Fan Yang
Fan Yang, a native of Liquan, Shaanxi. President of Tianjin Academy of Painting, member of China Artists Association, vice chairman of Tianjin Artists Association. Graduated from the People's Liberation Army Academy of Arts and the First Elite Class of Figure Painting of the National Academy of Painting of China, he has been engaged in the creation and research of Chinese painting figures for a long time. His fine art works have participated in the 8th, 9th, 10th and 12th National Art Exhibitions, the 7th, 8th, 10th and 11th All-Army Art Exhibitions, the All-Army Excellent Works Exhibition, the 4th, 6th and 7th National Exhibitions of Chinese Gongbi Paintings, and the 6th, 7th and 9th China Sports Art Exhibitions. "Guan Hai Tu" was collected and hung by the Great Hall of the People and the Museum of The History of the Chinese Revolution, and "Plateau Feelings" was collected by the National Art Museum of China. He has gone to the United States, Britain, Japan, South Korea and other countries for academic exchanges and exhibitions. He has published more than 400 works of art and theoretical articles in newspapers and periodicals such as People's Daily, Fine Arts, Art Observation, and Books and Paintings. He has published more than ten albums, such as "Fan Yang Painting Collection", "Fan Yang Sketch Collection", "You Yu Yi", "Heart Elephant Ink Rhyme", "Fan Yang Paintings say that Tianjin major historical theme art works" and so on. He insisted on the ancients and the creation of teachers and bold explorations, pursued traditional skills, paid attention to cultural implications, paid attention to the atmosphere of life, and paid attention to real life. The works present profound tradition, extensive inclusiveness, distinct regionality, simple terroir, diversity and innovation of styles, forming a vivid, simple and generous, natural and authentic, atmospheric and beautiful painting art environment and appearance.
Grounded gas, injecting vitality, writing freely
——Fan Yang's character paintings have been recently analyzed
Text | Shangguan Juewen
"In the process of Chinese painting creation, it is required to maintain a free mentality of untying and unbound, and also to follow the creative attitude of being close to fine thinking and dismal management, and in painting, language, aesthetic taste, and creative concepts, they all take the road of 'writing God in form' and 'writing the heart through objects', which in essence tend to be freehand."
The above quotation is from "A Brief Discussion on the Freehandness of Chinese Gong Brush Strokes" written by Fan Yang, the current president of the Tianjin Academy of Painting. As a figure painter with considerable creative strength and all-round skills in today's painting world, Fan Yang has a solid foundation in art for many years, has a considerable cultural accomplishment and a high spiritual pursuit, is willing to work the sincere and persistent freehand figure painting sent by his strong interest, boldly tries, and has gained more and more insight in academic discussion and academic pursuit, along the big, beautiful, deep and new art track, in recent years, he has made a series of excellent works come out with exquisite creative cultivation, which has been admired by the world.
△ "20 Autumn" 120cm*210cm, 1994
On the whole, the style form of Fan Yang's figure paintings is more distinct, prominent, vivid, elegant and profound, clear and atmospheric, and fascinating, belonging to the words of a family of self-realization and self-art, which shows the deepening of the connotation of his paintings, the continuous expansion of extension, and the coverage of more artistic highlights, including: the intertextual interaction between academic theory summary and creative behavior, mutual promotion; the care of the high aesthetic level of art with the tao, painting and theory; the realistic foundation and realistic reference of the gong pen painting and then the ingenuity from realism to freehand purpose The natural transition from sketching to creation; the collection of many aesthetic essentials, so that the book into the painting, poetry to create the realm, Buddhism to help the arts; the chinese classical aesthetic lyrical tradition and dialectical philosophical relationship of the unique understanding and proper grasp; the relationship between the form and god, the relationship between imagery and realm, the relationship between pen and ink and qi rhyme, the unique understanding and control of the relationship between classical and modern, and so on.
△ "Chinese Knot" 155cm*200cm, 2009
Among them, what is particularly rare is that Fan Yang's paintings have never deviated from the basic position of academic creativity, never made up for reasons, never made mistakes and self-congratulations, in fact, as a communist party member, as the manager of the painting academy, he has full insight and experience of the party's mass line, so he has taken the creative orientation of making speeches on behalf of the masses and conveying the gods for the masses, rooted his painting art in the masses, has always worked hard to sketch among the masses, accumulated materials in the process of going deep into the grassroots, and truly experienced life, so as to achieve the grounding of art and make the picture infusion with vitality. Then, in the aesthetic height, the purity, aesthetic sensibility and representativeness of the image modeling can be achieved, and the character's mood can be written with poetic brushstrokes, so that the picture is full of a vivid rhyme, poetic and picturesque, abandoning sweet, flashy and manic.
