Painter Profile
Li Zhiqin, zi Rui Feng, Cun Ye, Longquan Mountain people, Xiahe resident. Professor, painter. He has long been committed to the exploration of traditional Chinese painting language and modern pen and ink spirit. His works are majestic and profound, and they are super-elegant; The pen and ink are smooth and graceful, flexible and vivid, and the personal style is outstanding.
Li Zhiqin on art recordings
(Fifty-one)
Freehand is the most important aesthetic symbol of Chinese painting. From the perspective of the causes and development process of freehand, it is a reflection of the Chinese philosophical thought of "Confucianism, Interpretation and Taoism" in Chinese painting; From the perspective of aesthetic function, it is the most obvious feature that distinguishes Chinese painting from Western classical realistic painting. The spirit of freehand has run through the history of the development of Chinese painting, and painters and theorists from ancient times to the present have all affirmed and admired the freehand spirit of Chinese painting. The famous masters and masters of Chinese painting in the past, without exception, are all freehand holy hands.
(Fifty-two)
The freehand of Chinese painting has both figurative content and abstract components; There are both reproduced forms and expressive consciousness; It emphasizes both objective authenticity and subjective will. The painter turns the shape in reality, the realistic shape, into the shape of art, and through this image that penetrates the subjective feelings, not only shows the morphological characteristics, inner beauty and spirit of the objective form, but also the self-subjective consciousness and psychological world expressed by the painter with the help of brush and ink, thus embodying the superb artistic technique, the feeling of compassion for the heavens and the people, which is the freehand spirit in the true sense of Chinese painting.
(Fifty-three)
For a long time in the art world, there has been a phenomenon that in all official exhibitions, the scale of the exhibited works remains large. In the eyes of some painters, the larger the canvas, the more opportunities to be selected for art exhibitions, and the more powerful they are, the more likely they are to win awards. However, I don't know that the work is painted large and full, which does not mean that the art is difficult and the achievement is high, nor does it mean that the connotation is rich. On the contrary, the size of the work is large, and it can only spend effort to artificially "do", to "grind", and "make" the art must lack the passion of art, and the freedom of ink painting and the beauty of the free flow. This exhibition orientation has led to the decline of the freehand spirit of Chinese painting step by step.
(Fifty-four)
The ancients said that calligraphy and painting have the same origin, and calligraphy is the foundation of Chinese painting. The ancients wrote with a brush from an early age, and calligraphy was a part of life. Therefore, the Chinese painters in the past were actually calligraphers. Nowadays, people use hard pens, and now they have computers, neglect brushes, and many painters are laymen of calligraphy. Without the skill of calligraphy, the painter's pen blade cannot walk on the rice paper, and it cannot go on. Use a brush as a pencil to draw sketches, draw specimens, and draw pattern renderings on rice paper. There is no emotion in the work, no sense of brushwork, only stiff lines, the picture is very "good-looking", but it has lost the deep mystery of Chinese painting and the charm of art.
(Fifty-five)
Today's art world is full of materialism and chaos. In the context of the era of calling for masters, especially the artists in the system are generally questioned, a dark horse and an old armor have been killed from within the system, which has aroused the repercussions and resonance of the art world, and it is worth people to study and explore the existence and value of the old armor phenomenon from all angles.
(Fifty-six)
Lao Jia's exploration of ink painting and large-scale freehand, people have formed a consensus that he broke the law of "writing God in shape" for thousands of years, and did the opposite, but wrote shape with God, subverting the inherent mode of ancient and modern art, hooking, wrinkles, dyeing, dots, pen and ink for the form of service. But Lao Jia created a new aesthetic style and physique, and the shape of the object served the pen and ink, and the shape became the carrier. At the same time, he passed the traditional pen and ink through the inner modern creation, completing the transformation and breakthrough of pen and ink modernity. The root of this transformation is Chinese calligraphy, and the soul is the spirit of Traditional Chinese culture.
