tao's "the law that is impossible is the best law." Therefore, his calligraphy and paintings do not follow ancient studies, nor do they follow the good of the past, but the nature of nature is always rushing. Contemporary flowers and birds are superb among Ming and Qing dynasties, but Wu Changshuo, Qi Baishi, Pan Tianshou, Li Kuchan, and Cui Ruzhuo are just five families. Changshuo has the charm of flowers and birds, Baishi has the fun of flowers and birds, Pan is the soul of flowers and birds, and Kuchan is the soul of flowers and birds. Park, Mr. Cui has a flower-and-bird trend. Mr. Cui used to be a virtuous teacher, and he took all things as his teacher. He took vitality as his luck. He saw a flower and a tree, a bird and a calyx. He was observant and familiar with it, so as to get the reason. Trees, flowers and birds, smoke, sunlight and shadows. The colors of water and water all float between the sparse branches and dense leaves, and the chest is full, so the works are dense and dense, short and long and thin, and handwritten, with rich charm and natural vividness. Those who transcend the Ming and Qing dynasties with landscapes are the only ones who have the five families of Binhong, Daqian, Dyeing, Bouldering, and Rubbing. The physical appearance of Binhong Deshan Mountain, the beauty of Daqiandeshan Mountain, can be dyed with the majesty of the mountain, bouldering the mountain's ecstasy, and if it is cut, the mountain's bones can be obtained. The bone-cutting method is comparable to the painting styles of Binhong, Daqian, and bouldering. However, how can one borrow from the past and how to open the present? Borrowing from ancient times, its landscapes, flowers and birds, there is no stroke, no inheritance, no ink and no origin; in the present, there are five sayings: one is the precedent of the ink seal script; one is the foundation of the ink painting of flowers and birds; the other is Yang The price leader of living painters; one is the creation of paintings and calligraphy categories, or the size of paintings, or the length of hand scrolls, or the prosperity of paintings.
The wonder lies in the person, the strange in his book, and the strange in his paintings, covering the true feelings and realities, revealing the lungs and liver to show others. His knowledge is high and far-reaching, capable of shocking the world; his talent is full and depressed, capable of awakening the world; his bones are heavy and profound, and capable of revitalizing the world. And his liver and gallbladder are warm, his heart is in his eyebrows, and his tongue is in his lungs, and there is an ancient swallow's heroic spirit, coming from the river, a thousand piles of snowflakes, sparse and sparsely scattered, blended into the yellowed rice paper, there is a picture, a book Yes, there is no exception in ink and wash. His paintings, plants and flowers are very complex, always pay attention to physics, and the first to use ink to paint. His works are not just to paint the delicate and colorful, but the most important rendering of the spirit and bones is full of deep depression; the landscape is good at referring to ink, vast Tangtang is full of weather, and it is called "Cui family landscape". Its calligraphy, real cursive and seal script can be used, Zhang Cao is quite distinctive, and it is integrated into the script and blended into the seal. The calligraphy is majestic, vigorous and powerful, and the structure is varied and vivid. . Zhang Shu Chengjia, but the book is the most wonderful, it is a great innovation in the history of calligraphy, the lines are as simple as paintings, and the lonely vine jumps out of the vigorous. Cui body". In the history of calligraphy and painting in the past century, such as Zhuo and Changshuo, Baishi, Tianshou, and Huang Chan have added color to flowers and birds, and Binhong, Daqian, Dian, and bouldering have added splendor to the landscape. Therefore, the nine schools illuminate the past and the present. Passing the Light of Eternity.
A GENUINE MASTER OPENS NEW PATH BY SEEKING THE WISDOM OF ANCIENTS
FORMER EXECUTIVE VICE-PRESIDENT OF THE NATIONAL PALACE MUSEUM
Ruzhuo, Cui, a one of a kind master. How could? It is said that emotion makes people special, painting makes emotion unique and script makes painting original. To me, Mr. Cui is a master of all of them, and reputation comes naturally from real distinction .