△ "Auspicious Year of the Tiger" 120cm*155cm, 2006
From this, it is not difficult for us to understand that Fan Yang's painting subjects are very extensive, and the carefully created character images reflect a kind of richness and differences in terms of region, occupation, class, identity, age, etc., ancient and modern, Chinese and foreign, men and women, old and young, ethnic customs, exoticism, group of talents, young and long, and have everything in their pictures.
Moreover, he not only worked on the specific character image to portray and take the breath, but also he was also handy in expressing the two major themes of landscape and flowers and birds, thus achieving a breakthrough between the three major themes of Chinese painting. Therefore, his paintings are colorful, containing the meaning of pluralism, or expressing poetic habitat, or reflecting the green ecological concept of advancing with the times, or conveying a life concept that is full of fun and vitality, or showing a calm in the face of adversity, maintaining an optimistic and enterprising survival posture for challenging the harsh environment, or expressing the admiration and admiration for the influence of celebrities in the cultural and artistic circles. Or effectively borrow from the modern composition and representative cultural symbols of the West to convey a unique and mysterious beauty of the exotic girl through careful depiction, or the gods and objects travel with fine pen and ink to extract the charm of flowers and thus give people spirituality, or skillfully conceive and use condensed image groups to externalize the Buddhist Zen theory and interest to give the viewer a beneficial life enlightenment in peace and wonder.
△ "Tashi Delek" 67cm*67cm, 2016
In Fan Yang's view, "YiQi" is an important category of Chinese art aesthetics, and the "Vivid Qi Rhyme" in Sheikh's "Six Laws Theory" is similar and closely related to it, which is the form of existence of artistic life and the characteristics of artistic beauty, and freehand is the basic requirement hidden under the principle of vivid Qi Yun. To this end, in the process of specific creation, Fan Yang focused on the "artistic conception", looked at the whole picture from a point, and returned to the overall situation from one point, grasped the essence of the object, moderately strengthened its characteristics, and strived to express the dynamic style and charm of the characters with concise and summarized pen and ink, and under the premise of effectively handling the dialectical relationship between form and god, qi and image, division and combination, slight and fine, taking and giving, and virtual and real, it was simple and concise, simple and concise, concise and full of god, rich and full of spirit, and consistent and vivid. Many specific character images are captured in a representative moment of wonderful looks, showing a specific psychological emotion. In this sense, it can be said that Fan Yang attaches great importance to the expression of his mental image, and the characters in his pen gradually form their own freehand style from the external beauty and the inner beauty. In fact, this corresponds to the aphorism of painting: "The image of the husband must be in the shape, the shape must be all its bone, the bone is similar, all based on the intention and seem to use the pen." (Tang Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties")
Fan Yang's character paintings are simple, rigorous, and catch the atmosphere of the earth, and most of the vivid character images in the paintings originate from his freehand refinement and creative regeneration after a long period of meticulous observation through field collection, which is obviously branded with his art, with his obvious aesthetic recognition, reflecting his extremely careful artistic creation and theme expression.
△ "One can not be less" 236cm*180cm 2019
Under the aesthetic thinking of advancing with the times and the creative principle of pen and ink with the times, Fan Yang strives to present the artistic texts of the times, and has a deep and unique perception of the social function of the work of art "enlightenment and helping people", so that his paintings reflect a positive and open-minded spiritual outlook. In the sense of the relationship between art and the times, this also shows that Fan Yang's paintings are profound and interesting, and he sees the realm at the academic level, sees a kind of spiritual appeal, sees a fruitful exploration of technology into the Tao, and conveys a sense of responsibility that takes root in life, gets close to the masses, expounds virtues, carries forward righteousness, and transmits positive energy to society.
△ "A Package of Good Things" 136cm*68cm 2021
Grounded, angry, and free-spirited are not only the natural logic of Fan Yang's art, but also a major feature and valuable highlight of his creation. The paintings in this collection are all freehand works recently conceived and created by Fan Yang, which are his works of understanding, response to, and excellence in the spirit of the Tenth National Literary Congress. Jiatu is rewarded in this regard, and firmly believes that Fan Jun is more out.
△ Dolma, 68cm*68cm, 2013
△ "Chasing Dreams" 136cm*68cm 2021
△ "My Heart Flies", 180cm*94cm, 2008
△ "Late Autumn" 136cm*68cm 2021
△ "Childhood Fun" 68cm*68cm 2021
△ "Shining Party Emblem" 180cm*96cm, 2020
△ "Happy Events" 136cm*68cm 2022
△ "The Road is Long" 180cm*588cm 2021
△ "Qi Baishi" 136cm*68cm, 2015
△ "Cow Persimmon" 180cm*518cm, 2021
△《Mureshu》 68cm*68cm 2021
△ "Horse Season" 136cm*68cm, 2015
△ "Old Cavity Series No. 2" 68cm*68cm, 2017
△ "Wife" 68cm *68cm 2021