While inheriting the fineness and rigor of traditional boundary painting, young artist Li Ang also retrospectively learns to explore the charm of the great green landscape, the pen and ink and color shuttle through the illusory imaginary space and reality, and the quiet and quiet house architecture is born with the scene.
Li Ang's works are "realistic in complexity", and they are not delicate with a pen, and the old-fashioned and deliberate common disease of no boundary painting with a brush follows a rigorous momentum, which is rare as a young artist. In Li Ang's works, the houses and pavilions are well-written, the colors are set with the pen, and the mountains, clouds and scenes are naturally integrated. Li Ang's paintings emphasize the spiritual remodeling of the surreal, and in his works we see the exploration of Song paintings.
Li Ang, born in 1987 in Jining, Shandong Province, graduated from the Chinese Painting Department of the Sichuan Academy of Fine Arts with a bachelor's degree in 2011 and the Chinese Painting Department of the Sichuan Academy of Fine Arts with a master's degree in 2014. He is a contracted painter of Jinan Art Museum (Jinan Painting Academy) and a painter of the Youth Painting Academy of Shandong Painting Academy, and is now working in the Fine Arts photography department of Shandong Provincial Cultural Center.
Solo exhibitions
"Art Cai Xinfeng - Shandong Art Newcomers New Works Exhibition (2019)" Chinese Painting Nomination Exhibition Shandong Art Museum | Jinan
Group exhibitions
2020
2020 Youth Art 100th Anniversary Exhibition Guardian Art Center | Beijing
Shengshi Confucian Style• Tianxia Quancheng - Group Exhibition of Excellent Works of Professional Painting Academies in Major Cities of China and Academic Annual Conference of Professional Painting Academies in Major Cities of China (The Tenth Time) Jinan Art Museum (Jinan Academy of Painting) | Jinan
Revitalisation: A Retrospective of the Residency Program of Young Artists of Sichuan Academy of Fine Arts The Sichuan Academy of Fine Arts Art Museum | Chongqing
2019
The 13th National Art Exhibition Shandong Works Exhibition Jinan Art Museum | Jinan
"Dameiquan City" celebrates the 70th anniversary of the founding of the People's Republic of China Jinan Excellent Fine Art Calligraphy Works Exhibition Jinan Art Museum | Jinan
The Fifth "Bohai Rim Style" Invitation Exhibition of Chinese Paintings in Beijing-Tianjin-Hebei Luliao Tai'an Art Museum | Tai'an
Shandong Academy of Fine Arts Youth Painting Institute Excellent Works Group Exhibition Shandong Provincial Cultural Center | Jinan
2015——2018
"Thinking of the Past and The Present - Chinese Contemporary Art Exhibition" The official residence of the EU Ambassador to China | Beijing
"Thinking of the Past and The Present" Youth Ink Painting Exhibition Mingtai Space | Beijing
The 3rd Nanjing International Art Exhibition Baijiahu Art Museum | Nanjing
Invitation Exhibition of Small-scale Gongbi Painting of China Industrial Brush Painting Provincial Alliance Highland Art Museum | Changsha
2016 Beijing Youth Art 100 Kick-off Exhibition National Agricultural Exhibition Hall | Beijing
Chuanmei Young Artist Residency Program 2015-2016 Annual Report Exhibition Luo Zhong art museum | Chongqing
2015 Beijing Youth Art 100 Launch Exhibition National Agricultural Exhibition Hall | Beijing
Chongqing Chinese Painting Society 2015 Annual Exhibition & The First Academic Exhibition Chongqing Art Museum - Chongqing
Luo Zhongzhong Scholarship Works Exhibition Chongqing Art Museum - Chongqing
Leon's ecological metaphor for the world of painting
Wen | Zhang Yange
(Postdoctoral Fellow, Shandong University)
First, the hidden creation of buildings
The architectural image of the building is an indispensable and important component of landscape painting. It first appeared on bronze ware in the Warring States period, and it was not until the Wei and Jin dynasties that landscape painting became rich in independent families. From the ancient humble and naïve paintings of the pre-Qin period to the part-time paintings of the Wei and Jin dynasties, and then the Qin and Han dynasties developed into a meticulous and meticulous, evolved into an independent type of boundary painting in the Sui and Tang Dynasties, and its exquisite skills reached its peak in the Two Song Dynasties and occupied an important position. Liu Daool proposed in the "Commentary on famous paintings of the Holy Dynasty" (also known as "Famous Paintings of the Song Dynasty") that "house wood painting" is a separate category, and the overall style of "fine and elegant" constitutes its irreplaceable position in landscape painting.
The painting of the boundary painting is carried by the technique of holding chopsticks, and the skill is very demanding. Deng Chun recorded in the "Painting Succession": "The painting academy circle does the most work, and specializes in new ideas." The shape of the boundary painting is based on the "L" shape boundary ruler, and the sense of "straightness" of the line is pursued. Leon is often not subject to the boundary ruler, and mostly sketches with his bare hands. Li Ang's "No Boundary" series places his inner thoughts on the building buildings, and he has both work and write. The color is calm and the pen is delicate and atmospheric. Guo Xi proposed in "Lin Quan Gao Zhi": "The water is facing the mountain, the pavilion is the eyebrow, and the fish fishing is the spirit." Therefore, the water is beautiful and beautiful, the pavilion is bright and bright, the fishing and fishing are open, and the layout of this landscape is also. ”
The layout of Li Ang's landscape is different from the traditional, the composition vision is slightly overlooked, and the pavilions and courtyards are deeply layered, surrounded by the landscape environment. The picture takes the house as the main image, and the mountain stones and ancient trees are densely surrounded by it. Li Ang's "Traces of the World" (2019, silk), a recent masterpiece, has a unique layout and thick colors. The whole picture of the mountain peaks around the house, dense, virtual and real, the mountains towering into the clouds, the long-range treatment is unique, highlighting the uniqueness of the boundary painting, the building's brushwork and green landscape organic integration.
