Lü Bing, born in 1960, is a native of Yan'an, Shaanxi. He studied at the Xi'an Academy of Fine Arts, re-studied at the Graduate School of the China Academy of Arts, and graduated from the Advanced Seminar of the China Academy of Arts in 2003. Senior artist, good at freehand flower and bird painting, is currently the vice president of Shaanxi Yanhuang Calligraphy and Painting Institute, serving in Shaanxi Tongchuan Calligraphy and Painting Institute, as a full-time painter.
Since 1990, he has held solo exhibitions in Beijing, Chengdu, Shaanxi, Gansu and other places. Many of his works have been collected by art groups and people from all walks of life in Japan, Singapore and other countries and Hong Kong, Macao and Taiwan. The paintings have been included in "Chinese Contemporary Painting Style", "Collection of Chinese Famous Artists' Calligraphy and Painting", "Collection of Works of Outstanding Talents of China" and won many awards in the Hong Kong and Macao Art Competitions. In 2005, his work "MoonLight" was selected for the first freehand exhibition of Chinese painting. He has published "Chinese Contemporary Famous Artists Painting Collection • Lü Bing", "Master's Gate • Lü Bing's Rich and Noble Auspicious Map", "Chinese Artists' Great Series Lü Bing Scroll", "Shengshi Collection • Famous Flower and Bird Painter Lü Bing's Works Collection" and so on.
Good at freehand flower and bird painting, its lotus flowers, ethereal and clear, elegant and cool; its peony, wind and bone, handsome posture; its eagle, the atmosphere is muddy, proud of the shore facing the wind; its plum blossoms, dry and dry, cold and spring; its flock of chickens, eagle claws hook beak, solo walking garden; its spring peach, autumn chrysanthemum sketches are not stuck in the ancient, melt personality in pen and ink, take imagery on paper, peaceful in the seek for mutation, no longer in the predecessors. Reading his paintings, such as tasting tea and drinking, the taste, long and long, ethereal and ethereal, but also contains the spirit of enthusiasm, the artistic conception is deep, and the long-lasting is long.
Ji Jian is majestic and beautiful
——Lv Bing's freehand flower and bird painting appreciation
Text/Jia Dejiang
Chinese painting is a wonderful flower in the human art garden, a traditional treasure of Chinese national culture, and freehand flower and bird painting is the most typical, ontological and expressive art form in the field of Chinese painting. The interweaving of its dots, lines, blocks, thick and wet breaks, "the curiosity is outside the image, the big coincidence is in the mind", and the magical visual effect of a piece of the machine pervading the paper is unmatched by any kind of painting in the world.
It is this state of life with a wide pen and ink that makes Lü Bing unswervingly and silently cultivate this land for decades. He likes the dashing, the spontaneous, the cheerful. This painter from the Northwest Loess Plateau, generous and sophisticated, sincere and wise, has always been known for his warm and unrestrained, exciting and majestic paintings of flowers and birds.
The wind bones, charm and artistic conception of Lü Bing's freehand paintings of flowers and birds are no longer the usual roads for everyone. That kind of big ink rough arbitrariness, that kind of ingenious composition of surprising victory, and that kind of ink color radiant brush style make his flowers and birds in the shape, god, intention, and fun of the four are prepared, yang and yin, beautiful and speechless, full of vigorous vitality and aura.
His flower and bird paintings are a grandiose and bold, showing a characteristic of expressive imagery with a strong modern atmosphere that has never appeared in the history of painting before. His pen and ink are spontaneous and unrestrained, boldly breaking through the taboos that have been rigid in the Chinese painting tradition, Chinese French and Western law, classical and modern, under Lü Bing's pen, it is already closely related and witty, and he will never follow the old mistakes of literati painting or the trajectory of others.
It should be said that Lü Bing is not a kind of traditional rebel who forgets his ancestors, he respects tradition, attaches importance to the inheritance of tradition, and has a deep understanding of national culture; he admires Xu Wei, Bada, Shi Tao, Wu Changshuo, Qi Baishi, Pan Tianshou, and even in his youth, he has desperately sucked these traditional qiong pulp jade liquid. However, the most valuable thing about Lü Bing's understanding of tradition is that he grasped the originality of traditional development, broke the shackles of tradition, consciously pursued the expression of the spirit of the times in strengthening subjective consciousness and creative consciousness, and pursued the development and change of pen and ink itself.
He is quick-witted, has a clear goal, and his pen is bold and earth-shattering, with a kind of return to the basics of wild fun and indescribable spiritual shock and penetration. His creation is full of modern artistic spirit, on the basis of the ancient freehand painting "giving up the shape and pleasing the shadow", it also integrates some concepts and methods in the composition of Western modern forms, expands the impression factors and abstract factors of freehand painting, and pursues the distinction in the vagueness, the clarity in the confusion, and the endless changes in the unified ink color.
He combines the dynamic structure and modal structure of Chinese painting, harmonizes the solemn and thick with the dashing wind, and in the image modeling that is obtained from the heart and should be in the hand, "the new meaning is in the law, and the reasoning is sent and extravagant", and the works are all laid out and opened, and the flowers and trees, birds and birds are colorful.
He combines the discovery of beauty in nature with the expression of life ideals and aesthetic realms, combines the pen and ink structure of the flat space with a certain spatial level into one, combines the depiction of large momentum, the big weather with the moving feelings and subtle details into one, combines the old spicy and the simple emptying into one, combines the calligraphy inscription with the composition of the schema, unifies the magic of the pen and ink structure with the mystery of water paper, opens up the distance with life, opens up the distance with tradition, and opens up the distance with the contemporary popular painting style. Although his subject matter is constantly old, the painting landscape is colorful, the frames are vivid, and his art has achieved great synthesis and great sublimation.
Emphasizing the importance of composition and the beauty of schema changes is the main means for Lü Bing to seek new changes, and it is also a good medicine to treat the stubborn disease of "similarity". In his works, Lü Bing adopts the inking techniques of length, thickness, density, concealment, size, virtual reality, jaggedness, interspersing, and stacking, so that the picture reaches a high degree of balance and harmony in contradiction and contrast, especially the treatment of cloth and white, so that the picture is in a big opening and closing, from real to virtual, back into the void, sometimes contending for a degree, sometimes looking forward to life, according to the law, according to nature, according to imagination and creation, many of which borrow the modern concept of Western law, so that the calligraphy title also becomes an element of the picture, playing an irreplaceable role in painting. This shift from entrenchment to freedom, from tradition to modernity, achieved the artistic goals expected by the painter.
Lü Bing's freehand characteristics are concentrated in his ability to control pen and ink and his skillful expression skills. His paintings are bold, agitated, frank, unscrupulous, and unconventional, with the catharsis of pouring "intentions", the momentum is coherent, the changes are abrupt and shocking. Emotional use of pen and ink, or condensed and thick, or showy and subtle, or thick and light, or virtual and real degree, or dots and lines intertwined, or the line surface is seamless, the grace and pungence of its gestures, flying and implication, the overlap of ink, infiltration and mutual destruction of the ink taste, ink layer, ink rhyme of the unpredictable, giving birth to endless meaning.
-END-
Calligraphy and Painting Forum