(Fifty-seven)
Lao Jia knows that the art of calligraphy and painting has a way of writing first and then a way of painting, and ink painting is the art of calligraphy. Therefore, he liked to study calligraphy, especially song huang tingjian's cursive writing. Find feelings and aura in the yellow cursive book. He used the thick and dignified Yellow calligraphy, and used the pen to be majestic, atmospheric, and steep, and applied many changes to his painting method of freehand horses. The strong rhythm and rhythm of Chinese calligraphy is used in his horse series of works to the pinnacle of perfection. Therefore, Lao Jia found the convergence point between capitalization and cursive writing, truly understood the true meaning of the homology of calligraphy and painting, went deep into the interior of tradition, and deciphered the inner code of aesthetics between ink capitalization and calligraphy. It has formed its own unique pen and ink structure style, pushing the ink capitalization to a height that is difficult for posterity to overcome.
(Fifty-eight)
Lin Yutang said: "If you don't understand the art of Chinese calligraphy and its artistic inspiration, you can't talk about Chinese art. "Chinese paintings without calligraphy can only be castles in the air. The ancients wrote with a brush from childhood, and today's people write with pencils, pens and even computer trays, which is far from the brush. The beauty of Chinese painting lines and ink rhymes has lost the soil of its survival and development. Therefore, the lack of calligraphy has caused the whole people to be illiterate and illiterate, as well as the basic conditions for aesthetic appreciation of Chinese painting. Therefore, one of the main reasons for the stagnation in the development of Chinese painting today is the serious lack of calligraphy education for the whole people.
(Fifty-nine)
In the early 1950s, the mainland's art education studied one-sidedly, copied the art education model of the former Soviet Union, and Xu Beihong's advocacy that drawing was the basis of all modeling, this concept has influenced the aesthetic interests of generations. Any painting in Chinese painting is based on sketching instead of calligraphy and painting instead of writing. Draw margins, draw contours, use the brush as a pencil, draw light and dark renderings and sketch black and white relationships. The work looks "pretty" and the visual effect is "good", but it can only be a sketch and ink. In particular, since the 1990s, painterliness has been reduced to the lowest level of eliminating brush strokes. Some people even say that sketching has harmed an era, ruined the context of Chinese painting, and destroyed the freehand spirit of Chinese painting, which is far from art.
(Sixty)
Kant said: "Heroes make history, geniuses make art". Chen Zizhuang said: "Great artists are either heroes or haojie." Only heroes and geniuses can accomplish the feats of human innovation. Traditional ink painting has become a highly mature art form long before the 19th century. After more than a thousand years of forging, conditioning, selection and reorganization of countless geniuses and masters, the room for development left for today's people is extremely limited. Ink painting has become a highly stylized art system. Therefore, in order to break the ink painting pattern that has been solidified by the ancients, without heroic spirit and the humanistic feelings of compassion for the heavens, it is difficult to break through the traditional cage of eternity and thousands of years.
(Sixty-one)
The big sketch of Chinese painting is the high-end and dangerous peak of ink painting, and it is the symbol of the martyr of art. Under the influence of today's fast-dying culture, few people devote their lives to wade into dangerous shoals, take risks, or may be a lifetime of fruitless labor. Traditional culture has deep roots and is an inexhaustible source of art. Most of today's people are lying in the piles of predecessors and ancients begging for a living, mixing food and eating, which is a thousand times easier than opening another road.
(Sixty-two)
There can be a place in the history of art, and those who are called masters must have his creative value and have a side to fill in the gaps. Li Keyan said: To study the tradition, we must "fight in and fight out."It is not easy to fight in, it is even more difficult to fight out, some people have not entered it in their lifetime, and some people cannot fight it in their lifetime. Li Kejian can be regarded as a successful example of both punching in and out. Through sketching, he completed the return of landscape paintings to nature, from the change or twist of aesthetic intention from being far away from the fireworks of the world to making people feel intimate. That is to say, he completed the landscape painting, the transformation from traditional form to modern form, with a new sense of the times, to meet the aesthetic needs of modern people. So he is a pioneering contemporary artist.
