Qingdao in the Mist Yang Huidong 2021 136cm×68cm
It is a sound of green water
——Yang Huidong Academic Art Pipe Peep
The intersection with Mr. Yang Huidong is also early, which is considered to be an old rain for many years. Mr. Yang Huidong is engaged in both academic research and Chinese painting creation, and has made remarkable achievements in both internal and external cultivation. Huidong's brother Yan Bo ruya, the rare and valuable Si as a "drinking general" (Yang Huidong Xianzhang), the hero of Jiang Huai's children, just responded to the sentence "Drinking bitterly, reading away from the riots, but can be considered a celebrity".
Weihai Sketch 1 2020 Yang Huidong 69cm×45cm
Brother Huidong's style of study is simple and solid, and his style of writing is rational and usual, and he is not strange and strange. Classical Chinese art has always emphasized the relationship with life, and the same is true for scholarship. "Not to leave is not to leave" is the most beautiful realm of the artist's generation of aesthetic experience, and is it not the same for the study of governance? There is no scholarship or art without life. Huidong Brother Zhixue (History of Painting), based on Chinese painting, adheres to the academic tradition of chinese art history research. As for the methods and achievements of Western studies, "referring to one or two, and also awakening the method" has formed his rational style of study of seeking truth from facts. Gu Yanwu's treatise on scholarship, one known as Guichuang, the second known as Bo Zheng, and the third known as practical application, opened up a line of authenticity of the Qianjia school of qing dynasty scholarship. Mr. Liang Qichao once pointed out in "Introduction to Qing Dynasty Scholarship": "Qingxue wins by advocating a 'real' word, and declines because it cannot implement a 'real' word." "Brother Huidong's style of study is quite inherited and targeted. This can be seen from his early studies of the early forms of "green landscapes", his special studies on the history of Buddhist painting, his studies on the history of western art, his studies on the history of modern and contemporary art, and his study of the hooks and sinks of traditional Chinese painters in the 20th century.
Rizhao Sketch 1 Yang Huidong 2021 45cm×69cm
Fu Ziyun: "Aiming at the Tao, according to virtue, relying on benevolence, and swimming in art." "Hui Dong brother's Chinese painting creation is in and out of its academic research, in the table, examining the history of painting and exploring the Aoli, quite Jiangzuo Jinling rhyme. He believes that the creation of Chinese painting throughout the 20th century was dominated by the concept of "innovation", which may stem from the frustration caused by a series of collisions between Chinese and Western cultures experienced in China since the 19th century, which caused intellectuals to question some traditional cultures. Yang Huidong is probably a cultural conservative. From the tang and song dynasties and the revival of the art of the Northern Song Dynasty to the ancient theory of meaning of Zhao Mengfu in the Yuan Dynasty, as well as the poetic and literary views of the Seven Sons before and after the Ming Dynasty, Yang Huidong firmly and stubbornly sorted out a vigorous "cultural retro history." He resisted adding out out-of-place contemporary symbols to his paintings and opposed the so-called "sense of the times" that flowed on the surface of the subject matter and form, but instead constructed his landscape garden with a gentle attitude toward history and nature and with warmth.
Rizhao Sketch II Yang Huidong 2021 45cm×69cm
In his early years, he often wrote fine green landscapes, with strict structure, rational and legal equipment, elegant colors, and meteorological Qinghua. Dr. Charles Nakoman, a professor and art critic at the University of Oregon in the United States, once wrote that his work inherited the mantle of Qian Xuan and wrote the real world in a dreamy language. I thought that his green and beautiful structures, rare and precious, in addition to the penmanship week, contained the literati atmosphere of the Nanzong landscape, and sent him the literary heart that escaped from the dust under the shape of his case. The formation and establishment of green landscapes as painting assortments need not be said to have a relationship with Buddhism and its murals. From Kyzyl and Dunhuang to the interior of the Central Plains, it was a long journey of camel bells on the ancient map. Based on his research experience in Buddhism and Western murals, Yang Huidong has a unique insight into the early forms of green landscapes.
