2021年是我国“两个一百年”奋斗目标的历史交汇期，也是全面开启 社会主义现代化国家建设新征程的重要机遇期，更是推进文化强国建设高 质量发展的关键期。国家“十四五”发展规划和2035年远景目标纲要指出，要加强优秀文化作品生产传播，健全现代文化产业体系，提升公共文化服务水平。为深入贯彻落实文化强国建设战略目标，加快推进国内外文化产业交流发展，中国传统文化促进会定于2021年10月17日至20日在海南博鳌亚洲论坛国际会议中心组织召开“2021博鳌中国传统文化高峰论坛”。
2021年10月17日 —— 20日
《艺术家代表 —— 徐建君新闻报道》
Xu Jianjun, descendant of Xuanyuan, inheritor of traditional Chinese painting of Zhejiang school, with the word Daotuo, and the master of Beidou inkstone. He is currently the chairman of the International Federation of Art, a member of the Chinese Artists Association, an academician of the Royal Academy of Arts of Russia, an executive director of the Jinghua Printing Press, and the dean of the Oriental Chinese Painting Art Institute. Seeing the older generation of artists splattering ink, they were impressed by their eyes and subtle, and they were later accepted by Mr. Zhu Baoqing as a disciple. Mr. Wen said that after enlightenment, he founded the Xuanzong Painting School, and his works are poetry, calligraphy, painting, and printing. Leading figure in literati painting. He specializes in calligraphy and calligraphy, and his poems are simple and elegant, with lofty sustenance. In calligraphy, he advocates the integration of calligraphy and engraving. He is good at freehand brushwork. He integrated poetry, calligraphy, painting and printing, and used the best in theoretical research and creative practice to form his own unique artistic style. From the perspective of traditional freehand painting, literati painting pursues the artistic conception, is not limited by the style, and does not have much ink, but it is full of changes. Most of the poetry, calligraphy, and seals appear together, paying attention to the taste of calligraphy.
His paintings and calligraphy are based on bone technique and pen as the internal quality, and writing is the rule. When you write, you can see the bold personality. After reading Xu Jianjun's "Xiaoyaoyou" work, his teacher Zhu Baoqing said: Xu Jianjun's paintings are simple and full with the spirit of Pan Lao. Shi, and inscribed the four characters "Jibei Kongqun" for "Xu Jiejun Jinshi Calligraphy and Painting Collection". Xu Jianjun proposed that the essence of Chinese painting art is that dots, lines, and blocks are the basic units. Everything is composed of points, lines, and blocks. The inner quality of points, lines, and blocks determines the high level of the artistic realm. Unique ingenuity!
西泠饶宗颐先生多年前就强调国家要特别重视家世家学渊源之家族家庭的保护和传承，江南艺术之家，当代徐海彬、徐建君、、徐卿云诗礼書画传家一门三代入编《中华人物大典》堪称佳话。唐张彦远《历代名画记》云：“自古善画者，莫非衣冠贵冑、逸士高人，振妙一时，传芳千祀，非闾阎鄙贱之所能为也” 他的作品风格冷隽超逸、雄浑苍茫，笔墨酣畅淋漓，大气磅礴、不拘一格，其桀骜不驯、狂放不羁的个性在作品中得到了深刻的展现。2O14年被中央文选出版社《一代书画大师》选为封面人物，为俄罗斯大使馆《纪念世界反法西斯胜利七十周年作品展》题字，其作品被中国邮政入编《时代先锋》《文化中国 时代榜样》出版邮册全球发行。参加中外友好协会主办的“圣彼得堡中俄名家作品展”，获金奖并在皇家艺 术科学研究院作重要讲话。“海峽两岸书画作品展”上他被聘为两岸文化交流大使，2013英国倫敦艺术奥运获写意画大师金奖，文化部青藤画派非遗传承人。
Mr. Xiling Rao Zongyi emphasized many years ago that the country should pay special attention to the protection and inheritance of the family family. "Characters" can be called a good story. Tang Zhang Yanyuan’s "Famous Paintings in Past Dynasties" says: "A good painter since ancient times, is it not a well-dressed, elegant person, who is invigorated for a time, passes on the beauty of thousands of sacrifices, and it is not what Lu and Yan can do." His work style is cold and juan. Super-easy, majestic and boundless, pen and ink, majestic and eclectic, its unruly and unruly personality is deeply displayed in the works. In 2O14, he was selected as the cover character by the Central Literary Selection Publishing House "A Generation of Calligraphy and Painting Masters", and was the inion of the "Exhibition of Works Commemorating the 70th Anniversary of the Victory of World Anti-Fascism" by the Russian Embassy. His works were included in the compilation of "The Pioneer of the Times" and "The Era of Cultural China" by China Post. The "Model" publication stamp is distributed worldwide. Participated in the "St. Petersburg Sino-Russian Masters' Works Exhibition" hosted by the China-Foreign Friendship Association, won the gold medal and made an important speech at the Royal Academy of Arts and Sciences. He was hired as an ambassador for cross-strait cultural exchanges at the "Cross-Strait Painting and Calligraphy Exhibition". In 2013, he won the gold medal of the freehand drawing master at the London Art Olympics, and the non-genetic inheritor of the Qingteng School of the Ministry of Culture.
