纪清远，1954年出生于北京。毕业于首都师大美术系。北京画院艺术委员会顾问、国家一级美术师、中国美术家协会会员、中国画学会常务理事、北京市文史研究馆馆员、陈半丁研究会会长、老舍书画社社长、中华海外联谊会理事、中央文史馆画院院部委员、北京市朝阳区、西城区文联副主席、纪晓岚研究会顾问。

 

自幼喜爱绘画，曾在北京市少年宫受美术启蒙教育。七十年代初，向国画大师蒋兆和先生学习中国画。二十多年来，创作了大量的作品。在艺术中表达了对人与自然的感受，并以新的审美观念和表现手段强化了这种感受。主张中国画创作要具备较高的文学艺术修养和深厚的生活积累，要有思想内涵和时代精神。通过长期的摸索，创造了一种没骨法与勾勒法相结合、工写兼备的水墨画法，自成一格。

 

1991年和1992年，分别在成都和北京中国美术馆举办《纪清远、卢平伉俪画展》；1991年出版《纪清远画集》；2000年出版《中国名家作品集粹——纪清远专集》；2000年出版《纪清远水墨人物画技法》VCD教学光盘；2007年出版《纪清远写生作品集》2008年出版《纪清远作品选》。

 

百余幅作品入选国内外画展，曾到日本、法国、美国和香港、台湾等地展出。作品《唐人诗意》获全国首届工笔画大展“金钗奖”《大漠风尘》入选第23届蒙特卡罗国际现代艺术展览；《秋水月色》荣获96`中日水墨画联展“优秀奖”；《北风》和《高原晨光》《黄土高坡》先后入选第七、八、十一届全国美展；《裱画工》《雏凤凌空》由中国美术馆收藏；与卢平合作《版纳风情》被镶嵌在国家领导人的专机上《兰亭雅集》由人民大会堂收藏并悬挂在大会堂中南厅，与卢平合作《版纳春韵》悬挂于中央统战部新楼。2017年与卢平合作大型历史画《躬耕藉田》9米长2.5高。被北京文史馆收藏。《观藤图》等三幅作品获中、日、韩98`BESETO国际艺术节“国美会”和“中文民俗博物馆长奖”。《美术》、《美苑》、《中国画》、《人民日报》、《光明日报》、《中国青年报》、《中国艺术报》、《民族画报》、《中华英才》、中央电视台以及台湾《自立晚报》、悉尼《澳洲新报》、新加坡《联合报》等报刊、新闻媒体曾做过专题报道。

 

1993年3月赴新加坡举办画展；1993年以副团长身份率团赴台湾进行海峡两岸文化交流活动；1997年2月应澳大利亚“名家艺术中心”邀请，赴悉尼举办画展。

 

传略编入《世界名人录》、《世界华人美术名家年鉴》、《中国当代国画家辞典》、《中国当代书画家名人大辞典》、等十余部辞书。

 纪晓岚第六世孙—才子遗风代代传

 

画缘缘自文达公

 

纪清远先生的画家天赋是与他的祖先纪晓岚分不开的。对于这位清代 第一才子，纪清远从不直呼其名，“而是很尊敬的称其为“文达公”(纪晓岚死后御封的谥号)。“我从小便从父亲那里知道了祖先 文达公的生平，但祖上的历史再辉煌也不可能是我们的资本，还要凭借自己后天的努力。自从10岁时第一次接触了国画后，我就对这门博大精深的艺术产生了浓厚的兴趣。想来，这可能也是受了祖上的一种遗传吧。”

 

书香门第始自纪晓岚 ，纪昀、字晓岚，嘉庆皇帝亲赐谥号文达。纪晓岚历任乾隆朝礼部尚书，协办大学士，曾任四库全书馆总纂官，纂定《四库全书总目提要》，在中国文化史上功盖一世，乾隆皇帝曾为他亲题“天下第一才子”。纪晓岚著有《阅微草堂笔记》。纪晓岚卒于公元1805年2月，死后葬于当时的直隶(今河北省)河间府献县崔儿庄。

 

祖父曾是革命人

 

纪清远津津乐道地向笔者讲述了他的家谱。“纪家自文达公始，传到我这一辈已经是第七代了。我是文达公的第六世孙。自文达公后，我们家就没什么人在朝中为官。我的祖父却是清政府灭亡后第一批革命人士中的一分子。”

 

