Chen Feipeng, "Youran Nanshan", 136x68cm, 2020
The warmth of silence
A brief analysis of Chen Feipeng's landscape spirit
Text/Li Ningkun
Chinese painting creation is facing the most stringent environment in history, there are at least three problems that need to be solved: First, the current era of Chinese brush and ink language puts forward higher requirements, simple Chinese painting inheritance and innovation are a big topic, history is not the ideal of the straight line forward or upward infinite movement, the irregularity of the development of art history is more obvious, poetry, novels and other literary forms have created a peak more than a thousand years ago, for future generations can not reach, Since the Song, Yuan, and Qing dynasties have created too many classic peaks in the history of Chinese painting, when all the possibilities of expressing and depicting social nature have been realized, people have exhausted these art forms and attributed them to natural death. Secondly, the impact of Western painting concepts and forms on Chinese painting, postmodernism, surrealism, abstract expressionism, etc. have been dazzling, and the theoretical expositions that are completely different from ours have made many people unable to understand at a deep level. Chinese painting belongs to the visual art, for the use of visual art, this imported expression of pure traditional cultural forms, itself is an unfair treatment of traditional culture, but it is objective, purely from the title, Chinese painting art has been put into a neglected position. Third, the new art form occupies the space for the development of traditional art forms, including Chinese painting. In terms of art classification, traditional Chinese painting cannot be compared with variety shows, movies, games and other audio and video forms in terms of speed of dissemination and attention. Chinese painting creation is generally a personal matter, variety films, etc. are carried out in a teamwork way in the context of large industry, there are differences between individual strength and teamwork from the beginning, under the premise that the mode of communication and speed have reached the real time, most people have become accustomed to the way of video and audio, unwilling to do deeper thinking, and the space of Chinese painting has been compressed again.
Chen Feipeng believes that today's painters need to have a global vision and an inherent grasp of the culture of other ethnic groups produced by art, to have a concern for the great tradition of human history, and to be responsible for the deep cognition and promotion of their own national history.
Chen Feipeng Guan, 66x33cm, 2021
Chen Feipeng, 66x33cm, 2021
The development of landscape painting so far, although new creative concepts continue to appear, the traditional inertia is always inadvertently revealed, for a roughly two reasons, one is that the classic traditional landscape painting has perfect pen and ink technique beauty and deep ideological aesthetics, this classical beauty will continue to maintain the influence of all aspects, including the present and the future; second, the accumulation of tradition on the development of the dominant influence, the formation of a strong inertia, making it difficult for creators to get rid of, resulting in repeated stereotypes, lack of innovation.
Chen Feipeng, "Daylight Sketch", 68x33cm, 2021
Chen Feipeng, "Cloud Mountain Born White", 68x46cm, 2021
Chen Feipeng's thinking on landscape painting is based on the spiritual perception of Lao Zhuang at the same time, further emphasizing the Confucian thought of enlightenment and helping people, highlighting the position of people in landscape painting, after receiving the elite academy-style art academy education, and for work reasons, standing at the forefront of Chinese painting curation and education, with a clear and broad vision, although the flowers are charming, he chose to work stupidly, lay a solid foundation, temper pen and ink, do not do show off the form, not busy with kitsch, his works, just like his personality, at first glance bland, fine pen and ink hair , the natural opportunity is revealed, full of interest, so that people are willing to deepen their understanding and reading.
Chen Feipeng, "Qiu Yuan Yangsu", 35x138cm, 2020
Chen Feipeng, Shanshui Fangzi, 35x138cm, 2020
Chen Feipeng ,Listening to the Fountain, 35x138cm, 2020
Chen Feipeng, "Mountains in Clouds and Waters", 35x138cm, 2020
While art is pleasant, it also has the function of warning education. Chen Feipeng's works have a faint bitter taste, painting has a self-entertainment function, but can not indulge in the small emotions created by themselves, this bitter taste is a kind of introspection, alert yourself to creation, pen and ink to maintain a sense of awe, to maintain in self-awareness and artistic inheritance. On the other hand, this bitter taste is an attitude of the painter in front of the world, painting is an ancient visual art, compared with contemporary art forms, the influence in entertainment, expression, dissemination and other aspects is at a disadvantage, but painting, especially Chinese landscape painting, because of its deep historical accumulation, has different aesthetic feelings in repeated appreciation that other arts lack. Chen Feipeng jumped out of the field of painting to look at painting, enlightenment, and social attributes of helping people have faded to a very small proportion, but if painting does not have a view of life and reality, at most it is a pile of skills, in vain, it is difficult to achieve communication with the world, and there will be no profound and long-lasting appeal. He chose a gentle and firm form, infusing a kind of bitterness and vigilance of the present world in his pen and ink, and at the same time he properly grasped the degree, not the extreme cold arrogance of the Bada Shanren who cried and laughed, but the warmth of an art in the silence. He does not deliberately emphasize the bitterness in the pen and ink, but uses a silent warmth to inform the world that there is a kind of telling, a kind of concern. Mr. Lin Fengmian expresses the interaction of art and life through the use of dark tones, but his works are more cold, Chen Feipeng's silence is left to himself, and the warmth is faintly conveyed to the world through his works. Chen Feipeng's trajectory of learning painting is started from the closest person, tracing the origin of literati painting up to the Song and Yuan dynasties, and has his own appearance in pen and ink, and the dashing and gentle feelings in pen and ink are even more valuable.
