I think that Fan Ping's paintings of flowers and birds have her unique and distinct expression in the "visual perception system". A powerful generalization of artistic language when grasping the vivid mood of objects. Fan Ping's brush paintings of flowers and birds show her vividness and sincerity here, thus giving people a touching touch.
In the landscape of the rainforest, using natural objects as the starting point of painting, to pursue the authenticity, simplicity and indifference of the object world, in terms of internal characteristics, we can capture the subtle changes and natural moods that are not easily detected in the normal. The tension of life that constantly lies in that calm is the one that should be tapped. What is valuable is that the painter Fan Ping, through the appearance of the object in the sketching footprints following the rainforest style, summarizes and retains the most authentic and moving content with the accurate entry of the artistic language.
——Shang Hui/Director of China Artists Association, Executive Editor of Fine Arts Magazine
Fan Ping: Professor, a famous contemporary artist of gongbi painting. He studied at the Central Academy of Arts and Crafts and the Graduate School of the China Academy of Arts, where he studied under Mr. Chen Shouxiang. Served as vice dean and professor of the School of Fine Arts of Shandong University of Technology; He was awarded the title of Master of Chinese Ceramic Design Art and a deputy to the Ninth and Tenth People's Congresses of Shandong Province.
He is currently a professor of Sanya Technician College in Hainan Province, the president of Sanya Gongbi Painting Institute, the director of Sanya Tianzhiya Art Museum, the president of Shandong Contemporary Gongbi Painting Institute, a member of China Artists Association, the vice chairman of China Forestry Artists Association, and a distinguished professor of Communication University of China.
His works have participated in many international, national, provincial and ministerial large-scale exhibitions, and have won more than 30 art awards, and many works have been cherished by collectors at home and abroad; He has published 8 personal works and more than 20 important papers. Among them, in recent years, he has written many papers such as "Trying to Discuss the Cultural Connotation and Artistic Personality of Traditional Gongbi Flower and Bird Painting", "Self-Examination of New Traditional Painters", "Black and White Conformation", and "Spiritual Projection and Artistic Generation of Gongbi Flower and Bird Art", which have aroused wide praise and praise from industry peers.
The spiritual projection and artistic conception of the art of flowers and birds in Gongbi
——The context of flowers and birds under the consideration of cultural connotation
(Text / Fan Ping)
Gongbi flower and bird art in the long historical process has bred a variety of colorful styles, and traditional culture has always been the internal source to promote the continuous development of this kind of painting, Gongbi flowers and birds unique rigorous neatness, delicate and clear and as a humanistic complex buried in the blood of the nation. The conscious creativity of art and culture has developed the ancient painting of flowers and birds, and has continuously filled in the content of the times in the continuation.
Whenever we appreciate the classic works of famous artists of the past dynasties, we are worried and confused about the situation of our current gongbi flower and bird paintings, in the colorful and diverse innovative works, the brushwork is weak, the content is empty, only in the sense of form, but the cultural connotation is lost. We should pay attention to the characteristics of our own national culture in Gongbi painting and show the artistic spirit of Gongbi flowers and birds, only in this way can we create works full of the call of the times and inner appeal.
Chinese painting emphasizes the transcendent vision, the realm of the ethereal, and the pursuit of the perfect integration of man and nature, which is both a theory of painting and a Tao. Therefore, at the level of cultural philosophy, people's perception of nature is reflected: introverted, peaceful and quiet, which is a kind of cultural enlightenment with ancient wisdom, which is applied to the practice of painting and correspondingly generates three rich cultural temperaments of the picture: subtle, natural, and indifferent. This is the classic essence of gongbi painting.