纪清远的祖父纪堪颐去世于1953年新中国成立初期，虽然纪清远并没有见过一生致力于革命事业的祖父，但谈起祖父的事迹来，他的言语中依然充满着崇敬。“1905年，张之洞搞洋务运动，祖父是第一批被派往海外留学的留学生之一。当时与祖父一同前往日本陆军士官学校学习的留学生中包括阎锡山、程潜等后来风云一时的人物。祖父留学归来后不久，清政府就灭亡了。这之后，祖父又先后参加了辛亥革命中的武昌起义，加入了同盟会，参加了讨伐窃国大盗袁世凯护国战争。在抗日战争期间，祖父一直奔波于湖北、贵州等中国南方省份，为革命事业尽着自己的力量。解放前，祖父曾与齐白石老人在西四北四条，利用吴禄桢、蔡锷祠堂，办了一所小学，以二人的名字后头的一个字，起名为石年小学。解放后，这所小学改名为西四北四条小学。”

 

纪清远一幅自己若干年前在闲暇时素描出来的纪晓岚肖像，“画这幅画时也没有什么构思，就是凭借着脑海中对祖先的一种印象画出来的。”在画中，大才子纪昀手持烟袋坐在路边的青石上，面露微笑，显出一种儒雅的大家风范。仔细看来，这画竟与热播电视剧《铁齿铜牙纪晓岚》中张国立的造型有几分相似，纪清远说画这幅画时电视剧还没开拍呢。

 

而另一本纪清远珍藏的《阅微草堂砚谱》中，有一幅真实的纪昀画像。据说这是在纪昀晚年他的学生为他画的。画像中一位垂眉老人手握一块墨砚，面露慈祥的微笑。望着祖先的画像，纪清远先生由衷地发出一阵感慨：“文达公一世英明，我们做后辈的一定要用自身的努力将他的精神传承下去！”

 

启蒙者是齐白石

 

说到纪清远的“画缘”，与艺术大师齐白石有着很深的渊源。纪清远的二姑纪碧环嫁给了齐白石的四子齐良迟。由于这层亲戚关系，纪清远不到10岁就开始学国画，父亲经常带他到齐家玩，他的画得到了姑夫齐良迟的悉心指点。纪清远21岁时，他的处女作《大院新春》选入了市美展，以后他的作品又多次在全国和市级美展中获奖。

 

纪清远为北京画院画家，国家一级画师。他和他的妻子卢平作品的结晶“伉俪画展”曾经以中国美术馆为起点，在全球进行巡展并得到了画坛的一致好评。

 

纪清远先生的国画作品风格主要以人物为主，并将风土人情穿插其中。纪清远这样解释着他自己的理想：“在朋友们的鼓励下，我终于定型了一个艺术构思：画尽北京历史上的著名人物，譬如曹雪芹、毛泽东、鲁迅、梅兰芳、老舍等，并将古都风貌、名人故居穿插其中，算下来，需要画四五十幅作品。”纪清远是个京味十足的画家，梦想已经初见雏形，在纪清远作品《曹雪芹》中，他将这位写下“千古一作”的伟大文学家一生的悲惨遭遇淋漓得融入画中，得到了社会各界的肯定。

 

深受蒋兆和影响

 

纪清远是个幸运的人。

 

在他20岁时，与年已70岁的蒋兆和同住北京一栋楼。当时蒋先生的女儿是纪清远父亲的学生，两家交往甚密，纪清远就时常拿着作品请教老先生。据纪清远回忆，“蒋老是个沉默寡言的人，大家在一起，没事的时候，他不怎么说话，吸着雪茄烟。但只要是我拿着作品去让他指点，他就会滔滔不绝地讲，就像给学生上课一样认真”。蒋先生的儿子蒋代明也曾回忆说，父亲给纪清远讲绘画的时候，比在学校还细致呢。

 

蒋兆和是现代中国画坛承前启后式的人物。“蒋先生在三四十岁的时候，就成绩斐然，他的传世之作《流民图》是1942年-1943年在北京创作的巨幅长卷，吸收了西方造型方法如素描、明暗、投影等，又以线描为主要造型手段，成功绘出了60余位人物，表现了一个哀鸿遍野、流离失所的流民景象，具有极强的感染力和震 撼力。”纪清远说，蒋先生所有的题材，描述的都是穷苦老百姓。有人曾把他划为现实主义画派，而他自己说：“我从没说过自己是现实主义。” 他的信念是“为人生而艺术”。

 

后来纪清远又受教于周思聪。这位中国现当代杰出的女画家，最讲究造型，强调造型一定要准确。她的绘画笔墨运用水墨味很足。她让纪清远写生的时候，直接用毛笔，因为毛笔本身的表现力，是中国画的核心。纪清远通过多年的训练，很好地掌握了毛笔的笔性。

 

“在这些前辈的身上，我学到了很多东西，不光是技巧问题，是他们人本身征服了我。” 纪清远表示。

 

功不可没纪清远

 

纪晓岚故居阅微草堂已经修缮一新并接待着每天数以千计的游客，而这座著名的历史名人故居在当年广安大街修路时甚至一度面临着被拆毁的危险。

 

当时，纪清远以一个平民百姓的身份向北京市政府不断写信，请求市委领导在城市道路改造中对故居给予“特殊照顾”，阅微草堂才得以完整地保存下来。

 