Laoshan Huiling Bay Yang Huidong 2021 136cm×68cm
Ran Yang Huidong suddenly sighed: "I think that the poetry is less humorous, pretending to be an ice heaven Prancing Horse." Although in his consistent understanding, Chinese painting has always paid attention to rules and laws, and believing in horses and reins or being innovative will inevitably destroy its own cultural genes, the youthful arrogance of Jianghuai's hometown makes him more eager for the freedom of pen and ink expression of life. So he focused his subject matter on water and the sea. Yunshui is invisible and formless, changeable and powerful, and is in line with the will to life in the universe under the Chinese cultural concept. Brother Huidong regards water as a "big thing", far away from Ma Yuan, close to Kong Zhongqi, Lu Yu Shao, the elders, considering the ancient and modern, gong and creation, outlining or low chanting, or singing and praising the symphony of life. That is, to look at its water method, or to dredge the plains of the pond, to calm the waves, and to stop as a stream; or to return to the straight, to follow the flow, to write long and thin, and to be orderly and not chaotic; or to hold the mountains, to rush straight ahead, to strike at the storm, and to strike at the earthquake of thunder. Gai is talented by the true disposition of the people also. Gong Ding'an has a poem cloud "also crazy and chivalrous and gentle", which I thought was the character of water and sea. Huidong brother is a scholar, but every time he "dreams of the iron horse glacier", the fortitude and blood flowing in the wind and bones are often inadvertently revealed in the heroic liver and drinking, meetings and meetings. The sky is full of wind and waves, the seas and mountains, and its "not the bitter reputation of everyone"?
Laoshan Taiqing Palace Yang Huidong 2020 69cm×45cm
In recent years, Brother Hui Dong has also made many sketches, taking Taihang, Dengchangbai, WangEmei, Guandaizong, Panhuayue, Yang Kuanglu, Tanyandang, Yinhuangshan, Bai Jiuhua, the Yangtze River, the Majestic River, the Smoke and Rain of Taihu Lake, the vastness of Dongting, the silk in the chest and present, not only writing about the scenery ear, but also writing about business, is it not writing about true qi?
Laoshan North Jiushui 2020 69cm×45cm
For the sketching of Chinese painting, in the understanding of contemporary painters, they are mostly inclined to the sketching of the concept of Western painting. Artistic language is usually only an external expression of thinking, and this concept of sketching in the context of Western studies has caused the convergence of contemporary landscape painting and Western landscape painting. Yang Huidong once thoroughly sorted out the concept and changes of "sketching" in Chinese painting, understood the relationship between "sketching" and "the creation of foreign teachers," and analyzed the special significance of sketching in the process of the transformation of Chinese painting in the 20th century.
Laoshan Huiling Bay 2021 136cm×68cm
The Song people said: "Painter, Wen Zhiji also." "Brother Hui Dong has lived half a life from art, reading in the rain and the sun, the soul of the mountains, the sea, the golden and green, all of which reflect the bookish atmosphere of an intellectual from the inside of life, and the bottom of the pen is full of spirit, and the dust is high and ancient." Gu Yun: "The Six Classics read the fang and picked up the pen, and the five mountains returned without looking at the mountains." "Because of the years of friendship, do not avoid shallowness, talk about talent and decency, and clumsiness does not count."
Text/Sun Fei
Introduction to art
Yang Huidong
Born in August 1968, Suining, Jiangsu Province. Graduated from the Academy of Fine Arts of Nanjing University of the Arts, Ph.D. He is currently the president of Tianjin People's Fine Arts Publishing House, the editor-in-chief of Chinese Painter Magazine, the executive director and deputy secretary-general of the Chinese Painting Society, a member of the China Artists Association, the secretary general of the Heshan Painting Society of the China Artists Association, and a researcher of the Calligraphy and Painting Institute of the Central Museum of Culture and History. His works have participated in various exhibitions at home and abroad, and have been collected by many art galleries and museums. He has published monographs such as "Analysis of Shitao Landscape Technique", "Luo Ping", "Painting of the Four Monks of the Early Qing Dynasty", "Lan Ying" and other monographs and a variety of personal albums, and published many academic papers.