There is true love between natural and unrestrained，and Follow his heart。
一一The freehand brushwork flower-and-bird painting of Xu Jianjun
Li Chonghua, who lived in the Qing Dynasty, recorded in his book Zhen Yi Zhai Shi Hua: "Those who are good at freehand brushwork are motivated and their spirit is eager to come, and their spirit is lost when their intention is exhausted. This silence is formed and exists in their people." Chinese flower-and-bird painting has come after the style of freehand brushwork of Qingteng Baiyang, but those who can really achieve something have a unique mind and emotion. "Conation" starts from a thought in the heart, which must have a "feeling" different from that of ordinary people in order to become this unique "meaning", and the "meaning" drives the pen and ink, which can not be done on the paper, but can not be stopped. This is the real state of freehand brushwork creation, so freehand brushwork flowers and birds for the creator has a high demand, simple brush and ink is not a simple and easy move. The full effectiveness of pen and ink for the presentation of "meaning" is related to the final success of the work, so the ability of pen and ink is an extremely important requirement and a necessary guarantee for the success of creation. The ultimate requirement of the work is "Spirit", "Spirit" on the paper, then the form of the object painted has been secondary, the important thing is to form the object with God, detached from the form. The "Spirit" of the object and the "Spirit" of the author are fixed.
After the Ming Dynasty, there were eight masters of freehand flower-and-bird painting in Yangzhou, and at the end of the Qing Dynasty and the beginning of the Republic of China, there were masters of maritime painting, each of which had its own achievements. In the 20th century, Wu Changshuo, Qi Baishi and Pan Tianshou were famous for their freehand flowers and birds. Later, Wu and Pan influenced the development of flower and bird painting in Jiangsu and Zhejiang provinces, while Qi played an extremely important role in the development of flower and bird painting in the north centered on Beijing. Influenced by his teacher Zhu Baoqing, Xu Jianjun's freehand flower-and-bird paintings are different from these three in the form of brush and ink and aesthetic meaning, showing obvious personal characteristics, characterized by the scattered wind and the simple brush and ink. The success of Wu, Qi and Pan is related to their respective achievements in calligraphy. Wu Changshuo took the Stone Drum Inion of the Qin Dynasty as a breakthrough, Qi Baishi devoted himself to the Wei and Han Steles, and Pan Tianshou wrote oracle bone inions and bronze inions on Han Steles. The overall characteristics of the three schools are thick, resolute and concise, showing the situation and strength of freehand flowers and birds. Xu Jianjun's freehand flower-and-bird painting inherits the strict requirements of the former sages for the quality of brush and ink, but it does not highlight the brush and ink itself, and the combination of brush and ink and mind is more in Xiao San Jian yuan. Nowadays, freehand flower-and-bird painters learn from Wu, Qi and Pan and go astray by exaggerating their brush and ink characteristics, thinking that freehand brushwork is the display of brush and ink, but lacks the inherent charm of brush and ink. More painters think that freehand brushwork is to "freely" dance with brush and ink at will, totally ignoring the strict requirements
inherent in the simplicity of freehand brushwork.
Xu Jianjun's paintings are based on meaning, meaning outside the image, so they do not make too much carving of the image, at the same time, they contain feelings with meaning, under the control of meaning, they are not wanton, but have their own depth. His pen and ink are scattered, so there is no stagnation and turbidity, and simplicity is far away from complexity. No matter flowers, insects or birds, they all have a kind of leisure, which is the inevitable manifestation of their departure from the secular world. In the face of his paintings, a kind of clumsy interest overflows beyond the paper. Song Jiang Kui said: "Carving hurts the spirit, perfunctory and explicit.". It is not the fault of carving to be contemptible but not delicate; "It is not perfunctory to be clumsy without grievance." Xu Jianjun's creation pays attention to the direct expression of mind, not the catering to people, so it presents an independent personality, which is extremely valuable at present.
Zha Lv wrote in Yanyuan