“我最初听到两广路工程扩建的消息时，就担心可能要威胁到文达公的故居。于是我先是给故居的产权单位晋阳饭庄挂电话打探详情，对方回答：‘红线20米，拆！’这下我可着急了，这历史文化遗产一旦拆毁，就是无可挽回和弥补的损失。新马路、写字楼，北京有的是，可‘阅微草堂’却是独一无二的，拆掉实在太可惜！怎么办？我想如果有德高望重的学术泰斗的支持，有政协委员的支持，受重视的程度要高。于是就用心起草了一封给市领导的信函，请几位老先生签名呼吁。”在纪清远的努力下，政协委员欧阳中石、舒乙、李燕、霍达等文化界名人都参加了联名呼吁。

 

在这封信函交到市里10天后，终于有了回音：“市政协组织专家学者视察‘两广’拆迁工程，专门邀请我参加。在视察工作后，市政府领导对我们的联名信函给了一个令人振奋的批示文件：此处文物需要妥善保护，道路不必求直，能让则让。”纪清远回忆起当时的情景依然非常兴奋，“当时我们听到这个批示后都很激动，大家一起热烈鼓掌。很多人向我表示祝贺：‘清远，你这个事终于保下来了’。”

 

经过多次研究，有关部门修改了规划方案，将这一段道路南推十余米，整条道路至此呈南弯状。

 

贴近生活、贴近大众

 

在纪清远的作品中，既有着一代才子纪晓岚的书卷遗风，也有着一代国画宗师蒋兆和的古风墨韵，更有着他自己几十年来含辛茹苦、天姿放纵而形成的雅逸清风。他的人物画开画坛一代新风，并如一股清气注入画坛，芝兰之醇，悠远迷深。

 

人如其名。在纪清远的身上，有着淡雅的书卷气、随和的笑容、沉稳的语调、儒雅的举止、恬淡的心境，让人如沐春风。作为纪晓岚的六世孙，纪清远有着与生俱来的清雅，并淡淡地感染着周围的人。日前，记者见到了刚撤展归来的纪清远，为了纪念恩师蒋兆和先生诞辰105周年的这个大型展览，他忙碌了好一阵子，而这个贴近生活、贴近大众的“民生展”产生的效果，使他更坚定了“为人生而艺术” 的信念。“对先贤最好的纪念就是传承和延续他们的精神。”纪清远对记者表示，作为文达公的后人、蒋先生的弟子，他觉得，有责任也有义务为中国传统文化艺术的繁荣而努力。

 

清新俊雅书卷气

 

画如其人。纪清远的作品有着浓浓的书卷气，他把没骨画法和勾勒法相结合，略施淡彩，局部稍加重彩，有时从背后涂色，画面显得干净雅致，风韵十足，清新逸远。纪清远的作品还充满时代清音，含蓄俊雅，意味悠远。就如著名美术理论家薛永年所言，纪清远的水墨淡彩使人感到了“清正之气”，并使人感悟古今，思索一些问题。而著名美术理论家尚辉则认为，纪清远除了继承蒋兆和造型的坚实准确性，笔墨清透之气得益于他自己的山水花卉技法，开一代人物画新风，推动了画院人物画的发展。“艺术的根本是一种感觉和追求，我觉得这种风格最能体现我的爱好和追求，就自然而然形成了。”纪清远强调， 画家的感情寄托在自然物象上，无论写实、浪漫、象征，只要是真情实感，一定会与欣赏者的心灵沟通。

 

纪氏后人的骄傲与责任

 

1954年，纪清远出生于北京一个书香门第，作为纪晓岚的六世孙，他从小生活在别人羡慕的眼光里。到20岁以后，他开始关注并研究这位学富五车的先祖，并担起了把其精神发扬光大的责任。

 

一代文学宗师纪晓岚(1724年-1805年)名昀，字晓岚，谥文达，世称文达公，河北沧州崔尔庄人，曾任乾隆年间礼部尚书、协办大学士和《四库全书》总纂修官，著有《阅微草堂笔记》，其后人整理有《文达公遗集》。纪晓岚不仅在清代被公认为文坛泰斗、学界领袖，在中国和世界文化史上也是一位少见的文化巨人。

 

纪晓岚的父亲给纪氏后辈定的联名表是：汝、树、煐、堪、钜、清、根、烈、执，纪清远是纪晓岚的六世孙。“作为文达公的后人，确实感到很骄傲，但更多的是责任。”纪清远表示。

 

对于热播的系列电视剧《铁齿铜牙纪晓岚》，作为纪家的后人，纪清远持很宽容的态度。在他看来，作为文艺片，没必要深究某个历史细节，年代、基本事实相符，而且没有硬伤，老百姓能喜闻乐见即可。为了庆祝新中国成立60周年，北京市将组织一次名人画展览，请国内著名画家，把历史时期在西城留过足迹的名人画出来展览。纪清远承担了绘画蒋兆和与陈垣的任务。