A native of Beijing, Mr. Cui grew from a gifted child to a bright and intelligent young man with a generous and insightful nature. In the midst of the Cultural Revolution, he spent his days reading books as a way to retire from the troubled outside world. Surrounded by shelves of books, he was absorbed in his study with an attempt to unfold what interested him in all the books and paintings. By the time, he learned from Kuchan, Li, master of Chinese bird-and-flower painting and captured the boldness of Xu Wei, amusement of Qi Baishi, the soul of Tianshou and the imposing vigour of Kuchan yet his techniques borrowed the brushstrokes of Shitao, the ink application of Huang Binhong, the intention of Fu Baoshi and the thickness of Li Keran. By draw on the strengths of varied schools, he managed to acquire profound knowledge of their true nature. Mr. Cui has a wealthy collection, including ancient cooking and wine vessels, calligraphies and painting, inscription rubbings that he should have many fine works to nurture his soul and engage in discernment, so as to eliminate the shortcomings of imitation and embellishment in painting. He is also a master with great ambitions that seek to find inspiration in countless travels. Tours to mountains and waters enriched his emotions , the beauty of trees and flowers are cheerful and pleasing to the eye, all of which take pride in his paintings. All the disillusionment of smoke and clouds, gurgling water and fancy stones, blossoming or wizen calyxes, the shape of the sparse and open space, the state of the loftiness of the mountain range, the layout of close or far sceneries, all have their own subtleties. The falling ink is majestic and mature, straight as the mountain bones, sweeping away the shoddy, shallow, vulgar and flattering tendency prevalent in modern paintings. It is always hard to use brush, finger and wrist as one in calligraphy and drawing freely, yet Mr. Cui managed to coordinate the three of them at his wills and tra nsform the impossible into something miracle. Making such a rare achievement to most painters a daily state is something that can only be done by Master Cui Ruzhuo .
On glance at the paintings of Mr. Cui, in which finger-ink poured out vertically and horizontally, one senses his feelings expressed in a straightforward and magnificent manner. The thousand rocks and ravines look like a thunderstorm rushing through the clouds while the clouds and smoke depicted in a thousand forms foretelling the coming of wind and rain, all expressed in a superb and calm manner, coming straight forward at the audience's face. How can the viewer not be impressed by such an emotion threw by the artist within and outside the painting? In terms of calligraphy, the scripts showcase his courage and boldness, with ink drawn by his fingers and wrist as a medium to convey his mind in an unconventional way that no ancient method or custom to be traced. When discussing painting, Mr. Cui uses natural landscape, plants and trees as his draft, knowing that there is a true value lies in natural creations. When it comes to calligraphy, with his palm and fingers as the brush, many ex tra tails and leakage marks become inevitable but unique. To Mr. Cui, the flow of ink follows the move of the wrist, both horizontally and vertically, be it light or heavy, empty or full, far or near, all controlled by the will of fingers with'flexibility' as the utmost principle. Flexibility has an inherent nature of unpredictability, therefore the more flexible it becomes, the tighter, the farther, the nearer, the more modern or ancient the work becomes. It can be truly expressed as “A small stream of water, a magnificent mountain shaped by thousand ink dots, a ravine, a river covered in smoke and the hill. Wrist and finger loosed at will, precipitous cliff and green mountains suit my will. ”Appreciated with a poetic perspective of Shitao, artistic conception of the artist is profound incorporated in the image depicted. Picking up the scene in front of the eyes, the essence of the image is spilling over, one might shake hands and stamp feet in excitement with the vivid brush and in k movement presenting on the paper .
