【Biography】
Guan Linying, an ethnic Mongolian, was born in 1940 in Hohhot, Inner Mongolia. In 1964, he graduated from the Art Department of the Central Institute for Nationalities, majoring in Chinese painting. He studied for five years, studying under Wu Jingting, Wu Guangyu, Wang Xuetao, Qin Zhongwen, Ma Jin, Huang Jun and other predecessors. Researcher of the Academy of Calligraphy and Painting of the Central Research Museum of Literature and History, national first-class artist, member of the Chinese Artists Association, judge of the 8th National Art Exhibition, National Intellectual Property Culture Ambassador of the People's Republic of China, honorary president of the China Academy of Calligraphy and Painting, and director of the Inner Mongolia Art Museum.
His work "Hui Feng He Chang" participated in the "OLYMPIC FINE ARTS 2008" (China International Exhibition Center) jointly organized by the International Olympic Committee, the Ministry of Culture of the People's Republic of China and the Organizing Committee of the 29th Olympic Games. His works are also honored by the Olympic Art Center.
He visited the former Soviet Union from 1990 to 1991 and went to Taiwan for cultural exchanges in 1997.
【Appreciation of works】
The People of Bayanbrook, 136×68cm
The dwelling place of the heart is only true
——An overview of Mr. Kwan Lin Ying's artistic phenomenon
Text/Dibo Tashi Liu Fengchun
Jin Nong once had an inscription: "In the vast universe, where to invest in people?" It means that in infinite time and space, where is the place where people stand on their own. This abrupt question is actually the pursuit of the value and meaning of all life existence, that is, the pursuit of the truth of the universe in which we live, even not only the pursuit of all "living" living beings, but also the thinking and pursuit of the logic of life's "existence" and the internal dynamic factors that support life. And the most direct and true way to find this truth is our hearts.
Prairie Athletes, 136×68cm
Mr. Guan Linying is an outstanding contemporary Chinese painting artist, and his works well inherit the artistic concept of traditional Chinese painting, whether it is the understanding of "qi rhyme" and "pen and ink", or the interpretation of "object image" and "affection", it has its vivid and unique understanding! At the same time, the tireless exploration of the purpose of Chinese painting creation and the connotation of the work is throughout the entire artistic creation process, and the insight into the "truth of life" and "the essence of the soul" embodied in each work greatly expands the inner space and imagination space of the work itself, often allowing the person who watches the work to experience the artist's respect for the nature of the universe at the same time, but also unconsciously brought into an aesthetic situation synchronized with the artist, resulting in the initial touching from life and the silent spiritual pleasure of moisturizing things. And this kind of immersive but transcendent and wonderful experience is exactly the view of "measuring the object image and taking its truth" put forward by Jing Hao in the "Penmanship Record". Through the "Pictorial Truth" of painting, the "Yuanzhen Weather" of the world is expressed, and the "Origin of Objects and Images" is displayed, so that the works conform to the tendency of pursuing the truth of life, and have a more far-reaching artistic conception and future significance.
Spring and Autumn in the Holy Land, 148×81cm
Mr. Li has a lot of experience in the way of "cultivating the mind". He has repeatedly mentioned the relevance of the artist's psychological factors and the aesthetic value of the artwork in his articles, and in his works, he has emphasized and embodied the artist's pure and broad spiritual realm from beginning to end, using a distinctive painting language to tell the essence and background of "mind" and "mentality", the calm and leisurely in "Spring Travel Map", or the tranquility and loftiness in "Huifeng and Chang", all of which embody the energy of the natural law contained in the original heart of "calm, clarity, wisdom and happiness". This is exactly the "Yuanzhen weather" pursued by countless Chinese painting art sages throughout the ages. The Yuan, the First, the Original, the True, that is, the truth of all things in their nature.
Heroes of the Mongol People, 212cm×125cm
Since the Northern Song Dynasty, the establishment of traditional Chinese painting theory has largely revolved around the question of "truth", and Su Shi once had "Is there a mozhuye in the world?" The astonishing question of the good critic should be appreciated outside of Li Huang" is precisely the real problem of Chinese painting, and the painter's painting is to find the truth "outside the Li Huang Mu Mu", that is, to take a picture of his own soul. Ni Yunlin also wrote in a poem recalling his experience in learning to paint: "I first learned to wield dye, and everything I saw was like a painting. Outings and city tours, things return to the paintings. In order to ask Master Fang, which is false and which is true? The ink pool trickles down, meaning my boundless spring. He believes that even if the external hue world is real, it is meaningless, only the truth of life is what he really pursues when painting, which is a kind of "truth" that implies the operation law of all things, then the "false is true" that should be verified in the theory of Chinese painting art is also obvious!
Nadamu 136×68cm
Chinese painting is a kind of painting art that transcends forms, and its worship is through the mode of brush and ink ---- weather ---- wisdom ---- authenticity, opening up a spiritual world in which spiritual space, painting space and natural space are integrated and constantly refer to each other and complement each other, giving the viewer the touch of the original heart. In his self-written essay "Bringing the "Heart" Home - An Outline of Cultivating the Heart", Mr. Guan Linying also discussed in detail this "mind cultivation" process in painting creation and the key factor of perception---- the truth of the nature of all things. From his works, we can also deeply feel that the form of pen and ink, the imagery of the figures, and the elegant charm are always integrated, and the creation of this weather (which can also be called the realm) is the realm of "the unity of heaven and man" that successive generations of Chinese painting artists have strived to embody.
Chu Mu Tu, 136×68 cm
Through the non-single visual and non-temporal expressive characteristics, his works properly allow the viewer to perceive "the meaning outside the image, the rhyme outside the cause", which in line with the Ming Dynasty Li Rihua's proposal that "it is better to get its rhyme than to get its sex", sex, and benye. Li Rihua said: "Sex, the natural day of things" pointed out that the focus of painting should be transitioned to the pursuit of the authentic weather of life. In Mr. Guan's "You Chun Tu" series of works, this kind of "vitality" that expresses the nature of nature comes to his face, he does not pursue the single spiritual change of painting techniques, but uses a sincere and full artistic language to open another conceivable and perceptible road for the creative soul, as if moving another parallel space to the viewer's eyes, so that our eyes gradually awaken the long-hidden joy of the soul with the beginning and closing of the picture, and along a broad, clear, boundless mental avenue, all the way to the place where the soul of the light rests!
The Wind of May, 136×68cm
Regarding the relationship between the origin of the world and the nature of the mind, there is such a dialogue in Zen Buddhism:
A monk asked the teacher, "Has the lotus flower fallen?" The teacher replied, "The lotus flower has not fallen." In the rotation of the four seasons, the appearance of all things is only the established trajectory of the laws of the universe, and the eternal properties of the mind never increase or decrease but are only true. What the real artist cares about is the inconsistency behind the phenomenal world, the long road of art is also a long way to cultivate the mind, the authenticity of all things in the universe has no beginning and no end, and the mentality of the artist who is cognate with it naturally lives in the beginningless and endless realm of emptiness, Mr. Guan Linying is this kind of long-distance traveler who is free on the road of the true soul!
(The author of the article is the president of the New Chinese Academy of Painting Art, the director of the North American Artists Association, and the member of the China Beauty Association)
Early Autumn 136cm×68cm
"Spring Tour" 136×68cm
"Spring Breeze Triumphant" 136×68cm
"Early Spring Figure" 178×88cm
Confidant, 148×81cm
Early Spring, 66×66cm
"Spring" 68×68cm
"Sky High and Cloudy" 68× 68cm