 

画陈垣，纪清远说是因为他给自己儿时留下过印象。在当年，纪清远的表姑刘乃和是时任北京辅仁大学校长的陈垣的研究生。“我现在正在构思，还得查些史料。”纪清远表示，一定要画出这位大学者的风骨。

 

 浅浅温情的笑容、清秀俊朗的外表、平静温和的性情，纪清远留给人们的印象即是如此。最是那儒雅的气质，衬托出平凡中的不凡；最是那不动声色的笔触，渗透着非凡的气势；最是那形神兼备的描绘，勾勒出一个又一个生活在我们身边的人。观其作，品其人，读其文，听其言。我相信了相由心生，境随心转。纪清远的眼中永远闪烁着神采奕奕的光芒，而嘴角那不变的笑容，忽略了俗世的无奈与坎坷。眼界即是心界，面相即为心相。

 

与他交谈，是一种轻松，是一种休息，是一种大都市中闹中取静的享受。在这燥热的炎炎夏日，我走进了纪清远的清远画境……

 

从小到大，光环与幸运就一直围绕着纪清远。他儿时学习成绩优异，是老师和家长眼中的骄子。长大后，二十几岁时，他就有幸得到蒋兆和先生的教诲，成为了蒋先生的入室弟子。他是清代大学者纪晓岚的六世孙。身为名人之后，他必定得到人们更多的关注和宠爱。纪清远可谓集天赋、天宠、天资于一身。

 

而这些都没有令纪清远骄傲与自满，反而让他对自己的要求变得更加严格。尽管起点很高，可他从未想过走捷径，而是比别人付出更多的努力，让自己对得起这些“光环”的照耀。

 

“我要画出真正的人物画”

 

人物画的创作难度极大，必须经过一系列的专业训练，尤其是对“结构”的掌握要求极高。站在水墨人物画前看画的每个人都是“专家”，因为，人物画是最敏感的，人们太熟悉画中的内容了。“似”与“不似”并非作者“解释”出来的，而是以人们基本的审美能力就能分辨出来。这点不同于山水画与花鸟画。

 

蒋兆和先生主张“为民写真”。这也是蒋先生的人物画之所以深入人心的原因。只要是真心、真情，每一次创作就是写下对自然、对社会、对人生的感悟，就必然与人们产生共鸣。这共鸣是中国的，也是世界的。蒋先生一生创作了大量反映真实社会生活和劳苦大众的作品。在蒋兆和的《流民图》面前，曾经有多少人激动得流泪。

 

纪清远深受恩师蒋兆和先生的影响，除了注重文人写意笔墨的独立性的情趣外，他的作品还体现了人性化、人文化、全民化，最终融入了世界的大文化。同时，他沿袭了蒋先生的创作手法，将西方写真写实手法转移到中国画中，再加入西画的素描，将明暗对比手法融入人物造型中。

 

纪清远善于观察身边的人和环境，随时随地发现打动内心的素材，并很快把他们用画笔描绘出来。“曾经在黄土高坡看到一个羊倌，形象鲜明，具有强烈的当地特色。于是，我有一种强烈的冲动想要将眼前的这幅画面创作出来，但是由于时间紧张，不能停留过久，不得不先用相机拍摄下来，但是一回到画室，我就迫不及待地将这幅画创作出来了。” 看纪清远的作品，分明觉得他所画的就是我们生活中的身边人：抱孩子的村姑、耕田的农民、抽烟袋的老人、路边玩耍的孩子……

 

纪清远努力通过画笔塑造生活中的老百姓。他认为，艺术不能完全脱离社会生活，也不能完全讲究形式，要强调时代特征与“人民性”。艺术是为人民大众服务的。纵观中国的书画史，现实题材的作品对社会乃至时代都有着至关重要的影响。

 

神即形也，形即神也。是以形存则神存，形谢则神灭也。纪清远说：“我是人物画家。我要画出真正的人物画。”

 

画家必须融入社会

 

走近纪清远，发现他的内心世界和生活都极其丰富。纪清远对研究历史有着浓厚的兴趣，研读中国的政治文化的演变过程，并有着自己独特的见解。同时，他对诗词歌赋有着不俗的造诣，闲时还能做上几首。京剧更是他多年来不变的爱好……

 

这些爱好并没有填满纪清远的业余生活。除了创作以外，他还参与了很多社会活动，并且担任重要职务。

 

54岁时，他破格被北京市政府聘为文史研究馆员，并担任《北京文史》的副主编，负责书画版的主编工作。同时他还是中国画学会常务理事、北京市职工书画协会副会长、西城区文联副主席……但在这些社会工作中，他最看重的是中国美术家协会蒋兆和艺术研究会的工作。他任研究会的秘书长。“这是一个强调学术而非商业性的组织。我们要高举蒋先生的艺术旗帜，团结当代优秀的人物画家，体现中国水墨人物画的真谛，从美术方面体现出‘民生’的理念，为人民创作出具有时代特点的优秀的人物画作品。”

