Learn and describe
——Cloud Exhibition of Contemporary Chinese Ink Painting
| academic advisor |
Wang Xiaohui
| Academic Chair |
Chen
Su Jincheng
| curator |
Wang Yunru
| | organizers
Beijing Phalanx Culture Co., Ltd
| the | of the organizer
Mo Yun Xuan Calligraphy and Painting Academy
Artist Association
……
25
This issue features artists
X E AND SH
Don't sign Qinghui
He works at the School of Chinese Painting of the Central Academy of Fine Arts, and is the head of the character department, a professor, and a doctoral supervisor
Researcher of the National Academy of Painting of China
Distinguished Professor of Shanghai Academy of Fine Arts, Shanghai University, Doctoral Supervisor
Distinguished Professor, National Taiwan University of the Arts
Distinguished Professor of Minzu University of China
Distinguished Professor of School of Fine Arts, North China University of Science and Technology
Special tutor of Beijing Institute of Fashion
Distinguished Professor of Academy of Fine Arts, Jilin Academy of Arts
Visiting Professor of Xinjiang Academy of Arts
He is a member of the China Artists Association
Text/Feng Haitao
The creation of Chinese painting is basically divided into three categories. One, those who inherit the tradition; two, those who entertain themselves; and three, those who experiment with the inheritance and development of Chinese painting. These three categories, of which, inherit the tradition, are mostly social painters! There are social and academic types for self-amusement! Most of the experimenters for the inheritance and development of Chinese painting are academic! This also reflects the existing social phenomena in the field of Chinese painting.
Taihang Qiuyang I 275X195cm 1996
The term experiment, which originally means "a series of operations or activities designed to test a theory or confirm a hypothesis", shows that experiments are mostly means of scientific argument and development. However, in the field of Chinese painting, "experimentation" is a process of repeated practice in the inheritance and development of Chinese painting. In fact, there have been ancient times, but the titles are different. The original name was "Innovating from the Old" or "Inheriting the Ancient Innovation". Because if the experimental nature of Chinese painting did not exist, there would be no aesthetic changes in different periods, and so many forms of expression.
Taihang Qiuyang, No. 3, 275x195cm, 1996
Speaking of the transformation of Chinese painting, or the emergence of new. The most representative is figure painting, because it is the most urgent for figure painting to keep pace with the times. With the progress of society, the evolution of culture and the changes in living habits and life understanding, the contemporary character appearance, clothing, and the pursuit of life and life have major changes with the ancients. In this case, if you don't go out to produce new ones, Chinese paintings are abandoned by the times. Therefore, many figure painting professors, including the academy, began to experiment Chinese the development of object painting. The most representative painter is Mr. Wang Xiaohui, a researcher of the National Academy of Painting of China, the head of the Character Department, a professor and a doctoral supervisor at the School of Chinese Painting of the Central Academy of Fine Arts. Through the figuration of ink figures, it constantly tempers the inheritance and new combination of figure painting. Repeatedly build the system, and then break the system. Use figurative ink to serve freehand ink, use freehand ink to improve figurative ink, and use new humanistic ideas to construct the artistic ideas and aesthetic concepts of the times. Thus cultivating his own artistic views and creative ideas and directions.
"Taihang Autumn Sun", No. 4, 1996, 190X275cm
The experimental nature of contemporary art is also the social nature of later generations of art, because if the art form or concept under advanced thinking is recognized by society, it takes time to precipitate, because aesthetic changes are guided in an orderly manner. The existence of scholarship refers specifically to experiments and arguments in the professional field. The existence of inheritance is an aesthetic change after the academic nature is widely recognized by society.
Taihang Qiuyang II 275X195cm 1996
Highland 01 96x186cm 2003
Highland 03 96x186cm 2003
"Chang'an Street of East and West" (left)
"East and West Looking at the Jinshui Bridge" (right), 2005
Dragon Phoenix with 01 96x185cm 2007
Dragon Phoenix with 03 96x186cm 2007
Red face 185x96cm 2008
Red Face II 185x96cm 2008
Flag fluttering 4 96x185cm 2008
Flag fluttering 2 96x185cm 2008
Mostly smiling 393cmX199cm color on paper 2011
Dressed 246x124cm 2011
Dressed 246x124cm 2011
Pink Ant Clan 393cmX199cm Color on Paper 2013
(Please view the effect is better in landscape screen)
Liri Lady 240cmX610cm Color on Paper, 2011
Immeasurable Fushou 650x190cm 2018
| | order
Since its launch on August 21, 2021, "Ink Square" has received widespread attention and high recognition from the industry. The three-year tour offline program has been stopped again and again due to the epidemic, and the virus can be isolated, but the art will not be isolated. With the strong support of the Art Committee, Phalanx Culture makes full use of the advantages of online self-media communication, and now plans to push the "Ink Phalanx" to the cloud, and continue to have a warm art dissemination for young and middle-aged painters who have obtained doctoral and master's degrees in various colleges and universities across the country. The first launch of the cloud exhibition: ink square array series "learning and narrating - Chinese contemporary ink painting cloud exhibition", give full play to the advantages of self-media fast dissemination speed, wide range, strong timeliness, with the spirit of pen and ink as the link, to open up a new body as the responsibility, in the form of "square array" to launch a group of painting and academic progress, theory and practice symbiosis of young and middle-aged artists, to the art world and society to convey our artistic concepts and spiritual trends.
In the past thirty years, a number of art doctors and masters have been cultivated, and it is also a group and a new phenomenon that has emerged in the history of Chinese art, and its emergence is a milestone in the development of new Chinese painting art.
Doctoral and master's young and middle-aged painting exhibitions are a beautiful landscape in the current many exhibitions, the participating painters are scholars or young and middle-aged people with doctoral and master's degrees in art, academic research is the core work they engage in daily life, and calligraphy and painting is complementary to their academic research and promote each other. And their works are also different themes and styles, landscapes, flowers and birds, characters are complete. In terms of style, there are both fine workmanship and freehand, there is a way of pure ink painting, there is also a way of splashing color; there are more traditional works in painting language, and there are also more modern ways to pay attention to the composition of the picture.
In some respects, these young and middle-aged painters continue the lifestyle and humanistic feelings of traditional Chinese literati, and what is even more valuable is that they have an innovative spirit. In addition, from the perspective that a painter should have a rich academic accomplishment, this group of calligraphers and painters is undoubtedly one of the most culturally cultivated painters in contemporary times. They have received rigorous academic training, and they have a high degree of speculation about the development process and future trends of art history and even cultural history. Therefore, such a group of young and middle-aged painters are the main force in the Chinese painting world at present and in the future, and they are also an important group of painters that affect the development of Chinese painting. Because, they not only stand on an academic high platform, with a research attitude to the creation of calligraphy and painting, but also they are writers of the history of the development of painting, their concept of painting is not only from their own years of accumulation of achievements, but also affect many artists who are studying and creating art.
We can share the artworks of these phD and master's artists in depth, and read the cultural information and aesthetic pleasure you expect from them. I hope that these feelings and harvests will make you realize that there is such a special group of young and middle-aged painters in the contemporary Chinese painting world, and this group of painters has a driving force for the enrichment and development of contemporary painting that cannot be underestimated.
(Professor, Shanghai Academy of Fine Arts, Shanghai University, Doctoral Supervisor)
Discovery and recommendation are what Contemporary Figures of Calligraphy and Painting has been doing. However, due to human reasons, there are many excellent calligraphers and painters who have not been discovered, so I feel that I am good enough to contact the "Contemporary Characters of Calligraphy and Painting". Cultural companies seeking cooperation with calligraphers and painters can also contact us.