Wang Laiwen, born in 1968, is a native of Zhangpu, Fujian Province. Graduated from the Academy of Fine Arts of Fujian Normal University, the first doctoral course of Chinese painting of the Ministry of Education. He is currently a director of the China Artists Association, vice chairman of the Fujian Provincial Federation of Literary and Art Circles, secretary of the Secretariat, chairman of the Fujian Artists Association, and adjunct professor of Xiamen University. He has long served as a member and judge of the Organizing Committee of the National Art Exhibition, the director of the Jury of the Fujian Provincial Fine Arts Exhibition, and the general judge of the Hundred Flowers Literary and Art Award of the Fujian Provincial Government.
Flowers bloom in primrose
33cm×25cm
In 2019
Inject life and soul into the brush lines of Chinese painting
Text/Yu Yang
Since ancient times, brush and ink, lines and chapters have not only been the core elements of traditional Chinese painting, but also the ontology and soul of Chinese painting, and understanding Chinese painting from the perspective of pen quality and ink lines is an important topic in front of current artists and theorists. In the interpretation of this topic, it also contains sub-topics such as the change of form and god, the relationship between color and ink, the structure of the chapter, the change of space, and the artist's mentality, and the quality of the pen and ink line has independently formed a complete set of evaluation standards, thus converging into a unique aesthetic system and language direction of the white drawing method in traditional Chinese painting. Wang Laiwen, a flower and bird painter and chairman of the Fujian Provincial Artists Association, is exactly such a famous artist in the painting world who has explored from freehand flowers and birds brush and ink to the in-depth study of white painting itself.
Out of the dust
31.5cm×144cm
In 2018
Since the Ming and Qing dynasties, the development process of Fujian art has formed a unique traditional vein of white painting art, and several generations of Min school painting represented by Shangguan Zhou and Chen Zifen have made great achievements in line expression and white painting art theory, and have also formed a unique style of painting history landscape. Wang Laiwen was born in Zhangpu, Fujian Province, and the regional character and cultural temperament of Fujian had a decisive influence on his creation, and he further summarized the artistic laws and regional painting style characteristics of "Fujian people still 'line'". Zhangpu, Fujian province has always been famous for paper-cutting and calligraphy, and Wang Laiwen was immersed in local culture from an early age until he entered the Academy of Fine Arts of Fujian Normal University. In this process, Wang Laiwen practiced the ability to write about gods in shape with his figure paintings, and then entered the field of freehand flower and bird painting for in-depth exploration. In the brilliant achievements of freehand flower and bird painting in the Ming Dynasty, he realized the artistic style of Cangjin Round, Qingyi and Handsome, and was deeply influenced by the concepts of Qingteng, Baiyang, Shitao and the Eight Greats, thus strengthening the thinking and expression of the relationship between matter and spirit in the brush and ink god of freehand flower and bird painting, and using firecracker flowers, begonia flowers, wisteria, begonias, orchids, calamus and other hometown customs as the creative motif, thus opening his in-depth research and persistent exploration of the white depiction painting system.
Narcissus hand roll
As a traditional painting method with a long history and self-contained system, white drawing is often used as a training method for pen and ink lines, appearing in the basic teaching of the academy and in the daily study process of painters. In the creation of modern and contemporary art, white painting has gradually constructed a more systematic language paradigm and a relatively unique aesthetic value system in the purification of line expression, and pixel painting has become a mature and independent art form. In addition, white painting of flowers and birds has also formed a unique style in the Art Tradition of Mindi, from the Ming Dynasty painter Wu Bin to the Qing Dynasty painters Shangguan Zhou and Huang Shen, and then to the modern painters Chen Zifen and Zheng Naijie, many Fujian painters are good at grasping the relationship between lines and shapes. On the basis of absorbing regional traditions, Wang's writing is supplemented by a special painting method of blending color and ink, freehand and brushwork, forming a more in-depth, free and pure creative exploration. In my opinion, Wang Laiwen's creation and research on the art of pen and ink lines and white drawing mainly shows the following four characteristics:
Self is a fairy
31.5cm×69cm
In 2020
First, Wang's brushline sketching and medium techniques are different from the more rigid traditional line drawing methods. He replaced the commonly used cooked Xuan and hard millimeters with shengxuan and jianhao, especially the way the center strokes made the lines more loose, breathable and loose, thus vividly showing a rhythm of seeking ease in work, rigidity and softness. In addition, Wang Laiwen also integrated the battle brush drawing method often used in traditional figure painting into the brush quality of white painting flowers and birds, which not only formed an aesthetic experience of "continuous pen breaking", but also combined with the "broken" and "force" of the golden stone flavor in calligraphy seal carving, which is also his unique contribution to the art of white painting.