 

面对众多的社会活动，纪清远也有所选择。在保证创作时间的前提下，权衡取舍。“我认为，自己不应只是一个普通的画家。要想做出更大的成就，绝不能眼前只盯着画画一件事，特别是人物画家，必须融入和体验社会，才能创作出具有生命力的鲜活作品。”回顾过去，很多画家也都承担着繁重的社会工作。一个画家的成熟是多方面综合的体现。见识广一些，经历多一些，他的创作也将更有深度。

 Ji Qingyuan, male, was born in Beijing in 1954. Graduated from Fine Arts Department of Capital Normal University. Consultant of Art Committee of Beijing Academy of Painting, National First-Class Artists, Member of Chinese Artists Association, Standing Director of Chinese Painting Society, Librarian of Beijing Municipal Literature and History Research Museum, President of Laoshe Painting and Calligraphy Society, Director of China Overseas Friendship Association, Member of Academy Department of Central Museum of Culture and History, Vice-Chairman of Beijing Chaoyang District, Xicheng District, Ji Xiao Consultant of Lan Institute.

 

Brief Introduction to Characters

 

Ji Qingyuan was born in Beijing in 1954. Graduated from Fine Arts Department of Capital Normal University. Consultant of Art Committee of Beijing Academy of Painting, National First-Class Artists, Member of Chinese Artists Association, Standing Director of Chinese Painting Society, Librarian of Beijing Municipal Literature and History Research Museum, President of Chen Banding Research Association, President of Laoshe Painting and Calligraphy Society, Director of Overseas Chinese Association, Member of Academy of Painting of Central Museum of Culture and History, Chaoyang District of Beijing and Xicheng City Vice Chairman of the District Wenlian Federation and Consultant of Ji Xiaolan Research Association.

 

He loved painting since childhood and was enlightened by art in Beijing Children's Palace. In the early 1970s, Jiang Zhaohe, a master of Chinese painting, learned Chinese painting. Over the past twenty years, a large number of works have been created. It expresses the feeling of man and nature in art, and strengthens this feeling with new aesthetic concepts and means of expression. It advocates that the creation of Chinese painting should have a high literary and artistic accomplishment and profound accumulation of life, as well as ideological connotation and spirit of the times. Through long-term exploration, we have created a kind of ink painting method which combines boneless method with sketch method and has both work and writing, and has its own style.

 

In 1991 and 1992, Ji Qingyuan and Lu Pingli Painting Exhibition were held in Chengdu and Beijing China Art Museum respectively; Ji Qingyuan Painting Collection was published in 1991; Ji Qingyuan Special Collection of Chinese Famous Artists Works was published in 2000; Ji Qingyuan Ink Figure Painting Techniques was published in 2000; and Ji Qingyuan Teaching CD was published in 2007. In 2008, Ji Qingyuan's Selected Works was published.

 

More than 100 paintings have been selected for exhibitions at home and abroad, and have been exhibited in Japan, France, the United States, Hong Kong and Taiwan. "Tang Poetry" won the first national fine brushwork exhibition "Jinchai Award" and "Desert Wind and Dust" in the 23rd Monte Carlo International Modern Art Exhibition; "Moonlight in Autumn Water" won 96 "Excellent Award" in the Sino-Japanese Ink Painting Joint Exhibition; "North Wind" and "Plateau Morning Light" were selected in the 7th, 8th and 11th National Congresses successively. Art Exhibition; "Painting Painter" and "Young Phoenix Flying in the Air" are collected by the Chinese Art Museum; Banna Style"in cooperation with Luping is inlaid on the special plane of the national leaders; Lanting Elegant Collection is collected by the Great Hall of the People and hung in the central and southern halls of the General Assembly Hall; and"Banna Spring Rhyme"in cooperation with Luping is hung in the new building of the Central United Front Department. In 2017, he cooperated with Lu Ping in the large-scale historical painting "Farming and Cultivating the Land" which is 9 meters long and 2.5 meters high. It is collected by Beijing Museum of Culture and History. "Guanteng Tu" and other three works won 98 `BESETO International Art Festival of China, Japan and Korea `National Art Club'and `Long Prize of Chinese Folklore Museum'. "Fine Arts", "Meiyuan", "Chinese Painting", "People's Daily", "Guangming Daily", "China Youth Daily", "China Art Daily", "National Pictorial", "Chinese Talents", "CCTV" and Taiwan's "Independent Evening News", "Australian New Daily" in Sydney, Singapore "Union Newspaper" and other newspapers, news Special reports have been made in the media.

