In 2008, Zhang Ying sketched on the outskirts of Lhasa. Photo courtesy of Zhang Ying himself
Abu, vice chairman of the Tibet Oil Painting Society and a national first-class artist. Image courtesy of Abu himself
Chi lie Deqing and his work "Xiang". Image courtesy of Chi Lie deqing himself
The picture shows Abu's oil painting "Prairie Event". Reporter Zheng Lu Yuan Haixia Intern Bai Mayangzong photographed
The picture shows Zhang Ying's oil painting "Childhood". Reporter Zheng Lu Yuan Haixia Intern Bai Mayangzong photographed
The picture shows Chi Liedeqing's oil painting "Village". Reporter Zheng Lu Yuan Haixia Intern Bai Mayangzong photographed
When a person begins to paint, the dream of painting begins to sprout. After decades or more, the dream will come true.
In this issue, the reporter takes everyone to know the painters of the Tibetan Oil Painting Society and listen to their stories related to painting.
Zhang Ying: Pay attention to humanities and retain good memories
"At that time, the spiritual outlook of people impressed me too deeply. Now when you look up the photos, negatives, and works, you can clearly remember the story behind these works. Tibet has developed rapidly, but there are many memories and fragments that our generation cannot forget. After retiring in 2013, my energy was all about painting. The state returned to the feeling of having just arrived in Tibet. Zhang Ying, vice chairman of the Tibet Oil Painting Society, member of the China Artists Association and a first-class artist, said.
Paintings of life paintings came with the light, shadow and taste of the years, and Zhang Ying, who was over 70 years old, slowly chatted with reporters about his past in Tibet.
In 1972, Zhang Ying came to Lhasa. When I first ventured into this simple pure land, I was attracted by the frames and paintings here: around Barkhor Street, Jokhang Temple, And Jokhang Temple, buildings with local characteristics, bustling crowds, and their clean eyes and simple smiles on their faces, life here makes people feel satisfied and happy. "It's all natural painting material. And those precious photographs that I took for future paintings. ”
Zhang Ying told reporters that in the past nearly 50 years, he has not received "stylized" education, but more is a natural understanding of Tibetan culture and humanities. He has always had a systematic collection and collation of Tibetan folk culture, which has a great influence on his creation.
Savor this oil painting called "Childhood", in front of the golden rape flower field, three 7- and 8-year-old children look intently into the distance, with a shy smile on their lips. This reminds people of the carefree time when they were young, so simple and nostalgic.
Zhang Ying said that it was in 1999, and they passed through a village in Dingri County, Shigatse, and saw many children playing freely in the field. "Although the people's lives were backward at that time, they lived very simply, happily, and contentedly. Especially the children in the village, they are very cute, innocent and in a particularly good mental state. The camera recorded the children's moments, and while the background of the work, I screened it three times. ”
Between the village head at dusk, the barley field, and the rape flower field, Zhang Ying finally chose the latter. He said: "I hope that this work will have both a traditional imprint and a new element. The color of the rape flower field is bright and lively, giving people a sunny and warm feeling. ”
In Zhang Ying's view, the people of Tibet, like the sky, are so pure. "I have a very good impression of the people in old Tibet, most of them are ordinary people in life. And my depiction of people's changes is more expressed on a spiritual level. Every time I look back on the past, these are deep memories in my heart. ”
Zhang Ying told reporters that now, every year, he will create more than 10 oil paintings. Especially after retirement, spend more time creating. "Now time is more precious to me, with these years of experience in Tibet, coupled with the inspiration and passion of creation, there is enough love and persistence, I want to work hard to paint the things I want to paint, and keep the good memories." In the future, we will also hold a painting exhibition to give ourselves and the Tibetan people a complete report, so that more people can understand Tibet and reflect Tibetan culture more deeply. And, when I say that, I will do it. ”
Abu: Breakthroughs are a lifelong thing
At the fourth "Snowy Landscape - Tibet Oil Painting Exhibition", a work called "Grassland Festival" attracted the attention of many people.