Heaven and earth do not work, and borrow water as a name
Second, Wang's white paintings show distinct characteristics in composition, on the one hand, it emphasizes the formal tension between objects and images in the form of blank space, on the other hand, it introduces the correspondence between poetry inscriptions and object structures, drawing on the language style of traditional freehand paintings of flowers and birds, at the same time, its picture is also transformed from the relationship between points and lines and surfaces to the relationship between lines and lines. Therefore, Wang Laiwen's daffodils and lotus flowers all exude a poetic rhyme, thus "upgrading" the basic training method of white painting, which was relatively realistic and almost rigid in the past, into a unique art form and painting system.
Narcissus Narcissus, Narcissus
Third, Wang's white depictions of the text are both interesting to photograph and have the consciousness of creating a situation that combines the simplicity of the pen with the combination of work and writing. For example, when expressing the curling and blooming mood of the lotus leaf and the erection and scattered form of daffodils, they all embody the painter's comparative synthesis of the sense of form, and infiltrate the subjective deformation and processing in the seemingly realistic and realistic shape, thus forming different brushwork and modeling styles. And what is even more rare is that these natural objects taken from the southern country are transformed into fresh and flexible picture images under Wang Laiwen's pen.
The wind and clouds are light and the flowers are also light
Fourth, a close look at Wang Laiwen's white paintings and floral works, whether it is a single line outline or a double hook line, are very particular about the change of pen quality factors such as thick, light, dry, wet, urgent, and slow, and it is almost impossible to find a similar way of using the pen in the same picture or similar works, that is, to seek a dynamic balance in the continuous contrast presentation. From another point of view, Wang Laiwen's white depictions are also detached from the process form of the brush flower and bird paintings, such as in the relatively freehand brush quality such as thirsty pen and su ink, which not only reveals the taste and quality of the pen, but also has the accuracy and structure of the material space of the flowers, so that the lines have the triple function of modeling, freehand and lyricism, giving the white stroke lines a richer and more complete style style.
Just one spoonful of water can fill the hall
It is from this perspective that Wang Laiwen's white painting flower creation injects the strength of life and the living soul into the brush line of Chinese painting, and through the further improvement and strengthening of linear pen and ink, especially the subjective structure of the pen line in the way of light ink blending, Wang Laiwen's artistic creation does not swim out of the ontological boundary style of white drawing, but also expands and carries forward the agility and sensibility of linear painting. Especially in the context of contemporary art that emphasizes visual tension and pays attention to the medium and production of the creation of the wind, Wang Laiwen's white painting flower works are like a breeze, pinning on the philosophy of "brilliant to the extreme, returning to plainness", which is also the constructive value and academic significance of Wang's white painting art creation and research to contemporary art creation and future development. (Yu Yang, Professor of the Central Academy of Fine Arts, Director of the Research Department of Chinese Painting, Deputy Director of the National Thematic Art Creation Research Center)
Untitled
Not in the flower hue
Don't compete with a hundred flowers
Spring is in the fragrance of flowers
25cm×32cm
Spring drunk
Contains deodorantins want to fall into the city
Hua Rong Graceful Na Yu Sheng Spring
It's all in the floral scent
Early spring in southern Fujian
Make flowers full of clothes
delicate fragrance
The fragrance is all over the world
Qing Ying Qin Heart
The things of the world are clean
Natural jade
Naturally fragrant
Xian Ji swayed and knew that spring had arrived
Ya xiang
China Contemporary Art Network/Lin Wenbin