Wei Daozhi, born in Hefei in 1963, is currently the executive director of the Anhui Poetry and Calligraphy Research Association, a member of the Anhui Artists Association, a member of the Anhui Calligraphers Association, an academician of the Vancouver Academy of Calligraphy and Painting, and the president of the Malaysian Tongyuan Calligraphy and Painting Institute. Since childhood by the family to love art, calligraphy and painting respectively enlightened Zhou Xiaoyun, Huang Qingsheng two teachers, over the years in the process of learning calligraphy and painting by Tao Tianyue, Guo Gongda, Fang Maohong, Wang Yaya and other local masters of careful guidance, in the early 1990s in the Tsinghua Academy of Fine Arts to study Chinese painting, by the teacher Yang Deyu personally taught, during this period at the same time with the Chinese painting Shandong advanced study class tutor, Beijing advanced study class tutor Wu Shuqiang, Zhang Xiaohua, Zhang Rongdao several teachers to study, laid a solid foundation. In recent years, he has also studied landscape painting with the famous shandong landscape painter Feng Jucheng, in order to improve his painting skills and artistic conception day by day, and his major has been further improved. In 2021, he became a professional student of Huo Yan's Elite Class of Chinese Painting, and his Chinese painting "Silk Road Flower Rain" was included in the Fifth National Art Exhibition of Ode to the Red Boat and won awards.
Due to his outstanding painting achievements, his calligraphy and painting works have participated in national art exhibitions and local exhibitions in various provinces and cities and won awards. Large-scale exhibitions such as the Sino-French Art Exchange Exhibition, the Sino-US Calligraphy and Painting Collection Exhibition, the China-South Korea International Art Exchange Exhibition, and the Special Edition exhibition of Chinese Poetry and Calligraphy Masters. His works have also participated in many national art and large-scale auctions of calligraphy and paintings in Hong Kong, and have been widely collected by relevant social groups and professional organizations.
There is QiFeng Ink Zihua in the belly - Wei Daozhi landscape painting interpretation Gan Yiming/Wen
In the Anhui Provincial Poetry calligraphy and painting research association, the landscape painter Wei Daozhi's landscape paintings are imposing and inky. In the arrangement of many landscape painters, I walked into Wei Daozhi's landscape paintings. Only by putting Wei Daozhi's landscape paintings into the long river of traditional culture can they be properly interpreted. Chinese landscape painting has laid the aesthetic trend of high taste in traditional culture. It is not blindly pursuing practical benefits and showing off pen and ink skills, but pursuing "vivid charm" and climbing the ultra-mundane aesthetic realm, that is, "visual theosophy". To meet people's pursuit of beauty, "Cheng Huai Taste Elephant" to alleviate emotions, "Get carried away" to return to the world of ideas. In Wei Daozhi's landscape paintings, the main dominant one is a kind of atmospheric righteousness and masculinity, in general, his landscape not only inherits the majestic style of the northern landscape, does not stick to the traditional landscape brush stroke painting, but also from time to time rubs into the beauty of the southern landscape; both highlights the traditional bloodline, but also rooted in personal feelings. The work "Only the Landscape is the Most Pleasant" is painted with a thick and imposing style, a smoky lan, and a majestic Zhang Xiuwei. In the picture, the trees and stones are mixed, the ravines are longitudinal, the mountains and rocks are in contention, the peaks are rushing upwards, the cold springs are high, the mountains are near, the distant, the smoke and clouds are flowing, and the magnificent scenes with the sparse appearance of the delicate body are all in view, and the steady strokes of the work are complete, the whole is full of energy, the ancient beauty is lush, and the spectacle is magnificent. Looking at "Hui Feng and Chang", but see the ethereal cloud mountain, the pen power is strong, the lush and lush, the dot painting is like a sudden rain falling, the pen and ink in the rapid operation or point or dye, or paint or wipe, or light ink hair light rhyme with the distant mountain, or heavy ink full of points and near the ridge, ink tree smoke, cloud water is connected. I feel that there are five generations of Jing Hao's landscape soul, which has been fully displayed in the works, thus showing the magnificent atmosphere and vitality of the magnificent mountains and rivers, and the style and temperament of stepping out of tradition but freely recruiting in the innovative world.
Looking at Mr. Wei Daozhi's landscape paintings, and trying to explore the trajectory of the painter's inheritance of ancient sages and teachers, it is not difficult to see that Daozhi's ink landscape paintings flow with the legacy of the "three landscapes" from the five generations to the early Song Dynasty. First, Daozhi adheres to the panoramic composition of Chinese landscape painting, incorporating the majestic landscape into the painting, with majestic peaks and steep canyons, "the top of the mountain in the clouds, steep on all sides" (Mi Fu language). Make the picture appear to be picturesque, the weather is sparse, the realm is clear, magnificent and colorful. Second, Daozhi's ink blending expression technique went straight to the Jinghao Road from the fifth dynasty to the early Song Dynasty, with rich pen and ink and complete technology. The techniques of painting, rubbing, dotting and dyeing Chinese landscapes have been innovated in inheritance. In the painting, the stone body is solid and the mountain peaks are steep, which can really be described as "sweeping thousands of miles at hand, poor and interesting under the fingers." In addition, some of the highlights of these paintings are the near rise, the middle is the relay, and the distance is the combination, so that the ordinary scenery has a musical rhythm, and the ups and downs have a continuous line.