In the grasslands of August, during the Horse Racing Festival, the herders are watching the race intently, and the dedication and rustic smiling faces have left a deep impression on the painter Abu. He said: "I was eating and living with them, and I was completely impressed by the moving posture and the scene, so I drew a lot of sketches. ”
Abu told reporters that "Prairie Event" is an oil painting with many characters. The actual start of the creation was in 2008, during which there were several intermittent changes, including characters, colors, layouts, etc. "The painting has a great time span from the beginning to the beginning of a frame of thought, to the beginning of the creation, and then to the final completion. He also participated in an exhibition and has been hanging in the studio ever since. Whenever you see that the picture is not ideal from the whole to the part, you will immediately pick up the brush to change it, or suddenly have any new ideas, go up and paint a picture, until the recent change is more satisfactory. ”
Abu, 69, said that as early as the 1980s, he went to the northern Tibetan plateau several times to collect wind. "At that time, it was also called experiencing life. Due to the cold climate, he interrupted sketching, returned to Lhasa to recuperate and continued north. This passion of painting on the northern Tibetan plateau, which lasted a long time with the creation, can evoke the most beautiful memories in my heart. ”
Abu is currently the vice chairman of the Tibet Oil Painting Society and a national first-class artist. He has held art exhibitions and held art exchange activities in many countries, and his works have been selected for many domestic and foreign exhibitions and won awards and collections. Decades of painting, but his favorite is the oil painting "Morning" completed in 2005. He said that for this work, he took a lot of photos, painted a lot of sketches, and finally completed the work in a combination of sketching and creation. On the picture, various tones alternately blend, the pen tone is vivid, a few white pigeons are gently embellished, the white tower stands silently, and the morning sun gently sprinkles on the mountains, which has the poetic realm of "the empty mountain does not see anyone, but the voice of the people is heard". "The reason why I like this work is because it can reveal its personality and interest in a simple and natural way, and I have always hung it in the living room of my home, and some people are reluctant to sell it at a high price."
After retiring in 2013, Abu's life remained simple and pure. Looking back, although he will sigh that he has been on the road of painting for more than 40 years, he still maintains many of his original habits of insisting on painting for at least two hours a day, and occasionally driving to the countryside to sketch. "It's hard for me not to paint for a few days, and for me it's as natural as eating and sleeping," he says. Nature can bring me excitement and excitement, let me feel that only by going deep into life can I understand the true meaning of life and discover the beauty of life. I always think that sketching is closer to real people and natural scenery, so that I can get peace of mind and not be disturbed by the external complexity. ”
Speaking of his vision for the future, Abu said: "That is to insist on the habits that have been formed naturally, and constantly break through the original self." Because breakthroughs are a lifelong thing. ”
As for how far to break through, Abu has his own clear understanding. He told reporters that he has always taken the path of traditional painting, and he also attaches great importance to learning from excellent predecessors and not letting himself stagnate at a level. "But the breakthrough I am talking about is by no means to change myself beyond recognition, after all, my artistic path is the accumulation of decades of living and learning." Nor does it mean that the transformation can be immediately transformed into a complete stranger, that is not my own style. ”
Chi lie Deqing: I will always be on the road of art
"The great significance of art is basically that it can show the true feelings of man, the mysteries of inner life and the world of passion." Chi Liedeqing, a director of the Tibet Oil Painting Society and a young oil painter, told reporters that this is a famous saying he likes.
The first acquaintance with Chiledeqing stemmed from the painting called "The Village", the light blue sky, the light yellow clouds, the pink peaks, the scattered houses, and the pedestrians on the road. The cute and quiet painting style makes people feel calm inside.
"Creating a series of village works is more of a nostalgia for rural life." When I was a child, I grazed cattle, played with sheep walking, loved to build small villages out of stone and mud, sandy beaches in summer, and painted in the snow in winter. Chilie Deqing told reporters that he was born in a family of half farming and half pastoralism, has a deep understanding of farming culture and pastoral culture, although he lives in the city now, he is still particularly yearning for his childhood agricultural and animal husbandry life.
Born in Shigatse, Chiledeqing, who loved painting since he was a child, always observed some things and phenomena that were already common to everyone when he was grazing, or when helping his family to work in the farmland--when grazing, looking up at the sky and observing the changes in the clouds; when farming with his family, his eyes always stayed on some houses with painted walls, carefully studying the structure of these painted colors and lines. "It seems that every product of nature is attracting me with a special force, which is stimulating my interest and inspiration in artistic creation."