 

In March 1993, he went to Singapore to hold an exhibition of paintings; in 1993, he led a delegation to Taiwan in the capacity of deputy head of delegation to conduct cross-strait cultural exchange activities; and in February 1997, he went to Sydney to hold an exhibition of paintings at the invitation of Australian "Famous Artists Center".

 

The biography was briefly compiled into the World Celebrity List, the Yearbook of World Chinese Artists, the Dictionary of Contemporary Chinese Painters, the Dictionary of Contemporary Chinese Painters and Calligraphers, and more than ten other dictionaries.

The Art Course

 

Ji Xiaolan's Sixth Sun-Caizi Heritage from generation to generation

 

Drawing Origin from Wen Dagong

 

Ji Qingyuan's talent as a painter is inseparable from his ancestor Ji Xiaolan. Ji Qingyuan never called the first talent of the Qing Dynasty by his first name, "but respectfully called him"Wen Dagong"(the nickname of the imperial seal after Ji Xiaolan's death). "I learned the life of my ancestor Wen Dagong from my father when I was young, but the glorious history of our ancestors can not be our capital, but we must rely on our efforts acquired. Since I first came into contact with Chinese painting when I was 10 years old, I have developed a strong interest in this broad and profound art. Think about it, this may also be a kind of inheritance from the ancestors.

 

Shuxiangmen began with Ji Xiaolan, Ji Yun, Zi Xiaolan, and Jiaqing Emperor's personal edict document. Ji Xiaolan was a scholar of the Qianlong Dynasty, a co-founder of the Ministry of Rites, and a compiler of the Sikuquan Library. He compiled the Summary of the General Catalogue of the Sikuquan Books. He was the first scholar in the world in the history of Chinese culture. Ji Xiaolan wrote Notes on Yuewei Caotang. Ji Xiaolan died in February 1805 and was buried in Cui Erzhuang, Xianxian County, Hejian Prefecture, then Zhili (now Hebei Province).

 

Grandfather was a revolutionary

 

Ji Qingyuan delighted in telling the author about his genealogy. "Jijia has been the seventh generation since the beginning of Wenda Gong. I am the sixth grandson of Wen Dagong. Since Gong Wenda, there have been few people in our family who have served as officials in the central government. My grandfather was one of the first revolutionaries after the fall of the Qing government.

 

Ji Qingyuan's grandfather, Ji Kanyi, died in the early days of the founding of New China in 1953. Although Ji Qingyuan had not seen his grandfather who devoted his whole life to the cause of revolution, his words were still full of reverence when he talked about his grandfather's deeds. "In 1905, Zhang Zhidong launched the Westernization Movement, and his grandfather was one of the first overseas students to study abroad. At that time, the overseas students who went to Japan Army Sergeant School with their grandfather included Yan Xishan, Cheng Qian and other later figures. Soon after Grandfather returned from studying abroad, the Qing government perished. After that, Grandfather participated in the Wuchang Uprising in the 1911 Revolution, joined the League, and participated in the war against the theft of Yuan Shikai. During the War of Resistance Against Japan, Grandfather had been traveling to the southern provinces of China, such as Hubei and Guizhou, to do his best for the cause of revolution. Before liberation, Grandfather and Qi Baishi, old people in the four northern and Western areas, used Wu Luzhen and Cai E ancestral halls to run a primary school, named Shinian Primary School after their names. After liberation, this elementary school was renamed four elementary schools in the West and north.

 

Ji Qingyuan, a portrait of Ji Xiaolan sketched in his spare time a few years ago, said, "There is no conception in painting this picture, but it is based on an impression of the ancestors in his mind." In the painting, Ji Yun, a gifted scholar, sits on the bluestone beside the road with a cigarette bag and smiles, showing a kind of refined and refined style of everyone. Looking carefully, this painting is somewhat similar to Zhang Guoli's style in the hit TV series "Xiaolan of Iron Teeth and Bronze Teeth". Ji Qingyuan said that when he painted this picture, the TV play had not yet started shooting.

 

Another book, Yuewei Caotang Inkstone Spectrum, collected by Ji Qingyuan, contains a true portrait of Ji Yun. It is said that this was painted for Ji Yun by his students in his later years. In the portrait, an old man with a bowed eyebrow gripped an inkstone with a kind smile. Looking at the portrait of his ancestors, Mr. Ji Qingyuan sincerely expressed a sigh: "Wen Dagong I is wise, we must use our own efforts to inherit his spirit!"

The Enlightener is Qi Baishi

 

Speaking of Ji Qingyuan's "Painting Margin", Qi Baishi, a master of art, has a deep origin. Ji Qingyuan's second aunt Ji Bihuan married Qi Baishi's fourth son Qi Liangchi. Because of this kind of kinship, Ji Qingyuan began to learn Chinese painting when he was less than 10 years old. His father often took him to Qi's house to play. His painting was carefully pointed out by his uncle Qi Liangchi. When Ji Qingyuan was 21 years old, his maiden work "New Spring in the Grand Courtyard" was selected into the Municipal Art Exhibition. Since then, his works have won prizes in many national and municipal art exhibitions.