In "The Rising Sun rises in the East", Daozhi uses an open mind and a full-frame structure to express a round of red sun rising in thousands of mountains and mountains, clouds steaming xiawei, and thousands of weather. In the distance, the peaks are stacked and everything is brilliant. Gonglan is lush in color, and its ink is thick and does not add smudging. Focusing on portraying the qi bones of the mountains and mountains, he successfully expressed the texture and strength of the mountains. I think "The Rising Sun" should be a monument in Mr. Wei Daozhi's landscape paintings. In "Purple Qi Coming East", the pen and ink are clear and thick, showing the lushness of mountains and rivers and forests, with strong pen strength and beautiful gestures. "Cang Cang Mang Mang" (Dong Qichang), as Mi Fu said in the "History of Painting": ".... Plain and not really much, peaks are infested, rain and fog are obscure, not pretending to be funny, more innocent, lush and green, branches are strong, salty has business. "Like all landscape painters who have the pursuit and achievements, Wei Daozhi always goes out of the studio to climb Huangshan Mountain, climb Mount Taishan, go to Wuyi, go to Yandang, swim in the Three Gorges, walk through the mountains and rivers of the motherland, feel the charm of natural mountains and lakes, appreciate the miraculous creation of nature, plunge into the magnificent mountains and rivers of the motherland again and again, suck in the fresh and sweet milk, and turn into the impulse of his own landscape painting creation inspiration, the flying of creative thinking, and the agility of brush and ink... His "Ten Thousand Mountains And Red All Over" is an innovative work of bold and large-scale use of red, and the superposition of red increases the thickness of the picture, sublimates the intention of the theme, extends the reader's rich imagination, and the brushwork is simple and vigorous. Mostly use wet pens to splash ink, ink color is strict, alienated composition, ups and downs, coarse but not vulgar, thin but not flattering, the picture is full and not blinding. Large red without kitsch, is a rare masterpiece of Mr. Wei Daozhi's recent landscape paintings.
Mr. Daozhi, with his love for the great rivers and mountains of the motherland and the essence of his creation, has been praised by the experts in landscape painting in Anhui Province in the past ten years. His series of landscape paintings, eclectic from the north and south, intermingling and dissolving, he learned the tradition of ink to work the lines, for what has been done, so in the Wei Daozhi landscape paintings, although he writes the scenery of the cold forest road and the water, the weather is full of sparseness, the realm is clear, the peaks overlap, and the ancestral villas are exposed, but you can't see the shadow of Li Cheng in the early Song Dynasty; although the mountains are steep and steep, the roots are long and lush, and the mountains and forests are lined up, but you can't see the brushwork of the five generations of Guan Tong; although the painting of the jungle is forest, the rock wrinkles are calendar, and the deep valley is a line of waterfalls, But you can't smell the northern Song Dynasty Fan Kuan; although you paint the majestic winds of the Ten Thousand Valleys, the lush plates of the hills, the strange peaks and strange rocks, and the mist surrounding the mountainside, you will never feel the breath of the Song Dynasty Li Tang... Wei Daozhi painted landscapes and walked on a long road by himself, although the left and right sides of the road were overgrown with weeds and the front was bumpy, he held aloft the sword of artistic creation, swung left and right, slashed forward and split, and walked forward with great confidence and confidence.
An expert who came to Hefei to attend the PEN meeting of the Anhui Poetry, Calligraphy and Painting Research Association said that Wei Daozhi's landscapes are "full of realism and full of life." "Wei Daozhi's landscape paintings are characterized by his art giving people a sense of release from life. It is precisely because it comes from life that his works are so infectious. His landscape brushwork is derived from the "Four Kings" emphasis on rigorous layout and meticulous penmanship. His works have always maintained the characteristics of the amount of brush used in Chinese painting. In "Purple Qi Coming East", he described the weather of the southern landscape and the clouds, and the clouds across the mountains, but this Jiangnan-style weather is not soft, but fresh and optimistic, it is "fresh and beautiful and not delicate, and there is a heavy in the show." "In "The Tiger Is On the Dragon Pan Now and In the Past", the nearby mountain stones are rubbed recklessly, the white sails are dotted in the middle view, and the thousands of ships are racing in the distant view, moving forward, and the mountains are dyed in it. The landscape scenery depicted not only has the beauty and elegance admired by the literati and inkers, but also has a fresh and simple feeling, shaping the new aesthetic imagery of contemporary landscapes.
Calligraphy and painting are of the same origin, in Wei Daozhi's landscape paintings, you can always see his calligraphy, or Xingshu, or Lishu, his cursive calligraphy is washed and beautiful, exquisite and magnificent, the clouds flowing water, and the yang is sprinkled; his Lishu is high and free, duan solemn and majestic, and his calligraphy is magnificent for his landscape paintings, which sets off the taste of literati paintings of landscape paintings, and even has a bit of a whole stone flavor, and calligraphy and paintings complement each other and complement each other. Daozhi's landscape painting method takes calligraphy as the bone and poetry as the soul, and what is recorded is not only the traditional routine of "five strokes and seven inks", but also a kind of overlook in the depths of the soul. Because of the depth of this overlook, Wei Daozhi's ink landscape is not only a way of painting, but a landscape with a connotation of life from the painting table to nature.
The magnificent mountains and rivers of the motherland are just a magnificent picture that cannot be completed. He is calling on painters like Wei Daozhi, who regard art as the second life and innovation as history, to enter the mountains and lakes. Art has no end, and there is no end. The artist's life is only in the word "innovation", and Hefei landscape painter Wei Daozhi is struggling to practice.