Chi Lie Deqing told reporters that he has liked to draw since he was a child. "When I wasn't in school, the dirt, the snow, the beach, the walls were my canvases. When I was in school, I took notes in front of my notebook and drew on the back, and although paper was scarce at that time, fortunately I scribbled on paper, and my family never scolded me. I still remember that during the period when I was about to graduate, I didn't paint for a long time because I was busy with my studies, and my family was not used to asking me why I hadn't painted recently. ”
In 2011, Chi Liedeqing graduated from the Fine Arts Department of the Academy of Fine Arts of Tibet University with a bachelor's degree, and in 2015, he graduated from the Fine Arts Department of the Academy of Fine Arts of Tibet University with a master's degree. The difference is that during his graduate studies, he paid more attention to innovation and strived to highlight his style.
"I can't find a specific reason for myself, who likes to paint. But I understand that without painting, I can't imagine what I would be like. Today, Chi Lie deqing uses his unique painting style to create intriguing and unforgettable works, many of which are collected by many art institutions and private collectors.
In terms of the color of the work, Chi Lie deqing's pen is simple and pure, the lines are smooth and clear, and the bright colors are used to make them collide with each other, which is very visually impactful. He told reporters that as long as he draws it with his heart and feelings, it is the most memorable work, even a draft is very unforgettable. "Every painting is a story of life, a song of life. One day to live, one day to paint, the rest of the story to the years. The only thing that is certain and unchanging is that I will always be on the road of art. ”
Gao Baojun's new collection of essays, Half An Acre of Idle Fields, was published
This newspaper Lhasa News (reporter Xiao Yong) Gao Baojun's new collection of essays, "Half An Acre of Idle Field," was recently published and distributed by the Writers Publishing House. The whole book takes Ali's landscapes and life scenes as the foothold, and takes the relatives and friends in his hometown of northern Shaanxi and his early life as the point of looking back, writes through the half of daily life outside of work, and realizes the leisure of the half acre of text reserved land outside the "responsibility field".
The whole book is divided into six series: half an acre of idle fields, idle even records, philistine idleness, children's dreams and trivial memories, courtyard door loneliness, and a melodious flute, each series is a fragment of life, put together, is a complete spiritual picture. The whole book is based on the author's observation, perception and interest, and writes about the majesty and emptiness of the Ali Plateau. See not only the author's disposition, but also the others and the world touched by the author's life.
"Half an acre of idle land is busy and half a life, and half a life is busy and half an acre of land." The author Gao Baojun wrote in the epilogue of the book: If "full" is a kind of perfection, then "half" is a kind of realm. The title of the book was set as "Half Acre Idle Field", which was because of this "half" state of his own. This state is formed with age. This state is not a state of regret, cynicism and perfection, but a kind of moderate abandonment, self-reflection and calmness.
This book is the second collection of essays by writer Gao Baojun about Ali in Tibet. Gao Baojun was once the seventh batch of cadres in Shaanxi to aid Tibet, and was affectionately known as the secretary of the "vegetable basket" by the Alipulan people. During the few years of aiding Tibet, he traveled all over Ali, went deep into local work and life, and wrote a collection of essays that combined the handwriting of Tibet aid with the actual records of life, "Notes on The West of Tibet". In this book, the customs and customs of Western Tibet, wedding and funeral customs, lifestyles, world events, etc., have a personal appeal under the author's personal experience, allowing readers to read the real Tibet as the sun.
The famous writer Jia Pingwa wrote in his recommendation: In the current field of literature, Gao Baojun has embarked on a new path of prose essays and reached a new height of written language. This book is a strange book suitable for all ages, both men and women are happy, cadres and groups can be used, and elegant and customary are all good books, which require readers to taste slow understanding and understand the spirit!
Gao Baojun is a member of the Chinese Writers Association and a director of the China Prose Literature Association. He is the author of many novels, essays, poems, research, and other works. His works have appeared in many newspapers and periodicals such as People's Daily, Guangming Daily, Economic Daily, People's Literature, Literature and Art Daily, Reader, October, Chinese Writers, etc., and have written many awards such as "Village Walk", "Great Beauty of Northern Shaanxi", "Four Seasons of Northern Shaanxi", "Dream Language of Nomura", "Notes on Western Tibet", "Preliminary Examination of Wuqi Ancient City Fortress", "Research on Environmental Regulation and Resource-based Industry Development", etc., and his works have won many awards such as the Fourth and Fifth "Bingxin Prose Award".