Kingdom Ru
Born in 1973
Zi Ruzhi, a native of Fengnan, Hebei
He is a member of the Chinese American Association
He is a member of the Beijing Gongbi Heavy Color Painting Society
He is a member of the Hebei Provincial Beauty Association
He is a member of Hebei Gongbi Painting Society
Director of Hebei Art Education Committee
Director of Tangshan Artists Association
Vice Chairman and Secretary General of fengnan district cppcc committee member of Fengnan District, Tangshan City
Since childhood, he likes calligraphy and painting, especially good at flowers, birds and calligraphy, painting works on the basis of traditional brushwork, with modern brush expression techniques and modern composition, forming a unique style with personal appearance, which is deeply liked by everyone. The calligraphy takes the Erwang as the main line, and studies the inscriptions of various families, especially the grass and small kai.
He studied in the advanced research class of The Tsinghua Academy of Fine Arts in Beijing and the advanced research class of the Communication University of China, and his works have been selected for many times in the national exhibition sponsored by the Sino-AMERICAN Association, the exhibition of the Museum of Literature and History of the Chinese People's Political Consultative Conference, and the exhibition sponsored by the Hebei Provincial Artists Association. His works have participated in group exhibitions in Beijing, Shanghai, Zhejiang, Hunan and other places and have been collected by art museums and private collections.
In 2020, "Boat Talk" was shortlisted for the Bo Nian National Landscape Painting Exhibition
Brilliant - Kingdom Confucianism recently made an appreciation reading
He once wrote a small article for Guo Ru "Generous Confucianism Can Be Plastic". Fast forward a few years, and this year he has the qualification to apply for membership of the China Artists Association. Guo Ru is a painter who started on the tao, and can make such great achievements in a relatively short period of time, I think that in addition to talent, there are the following points that can be appreciated and discussed.
By coincidence, the foundation of the success of the creation of the National Confucianism.
Guo Confucian's brush strokes do not rely on production, but adhere to "writing", which I think is one of his advantages and characteristics. His brushwork is no longer the kind that is carefully polished by traditional cognition, of course, it is not rough and bold, and those are not in line with his "skillful" advantage. His paintings are actually very much in line with his calligraphy style orientation: not according to Tang Kai, but to The Jin Style. That is to say, his painting use of the pen is very free of Wang Xizhi's calligraphy, not "contrived", and has a sense of naturalness.
"Fu" was selected in 2018
"Colorful Zhaoqing" National Exhibition of Chinese Paintings
For example, the "white" boat in "Fu" in 2018 is not as "very" realistic as the basket in the previous "Xiangyun Xiangxiang Memoirs", which also shows that he is deliberately avoiding the dead-cut of one board and one glance, and pays more attention to the freehand of Chinese painting. Including the white color texture of the ship, it can be described as true and not vulgar, thin and not greasy, clever and clumsy, soft with rigid freehand painting. In short, "Xiangyun Xiangyi" seems to be proving or exploring the ability of realism to show the foundation, which can be seen as the initial experience of creation, while "Fu" is relaxed and free to go to freehand, which is the return of the self-advantage of good books to write.
"Xiangyun Township Memories" was selected in 2018
"Hanmo Shenmu" National Exhibition of Chinese Paintings
In this way, cleverness and simple craftsmanship are not the same thing. It is a key step in making the material objectification move towards the art of imagery (and then imagery, abstraction). This is also the dividing point for measuring the level of a painter. Why go to worship? Why study? The most fundamental thing is to improve literacy and character. Of course, pen and ink skills can not be less, but "masters have no skills".
"Looking Forward to the Long Journey" was selected for 2020
The 10th National Hundred Flowers Award National Fine Arts Exhibition
Out of the new, the key to the continuous improvement of the creation of the national Confucianism.
From the comparison between "Xiangyun Xiangxiang Reminiscence" in 2018 and "Warm Sun" in 2020, it is not difficult to see the difference. Obviously, the former is more realistic, and although the shape of the latter has not changed much, the treatment method has left the "reality" of life, making it purer, more flat, more decorative, and more artistic. It can be considered that Guo Confucian is very careful about the material. Probably he understood the mysteries of Shi Tao's landscape paintings, "searching for Qifeng to play drafts" and Wu Guanzhong's "looking for east and west", he did not change the subject matter frequently, but locked in a few and did idealized bold pursuits.
"Sunshine Home" was selected in 2019
"Jinling Hundred Houses" National Fine Arts Exhibition (Chinese Painting)
(Sponsored by the China-CHINA Association)
It is not easy to make a new point in the brush strokes. This also reminds people of the dialectical relationship between "what to draw" and "how to draw", just like a reader has a thousand Hamlets in his heart, how difficult it is to draw! It is gratifying that Guoru has found a breakthrough point and placed it in the creation of other works, skillfully used it, and obtained good results. For example, the sunflowers in "Sunshine Homeland", "That Piece of Sunshine", "Waiting for the Sunshine", and the boats in some other works are dyed with hook lines, which makes them interesting and colorful, so they gradually establish the general trend of the National Confucian Brush Stroke Style. Very rare!
"Waiting for the Sun"
2021 National Gongbi Sketch Exhibition
Out of line, (equivalent to chapters, composition) Guo Confucian derived from the creation of calligraphy.
With more than 20 years of calligraphy skills in Guo Confucian and a large number of experience in writing slogans and painting wall paintings, it can be said that he is sensitive to ordinary people for "grid". Lattice, is the frame, is the position, is the basic. But both modern calligraphy and painting must make good use of the grid. In my opinion, the success of "Xiangyun Xiangxiang" is the decisive role of the composition, that is, out of line. The basket and duck of the main body, and the buildings and clouds in the distance behind them, which were originally very general, but were framed together by an oblique rectangle, abstractly framed together, became very suitable, and also added a touch of novelty and small wounds of the passage of time, the injection of love, greatly deepening the theme.
"That Sunshine" was selected in 2020
"Rural Style Ink Rhyme" National Exhibition of Chinese Paintings
Out of line is the characteristic embodiment of the rigor of the composition of Guo Confucian painting. Or it can be said that composition is the most powerful guarantee for the success of Guo Confucian creation. Without strong compositional skills, the artistic appeal is bound to be weakened. From works such as "Looking Forward to the Long Journey", it is not difficult to see that most of them are based on vertical straight line division or separation as the main means, echoed by local curves and soft shapes, coupled with the treatment of flat images, open and curved, atmospheric and tough, highlighting the strong decorative, modern and personal physical characteristics of the works. People can recognize at a glance that this is a painting of Guo Confucian.
In 2020, "Warm Sun" was selected for the "Jingshang Danqing" National Chinese Painting Exhibition
Brilliant brush strokes, the national Confucianism is brilliant! Intention sunshine, nostalgia micro-narrative, this is my overall feeling of the national Confucian works. Guo Ru is a straight and simple person. The sunshine is handsome but not dazzling, he never talks about it, always so unprovoked, so quiet. Our colleague has been in the art for more than twenty years, public or private, and has cooperated a lot, and in my eyes he is a young talent who can do things well with just one sentence. With his good qualities, he should have debuted earlier, or starting late is not a bad thing, the road is long... Looking forward to and blessing guoru old brother, long journey! Travel!
Text/Hu An (Tianhu)
He is a member of the China Artists Association
He is a member of the China Printmakers Association
Researcher of printmaking at Hebei Academy of Painting