Chen Bingli's landscape paintings convey the contemporary spirit with the ancient meaning of the Song and Yuan Dynasties, which not only conforms to the relationship between the traditional landscape "creation" and "heart source", but also creates a modern landscape of literati landscapes on this basis.
From the perspective of the linear dimension of time, Chen Bingli's gold medal work "Wild Zhuang Arbor With New Smoke" in the "Fourth Lichang Youth Chinese Painting Annual Exhibition" in 2006, as well as the subsequent Shonan series and the Anhui Nan Yeyi series, to the getaway series and Dinghui series in recent years, indicate that he has formally established a unique and mature visual pattern of ink landscapes, that is, the image structure of images, inscriptions, and plutonium prints, which are inseparable, edged from each other and harmonious as a whole.
Chen Bingyao (Li): He is currently an associate professor at Shandong Academy of Arts and a member of the China Artists Association. Ph.D. from Nankai University, Bachelor's and Master's degree from Tianjin Academy of Fine Arts. He has published "Chenghuai GuanDao - Chen Bingyao Landscape Works Collection", "Clear Heart Insight - Chen Bingyao Works Collection", "Jing Yu Xin Sheng - Chen Bingyao Landscape Painting Collection", "Journey of the Avenue - Dr. Chen Bingyao Graduation Exhibition Collection", "Landscape View I - Chen Bingyao Works Collection" and so on. He is the author of "Research on the Artistic Value and Market Price of Yangzhou Eight Strange Calligraphy and Painting" and "Research on the Theory of Chinese Painting Creation". His works have been selected for many exhibitions by the China Artists Association and won awards.
Mr. Shao Dazhen, a doctoral supervisor of the Central Academy of Fine Arts and a well-known art critic, once commented on Chen Bingli's works: "Chen Bingli's works are uniquely conceived, with pen and ink as the skeleton, using a flat form, and working hard in the vastness, thickness and luxury of the picture as a whole. ”
Mr. Mao Jianbo, doctoral supervisor of the China Academy of Art and a well-known art critic, also believes: "Chen Bingli is good at using both dyeing and dyeing, blending color and ink, seeing the form with shadow, and although the composition is light but solid, the overall sense of the picture is strong." He is diligent in sketching, looking for opportunities to create a world from natural objects, and creating a different kind of spiritual mirror image in the haze. ”
Mr. Xu Encun, a doctoral supervisor at Tsinghua University, commented on Chen Bingli's "Getaway" series "The absurdity of landscape imagery is all in the transcendental and ethereal, and contains Xiao San's monologue chant in the plain and casual.
As Mr. Zong Baihua said: 'The wind god is dashing, and does not stay in things... Pure is a piece of divine machine, unable to have a method, all lies in the free way of drawing when the next pen is written, and every breeze has fun... This kind of super-wonderful art, only by dissipating the detached mind, can it be corresponding and reach the peak. ’”
Chen Bingli's landscape grows from the land, mountains, and real life, and the mountains and rivers in his pictures are all humble praises in front of nature. He once wrote in the "Yanbian Dialect": "Taste the high hermit, the confidant of the three or five, talk about the occult, and wander the eyes." Cultivate Haoran qi and develop a true disposition, so that he can paint and paint for it, and set it into the high grid." In today's urbanized society, people want to see the landscape, only out of the city, although the landscape is still there, but it has been rewritten.
Why do people paint landscapes? The ancients were in order to "sit in the four wildernesses" and "Chenghuai taste image" in landscape paintings, as modern people, we can also sit in Chen Bingli's landscape concept of an infinite space.
Author: Li Chao
Observer of Chinese contemporary art
Young curator
Curator of the inaugural Art Program
Academic Director of Art Disc