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The waves in the South China Sea are rolling, and lightning and thunder are wafting in the clouds. The US imperialists dreamed of hegemony and supported their troops to disturb the sea frontier. Retired Yingjie returned to the list, and the soldiers were in the sky. Defending the family and defending the country is his duty, and he is not a good boy in China. Born into a military family, Miao Zaixin reveals an epic and vast feeling for calligraphy and painting, showing the masculinity of the great river going east and the iron plate copper lute.
Miao Zaixin, born in 1953, is a native of Qixia, Shandong. He is a director of the China Artists Association, a member of the Chinese Painting Art Committee of the China Artists Association, a member of the Expert Steering Committee of the National Thematic Art Creation Project of the Ministry of Culture, a standing director of the Chinese Painting Society, a researcher of the National Academy of Painting of China, a researcher of the Chinese Academy of Painting of the China Academy of Arts, a researcher of the Academy of Calligraphy and Painting of the Central Museum of Culture and History, a tutor of the School of Art of Peking University, the School of Art of Chinese University and the Advanced Research Class of the National Academy of Painting, a librarian of the Beijing Museum of Culture and History, a deputy director of the Chinese Painting Art Committee of the Beijing Artists Association, and the vice president of the Academy of Fine Arts and Calligraphy of the Armed Police Force.
Born into a military family, Miao Zaixin has been passionate about calligraphy and painting since childhood. After experiencing many tribulations, he finally ushered in the spring breeze of reform and opening up, and after systematic training in fine arts, he gradually had solid modeling skills and well-trained pen and ink skills. In addition to the Chinese painting he usually studies, he also has rich practical experience in watercolor, gouache, oil painting and sculpture. When studying Chinese and Western painting, he realized the strengths and charm of traditional calligraphy and painting through comparison, and also promoted his idea of merging Chinese and Western paintings, and made arduous explorations, and also made important achievements here.
In 1977, Miao Zaixin's work "Toast Song" participated in the first national art exhibition after the Cultural Revolution for the first time, and "Old Rival" participated in the all-army art exhibition. Since then, his works have won countless awards, and some of them have been collected by the museum. In addition to participating in domestic art exhibitions, Miao Zaixin also participated in the "Delegation of Chinese Painters" and "Military Art Delegation" and other places to visit Thailand, Russia and other places. In 2010, his work "China Diaoyu Islands" was published in People's Daily, China Art Daily, China Painting and Calligraphy And Painting and mobile phones, Liu Bingjiang, a professor at the Central University for Nationalities, wrote an article for "China's Diaoyu Islands, You Will Always Be with Us", and Yang Liwen, a professor of history at Peking University, wrote an article for "China's Diaoyu Islands" and called for the painting "China's Diaoyu Islands" to be included in primary and secondary school textbooks. Four students, including Shi Zihui of Beijing Normal University, wrote articles looking forward to including the paintings of "China's Diaoyu Islands" and Professor Liu Bingjiang's articles in primary and secondary school textbooks. The painting "China's Diaoyu Islands" and the articles of three professors and four middle school students were published, which caused great repercussions among netizens.
In 2005, Miao Zaixin was named one of the 100 Chinese calligraphy and painting talents by the National Art Museum of China, the National Museum, CCTV and China Talents Magazine, and some of the award-winning works in the remaining more than 100 works were widely collected by many cultural institutions and people at home and abroad, such as the National Art Museum of China, the Military Museum, the Great Hall of the People, the National Library, the Beijing Academy of Painting, etc.
Another large-scale group painting "Light of the Nation" (a total of 56 paintings, 1 painting per ethnic group, each with a scale of 182x145cm) was completed on June 2, 2011, and exhibited at the Beijing National Culture Palace on July 1, 2011, with Chen Changzhi, vice chairman of the Standing Committee of the National People's Congress, Ma Peihua, executive vice chairman of the Central Committee of the China Democratic National Construction Association, Liu Dawei, vice chairman of the China Federation of Literary and Art Circles and chairman of the China Artists Association, Feng Yuan, vice chairman of the China Federation of Literary and Art Circles and vice chairman of the China Artists Association, and Ouyang Zhongshi, advisor to the China Book Association, attending the exhibition. A set of CCTV programs was broadcast on the same day, a set of Programs of Beijing Television station was reported on Beijing News, and the second set of CCTV and the second set of Programs of Beijing Television Station broadcast interviews. Xinhua News Agency issued a press release, reprinted by many newspapers and periodicals across the country, beijing evening news, Beijing News, People's Armed Forces Alert, etc. made full-page reports, people's network, Xinhua net and Sina, Sohu, NetEase Tencent and hundreds of other websites published exhibition news and interview articles.