Great accomplishment of Mr. Cui's calligraphy and paintings are rooted in his ambition, expressed by his finger-ink and followed the “no law is the ultimate law” principle proposed by Shitao. Thus his calligraphy and paintings are free from ancient customs and disciplined conformity , filled with natural spontaneity and pressed forward with indomitable will to form his own school of art creation. Contemporary masters with flower-and-bird paintings that transcended the predecessors in the Ming and Qing dynasties are five, namely: Wu Changshuo, Qi Baishi, Pan Tianshou, Li Kuchan and Cui Ruzhuo, where Changshuo captured and excelled in the essence, Baishi the enjoyment, Tianshou the soul, Kuchan the plainness and Mr. Cui theimposing vigour. Learned from masters of the past as well as creatures in the nature, Mr. Cui managed to capture the vitality and naturalness in trees and flowers, in birds and buds, and to master their laws and principles through careful observation and close examinati on. Trees, birds and flowers, smoke and light, sun and shade, water and colour, all floating and revealing in the sparse branches and dense leaves. With mighty emotions in the heart, the paintings are filled with light or heavy, dense or sparse, short or long, thick or thin touches that are full of natural and vivid aroma. Contemporary masters with landscape paintings that transcended the predecessors in the Ming and Qing dynasties are also five, namely: Binhong, Daqian, Keran, Baoshi and Ruzhuo, where Binghong gets and stands out in mountain's physical appearance, Daqian in the mountain's expression, Keran in the mountain's majesty, Baoshi in the mountain's gracefulness and Ruzhuo in the mountain's ridge and strength which is not inferior in any respect comparing to the styles of Binghong, Daqian and Baoshi. By learning from the past, Mr. Cui forged forward for a new path and became the first of its kind in a new school of painting. So what's borrowed and what's innovated? Every brush stroke in his landscape painting and flower-and-bird painting is filled with inherited wisdom and each ink drop on the paper has its historical trace. The innovation lies in five aspects: pioneering seal character calligraphy created with finger ink; laying the foundation for flower -and-bird painting created with ink accumulation; leading the prices for art works created by living painters; the great wealth of painting and calligraphy works or the creation of grand size of paintings, the length of scrolls, or the variety of works .
The uniqueness of Mr. Cui Ruzhuo, lies in his temperament and life experience, his calligraphy creations, his innovative paintings. Through sincere emotions expressed in objects depicted in a super vivid way, his heart and mind are revealed in a straight-forward and open manner. His profound knowledge would impress the world, his calm talent would light the world and his heavy and profound works would inspire the world. His passion and courage, his devotion and warm heart, reveal themselves in his eyes, in his words, in his deeds and most importantly, embodied in his art creations. The heroic spirit of ancient literati stretches across the smoky rivers and the piles of snow, sets foot in the yellowish paper in the mingled light and heavy inks. It can be found in his paintings , his calligraphies and his finger-ink brushstrokes. Thriving flowers, plants and trees in his paintings are depicted with accumulation of ink on the basis of thorough observation of their physical appearances. In addition to their tenderness and charm, Mr. Cui also emphasizes their strength of character. The landscape paintings created with finger-ink technique are majestic, vigorous and powerful that are reputated as the “Landscape of Mr. Cui”. What is more impressive is that Mr. Cui is a master of varied calligraphy styles including grass script, seal character and clerical script. In the writing of clerical script, the big-seal style is incorporated to create majestic power and strength, varied structure and vivid expression. His calligraphy written with the brush is excellent yet those written with finger-ink are ever better. As a great innovation in the history of calligraphy, finger-ink calligraphy of Mr. Cui has the mighty line similar to his finger-ink paintings as if the mighty vine leaping out of the boundless land, which can be best described by “the beauty leaps out in the midst of the matured strength” by Ouyang Xiu and acknowledged by person with breadth of vision as the “Calligra phy Style of Cui Ruzhuo”. In the past century of the history of painting and calligraphy, breakthroughs in flower-and-bird painting can be attributed to Wu Changshuo, Qi Baishi, Pan Tianshou, Huang Chan and Mr. Cui Ruzhuo while the developments in landscape painting shall be owed to Huang Binhong, Zhang Daqian, Li Keran, Fu Baoshi and Mr. Cui Ruzhuo. Mr. Cui's contribution and achievement in the art field, not only shine through the ancient and modern art circles but leave invaluable legacy to a hundred generations to come .