 

Ji Qingyuan is a painter of Beijing Academy of Painting and a national first-class painter. The "Lili Painting Exhibition", the crystallization of his and his wife Lu Ping's works, once took the Chinese Museum of Art as its starting point, toured the world and received unanimous praise from the art circle.

 

Mr. Ji Qingyuan's Chinese painting style is mainly based on characters, and interpolates local customs and human feelings. Ji Qingyuan explained his own ideal like this: "With the encouragement of his friends, I finally finalized an artistic conception: to paint all the famous figures in Beijing history, such as Cao Xueqin, Mao Zedong, Lu Xun, Mei Lanfang, Lao She, etc., and to interpolate the style of the ancient capital and the former residence of celebrities into it, to calculate it, we need to draw forty or fifty pictures. Works." Ji Qingyuan is a Beijing-flavored painter. His dream has taken shape. In his work Cao Xueqin, Ji Qingyuan thoroughly integrated the tragic experience of the great writer who wrote "a masterpiece for thousands of years" into his paintings, which has been affirmed by all walks of life.

 

Deeply influenced by Jiang Zhaohe

 

Ji Qingyuan is a lucky man.

 

When he was 20 years old, he lived in a building in Beijing with Jiang Zhao, who was 70 years old. At that time, Mr. Jiang's daughter was a student of Ji Qingyuan's father. The two families had a close relationship. Ji Qingyuan often consulted the old man with his works. According to Ji Qingyuan, Chiang Kai-shek was a silent man. When everyone was together, he didn't talk much and smoked cigars. But as long as I take my work and let him point it out, he will talk like a class to students. Mr. Jiang's son, Jiang Daiming, also recalled that when his father told Ji Qingyuan about painting, he was more careful than at school.

 

Jiang Zhaohe is a connecting figure in the modern Chinese painting circle. "When Mr. Jiang was thirty or forty years old, he made remarkable achievements. His masterpiece The Picture of Refugees was a huge volume created in Beijing from 1942 to 1943. It absorbed western modeling methods such as sketch, light and shade, projection and so on. It also took line drawing as its main modeling means and successfully drew more than 60 characters, showing a wide range of sorrow and sorrow. The scene of displaced people is very infectious and shocking. Ji Qingyuan said that all the subjects of Mr. Jiang described the poor people. Someone once classified him as a realist painter, and he said, "I never said I was a realist." His belief is "art for life".

 

Later, Ji Qingyuan was taught by Zhou Sicong. This outstanding female painter in modern and contemporary China pays most attention to modelling and emphasizes that modelling must be accurate. Her brushes and inks are full of ink and wash. When she asked Ji Qingyuan to sketch, she used brush directly, because the expressive force of brush itself is the core of Chinese painting. Through years of training, Ji Qingyuan has mastered the brushwork very well.

 

"In these predecessors, I learned a lot, not just about skills, but about the conquest of others themselves." Ji Qingyuan said.

Achievements must not be neglected

 

Ji Xiaolan's former residence Yuewei Cao Tang has been renovated and receives thousands of tourists every day. This famous historic residence was even in danger of being demolished when Guang'an Street was repaired that year.

 

At that time, Ji Qingyuan wrote to the Beijing Municipal Government as a civilian, requesting the leadership of the Municipal Committee to give "special care" to the former residence in urban road renovation, so that Yuewei Caotang could be completely preserved.

 

"When I first heard about the extension of the Liangguang Road Project, I was worried that it might threaten Wendagong's former residence. So I first hung up the phone to Jinyang Restaurant, the former property unit, to find out the details, and the other party answered,'Red Line 20 meters, demolish!' Now I am in a hurry. Once the historical and cultural heritage is demolished, it will be irreparable and irreparable losses. There are many new roads and office buildings in Beijing, but Yuewei Caotang is unique. It's a pity to demolish it. What should I do? I think that if there is the support of a highly respected academic leader and members of the CPPCC, it will be highly valued. So he drew up a letter to the city leaders, asking several old gentlemen to sign the appeal. With the efforts of Ji Qingyuan, the CPPCC members Ouyang Zhongshi, Shu Yi, Li Yan and Huo Da and other celebrities from the cultural circles participated in the joint appeal.

 

Ten days after the letter was sent to the city, I finally got an answer: "The CPPCC organized experts and scholars to inspect the demolition project in Guangdong and Guangdong, and invited me to participate in it. After the inspection, the leaders of the municipal government gave us an exciting document of instructions: the cultural relics here need to be properly protected, the roads need not be straightforward, let it be allowed. Ji Qingyuan was still very excited when he recalled the situation at that time. "At that time, we were very excited when we heard the instructions. We all applauded warmly. Many people congratulated me: "Qingyuan, you have finally saved this thing."