(Sixty-three)
In every era, in every nation, great artists, great works. But at the time, it was difficult to be recognized. In the contemporary painting world, Chinese painting is a special case of Mr. Lao Jia, who has the talent of God's grace kick, maverick character, and strong perseverance. So he was destined to become a master painter. All masters are geniuses and wizards. In the history of art, the more masters, the more difficult it is to recognize and imitate. Talented artists are hard to come by. To truly understand the mysteries in Mr. Lao Jia's art, it also requires the level of a genius-type master. (2015 essay)
(Sixty-four)
The culture and art of each era represent the spiritual outlook of the people of that era. Prehistoric faience pottery is the summer light of human spiritual civilization. In primitive society, there is no class, no exploitation, no oppression, and the primitive clan painters are in a very relaxed and free environment, and their creations are free, sincere, and heartfelt. The patterns on the original faience pottery are so simple, innocent and romantic, bright and self-reliant, which is a natural expression of the true disposition of the original clan artist. In the slave society of xia and shang, there was class oppression, and there was no innocence and simplicity in the bronze ornamentation, only fierceness, majesty, orderliness and domineering of the king.
(Sixty-five)
The journey of innovators engaged in the exploration of Chinese painting is difficult and difficult, and it is impossible to be smooth. His life must have been lonely and lonely, and he could not have become a fashionable figure in the contemporary era. There is pain in loneliness, and the pursuit of art is different from the pain of people.
Suffering in fox independence is not up to the height of suffering that one pursues. It's either loneliness or it's vulgarity. Only in loneliness can we enter the realm of art, in loneliness can we be innovative, and in loneliness can we flow through the ages and forever record in the annals of art history!
(Sixty-six)
The unique materiality of Chinese ink painting art has caused the uniqueness and non-reproducibility of its art. Its soft and elastic pen edge, on the infiltration of white rice paper, a little stroke, a button, a quick and slow, the resulting pen marks, ink marks, not only is the author's pen and ink kung fu manifestation, but also the author's artistic accomplishment of the expressive process. He naturally expressed his inner strength, pattern, realm, and breath. Therefore, the art of Chinese ink painting reflects the author's thoughts, souls, and spiritual things.
(Sixty-seven)
Good Chinese painting has a special meaning of changing and beautiful, which makes the viewer reverie and reminisce endlessly. The opposite is the opposite of the painting, as if watching the water on a plate, there is no spare. The brush and ink of Chinese painting is the meaning of the brush and the interest of the ink, but the pen meaning is more important. Nowadays, very few people really understand the meaning of writing. It is not an easy task to closely integrate the shape and brushwork of Chinese paintings. The art of Chinese painting has a magical power, and the author's mind, temperament and cultivation can be seen from the vertical and horizontal waving of pen and ink lines. The art of Chinese painting can sweep away the worldly intestines and reach the realm of simplicity, sublime, and greatness. The qi rhyme of Chinese painting is based on talent, learning and development, and it is not a simple rendering of the picture, and the clouds and smoke change. The brush and ink of Chinese painting is the "life line" of the uninhibited, free, and self expressed by its author.
(Sixty-eight)
On the road of art, the successful person's life is tragic and tortuous, and his experience is a magnificent and exciting symphony of fate that is not lacking in pathos. Artists who have made achievements are definitely not ordinary people who follow the rules and regulations. To measure him by generalized and typed professional technical standards, there are always flaws or defects of one kind or another, but it is those flaws or defects that break through people's aesthetic boundaries that constitute his unique singular personality and imperfect beauty. The purity and innocence of the artist's character show that he has always been full of love for life, and has always had a strong and sincere feeling.