I have explored this cultural context in my long-term exploration of flowers and birds, and it is very appropriate to apply it to my works. The four-screen works of "FangChun", "Yan Xia", "Li Qiu" and "Qing Dong" follow the laws of nature and the objective laws of the form of objects, and pay attention to bringing the deep understanding of "the unity of things and me" into the picture: First, in the figurative objects, they have a good grasp of the perspective and proportion relationship between pigeons, Taihu stones and flowers, so that they are exquisite and interesting, conveying a subtle and unpretentious indifference, showing a restrained and gentle temperament in cultural imagery; Second, take nature as the starting point, and try to show the natural feelings in the form of nature in the creation. To achieve "natural carving", in terms of cultural personality, "outstanding, harmonious and different"; Third, in the fusion and collision of the subject and the object, the subjective emotional intervention gives the living soul of the object, and accompanied by the kind of realm that I hope to achieve, releasing the feelings in the chest, indifference is a kind of relief beyond the image, calm and calm, and a kind of cultural condensation of the artistic presentation of the object. When the subtlety, nature, and indifference are displayed as cultural appeals, it has the consideration of cultural spirit, so as to project it in the picture.
When the work has a strong cultural expression, it can raise the creation of gongbi flower and bird painting to a higher level, form the cultural theme of the work, and show the narrative nature of the work in a meticulous context. Truly achieve "the form is not scattered, the shape is more condensed". I have been studying the echo relationship between lines, colors and white space in the creation of flowers and birds in Gongbi, if the picture is clear and simple, shen yun is not loose and dragging; If the picture is dense and compact, the mood is more prominent and concentrated.
In the four-screen work "Banna Style", I use poetry to paint, looking for the consistency of cultural themes and the context of the picture. Especially in "Banna Style II", the picture is haunting, and the pigeons are comfortable on the strange stones, full of vitality. With two verses, "The spring breeze floats over the smoke and smoke, and the dove language is fragrant and opens the stone", I separate myself from the worldly distractions and bring me into the empty realm of "things and I forget each other".
When the work has a certain cultural meaning, it shows the core of the spirit, in short, the core of culture is the spirit. Only the works of flowers and birds with cultural philosophies and expositions have a spiritual outlook, have posture, wind and bone, have intentions, and can withstand scrutiny.
In my opinion, the spiritual projection of the flowers and birds seen in the cultural internal factors is reflected in two aspects: First, the pure expression of individual appeals; Second, the free penetration of poetic temperament. In my recent black, white and gray pen flowers and birds, I use the visual language of the gray and black system to express personalized artistic propositions, I use the interspersed interlacing of lines to lay out flowers, birds and finches, and use pure ink relationships to express the colorful southern rainforest in my heart, forming a difference in meaning with a huge visual contrast, which is easier to highlight my cultural interpretation; And poetic qualities have always been what I've been after.
In the picture, the picturesque interpretation of the spirit, showing a regional style and nostalgia overlapping the dynamic beauty, the kind of lyrical aria that pervades it, it seems that the nodes that suppress the emotions are slowly pushed open, and this staggered picture is secretly combined with the gentle and flexible movement of classical poetry, rising freely, and gradually refining that poetic "thought" into the charm and style of the work, which makes this batch of Banna sketches different, forming a spiritual projection from the state of sketching to the presentation of culture.
Therefore, in the long years of work and brush creation, I have summed up the painting concept of stereotypical thinking and reverse thinking to serve the expression of artistic conception. Stereotypical thinking refers to the use of universal brushwork techniques to portray from the form into the mind, from the outside to the inside; Contrarian thinking, on the other hand, imagines cultural themes from the inside out according to one's own experiences and situations before painting, and seeks spiritual intentions. In this way, when painting, the two ways are opened at the same time, and each stroke is solid and powerful, and it is also permeated with cultural charm, so as to penetrate the breath and inject vitality into the overall construction.
I have seen the hardships of the artistic road of Gongbi flowers and birds in the past few decades of research on the painting of flowers and birds, for every responsible artist, what kind of responsibility, what kind of cultural awakening determines what kind of works we present to the viewer, my painting purpose is to take culture as the fulcrum, feel life, face the soul, highlight the spirit, excavate the artistic conception, return to the truth in the natural form, and explore the indifferent state when calmly creating. This has also contributed to the good integration of my paintings of flowers and birds in the form language and connotation level, reflecting the inner collision and continuous resonance of cultural concerns and customs and customs.