Although Miao Zaixin, who liked painting since childhood, did not have professional training, this could not stop his love of painting, often studying the paintings of Qi Baishi, Xu Beihong, Li Keyan and others, and never gave up his love for painting after joining the army. When I was in the army, I was often called by my superiors to create with my previous studies, and I slowly gained some achievements. He only entered the People's Liberation Army Academy of Arts at the age of 30 to learn professional knowledge, and such a precious opportunity made Miao Zaixin pay more attention to this learning opportunity. Miao Zaixin's works are mainly based on depicting reality, always around the creation of social development, as a soldier, his paintings fully show his patriotism, of which the Chinese peacekeeping forces are reflected in the painting "Chinese Blue Helmets", and the national unity is reflected in the painting "Happy Plateau".
On the road of combining Chinese and Western painting, he knows that he wants to make a breakthrough. In particular, it is necessary to break through the tradition and broaden the horizon. Study the achievements and existing problems of Chinese figure painting from both vertical and horizontal aspects, so as to face up to the difficulties and meet the challenges.
In a small article entitled "From Artistic Experience", he wrote: "If you think that Chinese painting has developed so far, the theory, style and technique have been quite mature, and it is so difficult to take another step forward!" However, development is also inevitable, so my generation still has to face the difficulties and is duty-bound. Otherwise, what face will there be to look back at the profound tradition, and what face to look forward to the brilliant and magnificent future? ”
In the process of his creation, he believes that figure painting is more difficult than landscape painting, and the time and energy required are much more than landscape painting, and the requirements for the shape of the characters are very high, and his most heavy and heavy feeling in creation also has a certain connection with his life in the military camp.
His cultural self-consciousness and self-confidence made him clearly understand how to act, that is, "painting with his heart". Painting with care is actually an important problem that exists in the current Chinese painting circle and even in the entire painting industry. Painting innovation is nothing more than a problem at the two levels of aesthetic concept and technique, and the key to solving the problem lies in whether the artist is attentive and thoughtful. It's not just a matter of shouting slogans; it's about dealing with painting techniques one by one. Master solid manual skills and embody your mind in the skills, or be satisfied with the display of pure skills.
In Miao Zaixin's works, you can see the foundation of tradition, the traditional Chinese values and the aesthetics of the nation, Miao Zaixin's characters will not de-conceptualize it, but show the form that each character should have, as Xunzi said, "shape and god", although "shape" is not suitable for all painting styles, but the beauty of things is an extension on the basis of "shape".
In the creation, Miao Zaixin often used the bone method to depict the structure of the characters, the priority of the next brush, the change of virtual reality makes the painting vivid, which is in line with the military style he created, the light and heavy of the pen and ink are straight, the yin and yang light and shade not only show the heroic posture and mighty spirit of the soldiers in the new era, but also embody their dedication to standing up and serving the motherland in the period of national and national crisis.
Miao Zaixin before the creation of the must collect materials, draft the draft drawings to start, and finally to the meticulous creation, when collecting materials, he must continue to go down to the company, down to the grass-roots level, familiar with and understand the real state of the current military camp, such accumulation makes his creation deep and profound, creating paintings with flesh and blood, emotions, and details, but also let the viewer feel the strong strength of today's country, feel the important factors of the country and our quiet life.
Miao Zaixin said: "I don't want to paint only one subject forever, I don't want to repeat myself, I don't want to show people with only one look, and I don't want to be a painter." Miao Zaixin adheres to this idea, constantly absorbing and absorbing the expressive language of rich thematic creation, so as to make the expression of the picture more soulful and deep. He uses realistic methods to record, but also use innovative methods to express, whether it is military themes, ethnic themes, or ancient literati Jiazi themes, are full of epic and vast feelings, showing the masculinity of the great river going east and the iron bones.
Miao Zaixin applies the modeling methods of Western painting to the traditional ink painting techniques of Chinese painting, so that the works not only lose the characteristics and charm of Chinese paintings, but also make the picture thicker, the portrayal more in-depth, and the expression more powerful.
As an accomplished painter of contemporary Chinese painting and figure painting, Miao Zaixin attaches great importance to the shaping of human figures in character portrayal. The painted characters take realism as the basic technique, and vividly depict the objective form of the painting object through real brushwork, so that the characters are not only eye-catching in the intuitive visual, but also the overall artistic conception is intriguing, which makes the viewer shocked and blood boiling!