Li Ang pays attention to the overlapping relationship between pen and ink and color. The color of the Dunhuang murals inspired him, and he made great efforts in paying attention to the color rhythm and rhythm control of the picture, and the use of large-scale decorative colors produced an inner sense of order. The picture is based on green landscapes, and the cold and warm, hue presents an interwoven visual effect. What's more, the thick colors bring a hint of mysterious metaphor. The orderly color rhythm constitutes a hidden landscape, as colorful as the clouds of morning and dusk. Li Ang's understanding of things is put into writing, telling the responsibility of a young artist in the new era and the spirit of exploration of seeking new changes.
Li Ang is good at using subjective colors to reconcile in the picture, and this warm and thick ink and heavy color make people think and imagine. The contingency between color and ink is the artist's countless experiments and reflections, and the pure and broken spiritual sparks are touched in the "contrast" again and again. Leon's works show his dialogue with nature, valuable exploration of silent learning, thinking, and refinement. When the work is viewed from a distance, you can see a symbolic, emotional, free abstraction, which is an "intentional activity". At this time, shanshui buildings have a kind of gazed beauty in the "fiction of perception", and the audience seeks the subtle relationship between ecological nature and life metaphors from the observation and creation of nature.
Second, the metaphor of ecological nature and life
In the post-epidemic era, the relationship between man and nature has become a social issue in which human survival is closely related or even symbiotic, which is also the theme of painting that artists have been pursuing. The traditional Chinese philosophical view mostly advocates the "unity of heaven and man", and the relationship between man and nature has been a common problem faced by Chinese literati since ancient times. Li Ang's creation takes people, nature and the environment as aesthetic objects, jumps out of the logic of Western nature, based on the power of tradition and ecology, through the creation of buildings as symbols, shows his specific solutions to the harmonious coexistence of man and nature, how to write about grand ecological problems in subtle places, how to deal with the relationship between nature and life, nature and people, and people and society.
In the contemporary consumer society, problems such as overconsumption and environmental pollution while mechanized mass production have aggravated the ecological alienation of man and nature, and also increased the concerns of people with lofty ideals about the ecological environment. Some people for the sake of desire, the bottomless destruction of nature exacerbates the uncontrollable nature of the ecological nature, which makes the contradiction escalate, not only transforms the contradiction between the individual and nature into the contradiction between human beings and nature, but also intensifies the contradiction between human beings themselves, thus triggering the crux of domino society.
In recent years, the emergence of Li Ang's concept is not only an aesthetic unconscious, but also the inner thoughts of a responsible young artist. This is, of course, inseparable from his learning energy and life experience. Academic training paved the way for him to display artistic language, and after graduating with a master's degree, he worked as a freelance artist and now works in a cultural center. Li Ang is keen on and researching the courtyard body of the two Song Dynasties, and in his works we can see the inheritance of the courtyard shape, the subtle elegance of the depiction of the house and the characters.
Leon's "Divine Thoughts" series of works revolves around the spatial relationship of "individual-architecture-environment", he once said: "The relationship between man and the environment always contains opposition and unity, and the intervention of architecture can often reconcile the two with new flavors." The pavilion of the house adds to the poetic realm of "who knows the forest perch, smells the wind and sits happily" (Zhang Jiuling's "Feelings").
Li Ang seeks poetic habitat in people, architecture and environment, and constantly moves forward on the road of artistic exploration, seeking innovation and change based on the accurate "data" of "rules and regulations". Dong Zhongshu put forward the theory of the unity of "heaven and man" and "qi" in "Spring and Autumn Prosperity and Deep Investigation of the Name". Coincidentally, as a descendant, Li Ang also regards the relationship between heaven and earth as a basic relationship, so the clouds, water flows, fields, paths, farmhouses and houses in the picture are ecological and organic. The picture is stained with cinnabar, smudged with ochre and earth yellow colors, and decorated the mountains with turquoise colors, which can be described as "there is gold under the sand on the top". ("Pipes, Land Numbers") Li Ang's works reveal the scene of human beings and contradictions and common prosperity, creating a new ecology between people in natural society.
Li Ang is a learner thinker of traditional culture, firmly practicing on the road of learning and thinking, thinking and learning, his house and pavilion are metaphors and displays, and the metaphor of the image tells the young artists' interpretation of traditional culture, which is rare in young artists. In the face of human intemperation against nature, Leon also gave his own answer. Rooted in the traditional painting technique, While the building intervenes in the natural environment, Li Ang shows the artist's reverence for nature, as well as his concern for life and reflection on contradictions with pen and ink colors.
Walheim said: "The painter wants to paint what he wants—this is not something that happens by chance or coincidence—and in terms of intention what he does can be understood as a thought with content involving something in the world." "Li Ang innovates in self-transcendence again and again, focuses on boundary painting, a painting with a thousand-year history but has been neglected, with the mission of communicating the harmony of life nature and traditional culture, constantly groping in creation, bringing the building back to a world that we are familiar with and unfamiliar with, showing the relationship between "I" and the world, and through a leaf house in the pen, knowing everything in autumn.
-END-
Calligraphy and Painting Forum