The artistic conception is the soul of landscape painting, it is the kind of artistic realm that can profoundly express the vitality of the universe, the reality of the world and the true meaning of life, that is to say, the artistic conception is produced from the image and transcends the image, aiming to pursue the rhyme of "the scene outside the scene" and "the image outside the image", and ultimately the reflection of the soul.
Liu Ming, as a young landscape painter, has a careful taste and grasp of the "artistic conception", and is good at using the method of combining virtual and real to construct his dreamy landscape world.
Liu Ming: Ph.D. of China Academy of Art, Deputy Director of the Department of Chinese Painting of the Academy of Fine Arts of Shandong Academy of Arts, Associate Professor, Master Tutor, Director of Shandong Chinese Painting Society, Assistant Director of Zhang Zhimin Studio of National Academy of Painting of China, Tutor of Sketching and Creation Class of Shandong Artists Association. Born in 1978. In 2006, he graduated from Shandong Academy of Arts with a master's degree in Chinese landscape painting, under the supervision of Professor Zhang Zhimin. After graduation, he stayed on to teach. In 2015, he graduated from the China Academy of Art with a ph.D. in Chinese landscape painting under the tutelage of Professor Lu Yushun.
Liu Ming's works combine "ancient meaning" with "spirit of the times", and the elements of mountains, rivers, clouds and mist in the paintings are depicted using a kind of illusionary hazy brush and ink to try to present a holistic artistic conception.
This artistic conception not only has the ancient meaning of ancient landscape painting, but also inadvertently reminds people of those idyllic and leisurely picture artistic conceptions; at the same time, the pen and ink of the work are also soaked with the spirit of the times. The so-called spirit of the times is not a vain finger, but the painter's own serious thinking about the life of the times, art, and the expression of thinking in pen and ink.
While inheriting the "ancient meaning" of the landscape paintings of the ancient sages, Liu Ming expressed the spirit of the times with his own brush and ink, and finally achieved the artistic conception of taking both into account. In Liu Ming's paintings, innovation and expression of the ancient meaning of landscape painting are just two sides of the same coin.
On the one hand, he strives to study the various ways of rubbing and dyeing ancient paintings, especially the subtleties and refinements of the "use of the magic of the use of one mind" in the pen and ink of his predecessors, and strives to absorb and carry forward the essence of traditional landscape brush and ink to the greatest extent; on the other hand, on the basis of inheriting the pen and ink of his predecessors and the concepts and laws of "heavy intention" and "teaching nature", Liu Ming also continues to draw innovative inspiration elements from the excavated Han portrait stone bricks, folk New Year paintings and other art forms.
The absorption of them makes the mountains and rivers and yunwei in Liu Ming's paintings have a thick and simple style that has both origins and differences from the ancient meaning of traditional landscape painting, and also makes the audience often think of the more ancient and distant period of Chinese civilization before the birth of landscape painting.