Chen Feipeng, "Qingyunzhi", 70x46cm, 2020
Chen Feipeng, "Meditation", 70x44cm, 2020
The large freehand landscape with a small freehand mood is recursive layer by layer, and new thinking and exploration are revealed in the accumulated pen and ink layer by layer. The painter's perceptive expression is to show his own ideas through his own creation. The concept of Gu Ben is deeply rooted in his creation, he thinks calmly and independently but does not stick to his predecessors, he uses small freehand brushwork to carefully and accurately depict the landscape trees and stones in his pen, until it is painted, but it is not careful about the trivialities of the corners and corners, the depth and charm of the work have a strong wind, which is rooted in Chen Feipeng's independent thinking under the cognition of landscape creation. The pen and ink techniques and paradigm composition of the essence of traditional landscapes have a strong adsorption force, and it is not an accidental phenomenon to learn from the ancients. Chen Feipeng started from the aesthetic habits of contemporary people and made an attempt to inherit and the times at the same time. Since the Republic of China, humanism has played a role in promoting the development of Chinese painting, but the Confucian idea of worrying about the country and the people has always been hidden or present, and it is fundamentally closer to and more common to the aesthetics of the people. Chen Feipeng's paintings contain an introverted emotion, which is a faint self-narration, an introspection of Xiu Qi Zhiping, a concern for the world under the open-mindedness of the independent contact with heaven and earth, and a personal responsibility for growth. His pen and ink emphasize his feelings, is a kind of telling the world, not standing at a high level of judgment of the world, the inner feelings appeal to the pen and ink, so his paintings appear pure and full, thick and deep, light and clear, appreciate the painting like reading, there is naturally poetic reveal in the inside.
Chen Feipeng, "Idle Clouds First Open", 45x70cm, 2020
Chen Feipeng, "With Mountains and Green Water", 68x46cm, 2021
Affirm the happiness of the eyes and ears, focus on the cultivation and shaping of people's psychological feelings, and convey a positive attitude towards life. This is based on social perception and the artist's sense of responsibility to work for life. Chen Feipeng's achievements in pen and ink meet the needs of landscape painting creation skills, he deliberately strengthens the pursuit of internal beauty of the strong bone, in the creation of landscape and water, he uses a large amount of pen and ink color to construct the picture, the room and trees are interspersed, the voice is like a voice, the color is thick and bright, and the breath is strong and full. In this type of work, he built the house in the beautiful mountains and rivers of the Ming Mountains, and the characters in the paintings are mostly young, the houses are suitable for living, the characters are simple and happy, full of the warm fireworks of the world, conveying the satisfaction of life with the environment. The joy of landscape is an extension of human emotions, the characters in the traditional landscape are in a small position, Chen Feipeng strengthens the dominance of people in the landscape, this expression originates from the Confucian idea of the isomorphism of heaven and man, and the idea that man is determined to win the heavens, which is not only the expression of traditional ideas in the picture, but also the highlight of contemporary art to emphasize self.
Chen Feipeng, Chengxin Mountain Room, 138x68cm, 2019
Chen Feipeng, Yunshui Chengxin, 70x138cm, 2020
Chen Feipeng Introduction to Art
Born in 1987, Jiangxi Wanzai people. In 2015, he graduated from the China Academy of Art with a master's degree in landscape painting, and his supervisor was Mr. Yuan Xuejun; in 2019, he graduated from the Landscape Painting Class of the Chinese Art Workshop of the Central Research Museum of Culture and History, and mr. Long Rui and Mr. Yuan Xuejun; and he is a doctoral candidate in art finance management at Beijing Chinese University-Seoul University of Science and Technology. He is currently the executive dean of the Sino-Korean Art Finance Research Institute of Hefei International College of Foreign Chinese University in Beijing, the director of the Office of the Chinese Painting Creation Research Institute, the secretary general of the Youth Painting Institute of the Chinese Painting Creation Research Institute, the deputy director of the China Painting Art Museum, the secretary of the Chinese Painting Art Committee of the China Artists Association, the deputy general manager of Guobo Yaji, and the president of Nanshan Academy.