Li Ruoqing's daughter, born in 1970, originally from Chongqing, now lives in Beijing, and is an independent calligrapher and painter. He studied under Mr. Ma Nanpo and Mr. Qi Xinmin. He studied at the School of Arts of Peking University and the Advanced Chinese Painting Class of Tsinghua University, and was taught by Mr. Huo Chunyang, Shi Guoliang, Liu Xilin, Mei Mosheng, Chen Shouxiang and others. Specializing in the freehand creation of Chinese painting, flowers, birds, landscapes, and characters have a very personal style.
He is a director of the China Calligraphy and Painting Art Association, a member of the Chinese Academy of Calligraphy and Painting Art, the vice president of the Shanxi Huaxia Calligraphy and Painting Institute, and a member of the Beijing Chinese Painting Artists Association.
Humble and unpretentious
——Li Ruoqing, a freehand flower and bird painter
Text/Ma Younan
Whenever peers talk about Li Ruoqing, they say that she paints men's paintings, the work is atmospheric and bold, the pen and ink are smooth, the layers are clear, the shape is old and spicy, the rhythm is vivid, and there is no little girl's cautious charm, which is enough to make a large number of today's freehand flower and bird painters secretly ashamed of themselves. Li Ruoqing's value lies in her protection and transcendence of traditional classics, and she has devoted herself to seriously studying the ancients, inheriting and innovating, enriching her comprehensive cultivation, which is really valuable. She uses her pen boldly, freely and arbitrarily, and the peonies and lotuses in her pen are full of vigor and charm, which is different from any previous one, and is also very different from other famous artists of the same era, which can be described as unique.
The ancients said: "Although the pen seems to be tender, it has a very old penmanship, out of nature." Although the pen is rough and almost old, it has a very tender pen, so it is a vigorous person. "In the creation of flower and bird paintings, The precious thing about Li Ruoqing's pen and ink is that he did not linger because she was proud of her mastery of traditional pen and ink and schema, but changed the law and went straight into her heart, boldly deforming the flowers, birds, branches and leaves, and his courage was absolutely the same, so he could come out of the machine, not seeking change and self-change, not seeking new and self-renewal, and uniquely creating a new situation in contemporary freehand flowers and birds. In her many works, such as "Red Flowers and Fireworks", "Nourishing Qi Like Cultivating Buddha", "Morning Rain Cold Green Falling Plantain", "Residual Lotus Autumn Rhyme", "Morning Bird Language" and many other works, she has put her skillful pen and ink skills on the end of the paper, jumping and moving with the pen, or thunder and thunder, and seeing rigor in the majesty; Or rough head chaotic, astringent in the show. She never plays with pen and ink games, and she disdains frivolous and floaty customs, but resolutely seeks clumsiness and astringency, making the pen and ink language more shocking.
Outside of the painting, Li Ruoqing poured a lot of effort into the study of history, philosophy, thought, and literature. In her decades of artistic pursuit, Li Ruoqing has always been in a state of deep contemplation and self-realization, self-examination, she stands on an academic dimension with a sense of artistic responsibility, pursuing beauty, adhering to beauty, while pursuing the excellence of artistic language, paying more attention to spiritual excellence, and mentioning these to a certain philosophical height of great enlightenment.
Li Ruoqing is an artist who stands at the forefront of history, she has a real academic value precipitated in Chinese art, romantic gaohua, and a bright spirit, but also has the spiritual tradition of Chinese culture that is depressed and frustrated, and the humanistic support that reawakens the core of this tradition. Therefore, Li Ruoqing's flower and bird works have a strong tendency to personify, containing deep spiritual and emotional values, from which we can also glimpse the depth, thickness and connotation of Chinese culture. She has always emphasized that painters should express the subjective feelings of painters in painting, paint the pictures in their hearts, and have the participation of life and flesh and blood. She interprets nature with her own unique way of expression, expresses her strong thoughts and emotions, and uses her pen and ink feelings to highlight the new context of Chinese aesthetic character in the new era.
It should be said that Li Ruoqing's works are inherited from the flower and bird paintings "borrowing the ancient to open the present", and creativity is an important feature of her works, and only by understanding Li Ruoqing's works can we see the vitality and life in them and appreciate its potential significance. Li Ruoqing's thinking also follows the tradition of Everbright Wu Changshuo, Qi Baishi, Pan Tianshou and Li Kuchan's solo personality, opening up new fields for traditional painting, focusing on solving the transformation of pen and ink structure in the contemporary context, and the breakthrough of personalized language synchronized with the times. Her tireless efforts confirm his artistic thinking. Her "borrowing from the past to open up the present" depends to a large extent on her realistic creative attitude and on her meticulous observation of life. She adheres to the "sketching" tradition of flower and bird painting, focusing on capturing the characteristics and life of natural objects, swimming ducks playing in the water between lotuses and lotuses, chickens competing for food in the shade of flowers, birds and finches chirping among the vines, red carps that are "comfortable" in the water, etc., all of which have a unique poetic realm because of the painter's unique feelings about life. Therefore, only by feeling the unique points of life can we avoid the generalization concept and avoid the disadvantages of conceptualizing the phenomenon of life. The feeling of reality makes Li Ruoqing break through the language norms of traditional pen and ink, transforming the flowers, birds, fish and insects of nature into a world of splashed ink, lines and colors. With a unique vision, the free expression explores the wild beauty in the natural story, and sincerely praises the life characteristics of birds and flowers to pure beauty.
Carefully tasted, her paintings have Xu Wei's wantonness, but not panic; There are eight kinds of elegance, but not cold silence; Shi Tao's propositions of "having the law must be transformed", "I am for me, freedom is in me", and "pen and ink should be contemporary" have a particularly profound impact on her. She admires Wu Changshuo's pen and ink personality of "strongly hugging the seal and being a wild grass", so her brush and ink in her paintings are strong, spicy and thick, and contain the courage of "staying in taiguchun for a long time", but it is no longer the vent of the literati's personality and personal sorrow, but the realm of the literati's indulgence, coldness, and wildness into a realm of majestic simplicity and longevity.
This is not only the aesthetic fulcrum of Li Ruoqing's freehand aesthetic taste of flowers and birds, but also the internal motivation of his clear personality style. Li Ruoqing devoted himself to learning, never sought profit by tide, did not flaunt false names, did not flamboyant and anxious, and always grasped the excavation of the expression method of fully inheriting the theory, feeling, intention, situation and interest of Chinese painting, and maintained soberness, self-consciousness and self-realization between drawing on the colors and composition of Western painting. It is this kind of sincere personality that allows us to glimpse the courage and self-confidence of a painter who is not easy, and it is this devotion to art and Gengsuke that enables her to be really colorful and fade away.
Appreciation of works