 

After many studies, the relevant departments have revised the planning plan, pushing this section of the road more than ten meters south, and the whole road has thus turned southward.

 

Close to life, close to the public

 

In Ji Qingyuan's works, there are not only the legacy of Ji Xiaolan, a generation of gifted scholar, but also the ancient style of Jiang Zhaohe, a generation of master of traditional Chinese painting, as well as his own elegant and elegant style formed by decades of hard work and indulgence in nature. His figure painting has opened a new generation of painting, and like a fresh breath into the painting world, Zhilan alcohol, far-reaching and deep.

 

People are like their names. In Ji Qingyuan's body, there are elegant bookish spirit, easy-going smile, calm tone, elegant manners and tranquil mood, which make people feel like spring breeze. As Ji Xiaolan's sixth grandson, Ji Qingyuan has the inherent elegance and faintly infects the people around him. Recently, the reporter saw Ji Qingyuan who just returned from the exhibition. In order to commemorate the 105th anniversary of the birth of his mentor, Mr. Jiang Zhaohe, he has been busy for a long time. The effect of the "people's livelihood exhibition" which is close to life and the public has strengthened his belief in "art for life". "The best memorial to the sages is to inherit and continue their spirit." Ji Qingyuan told reporters that as a descendant of Wen Dagong and a disciple of Mr. Jiang, he felt it was his duty and obligation to work hard for the prosperity of Chinese traditional culture and art.

 

Fresh, handsome and elegant book style

 

Draw like a person. Ji Qingyuan's works have a strong bookish spirit. He combines boneless painting with sketching, slightly lightly colored, partly heavily colored, sometimes painted from behind, the picture appears clean and elegant, full of charm, fresh and distant. Ji Qingyuan's works are also full of the voiceless voice of the times. They are implicit and elegant, and have a long meaning. As Xue Yongnian, a famous art theorist, said, Ji Qingyuan's light ink makes people feel "the spirit of purity", and makes people feel ancient and modern, thinking about some problems. Shang Hui, a famous art theorist, believes that Ji Qingyuan not only inherited Jiang Zhaohe's solid and accurate shape, but also benefited from his own landscape and flower techniques to create a new style of figure painting, which promoted the development of figure painting in Painting Academy. "The essence of art is a kind of feeling and pursuit. I think this style best reflects my hobbies and pursuits, and naturally forms." Ji Qingyuan emphasizes that the painter's feelings are based on natural images. Whether they are realistic, romantic or symbolic, as long as they are true feelings, they will certainly communicate with the hearts of the viewers.

In 1954, Ji Qingyuan was born in a scholarly family in Beijing. As Ji Xiaolan's sixth grandson, he lived in the envy of others when he was young. After 20 years of age, he began to pay attention to and study the five-car ancestor of the school, and assumed the responsibility of carrying forward his spirit.

 

Ji Xiaolan (1724-1805), a literary master of a generation, is well-known, Xiaolan Zi, Wenda, known worldwide as Wenda Gong. He was born in Trierzhuang, Cangzhou, Hebei Province. He was a scholar-in-chief of the Ministry of Rites during the reign of Qianlong, a co-founder of the University, and an editor-in-chief of the Four Kuquan Shu. He wrote Notes on Reading Weicao Tang, and his successors compiled Wenda Gong Heritage. Ji Xiaolan was not only recognized as a great literary and academic leader in the Qing Dynasty, but also a rare cultural giant in the history of Chinese and world culture.

 

Ji Xiaolan's father gave Ji's descendants a joint name list: Ru, Shu, Yu, Kan, Juju, Qing, Gen, Li, Zhi. Ji Qingyuan is Ji Xiaolan's sixth grandson. "As a descendant of Wen Dagong, I am really proud, but more responsibility." Ji Qingyuan said.

 

As a descendant of Ji Jia, Ji Qingyuan holds a very tolerant attitude towards the hit series "Xiaolan of Bronze Teeth and Iron Teeth". In his view, as a literary film, there is no need to go into some historical details, the age, the basic facts are consistent, and there is no hard injury, the people can enjoy it. In order to celebrate the 60th anniversary of the founding of New China, Beijing will organize an exhibition of celebrity paintings. Famous domestic painters will be invited to show the famous painters who left footprints in the western city during the historical period. Ji Qingyuan undertook the task of painting Jiang Zhaohe and Chen Yuan.

 

Painting Chen Yuan, Ji Qingyuan said that he had left an impression on his childhood. At that time, Ji Qingyuan's cousin Liu Naihe was a graduate student of Chen Yuan, then president of Beijing Furen University. "I'm thinking now, and I have to look up some historical data." Ji Qingyuan said that we must draw the character of this university student.