Fang Jing: Born in 1979, from Qingzhou, Shandong. In 1998, he was admitted to the Chinese Painting Department of Tianjin Academy of Fine Arts with a bachelor's degree, and in 2003, he was admitted to the Chinese Painting Department of Tianjin Academy of Fine Arts, where he studied under Professor He Jiaying and obtained a master's degree. Since 2007, he has been teaching in the Fine Arts Department of the School of Arts of Shandong University, and is a master tutor and a doctor of the Center for Literary and Art Aesthetics of Shandong University. He is a member of the China Artists Association and a director of the Shandong Gongbi Painting Society.
Text/He Jiaying
As a figure painter, Fang Jing has always loved the art of figure painting with a religious devotion and engaged in the creation of figure painting. Fang Jing's introverted personality determines her extremely academic and calm thinking. She deeply understands the relationship between art and the times, and strives to grasp and feel the pulse of the spirit of the times. She did not blindly follow the "wind", but insisted on inheriting the excellent traditions of the nation to express the lives and emotions of contemporary people. She uses the delicacy and sensitivity unique to women to perceive all sentient beings, and uses the sincerity of artists to find the spiritual home that is generally lost in contemporary art works.
Fang Jing's Tibetan figure paintings contain strong religious feelings and a simple atmosphere with a slight sense of primitiveness, which are an ode to truth, goodness and beauty, and contain genuine humanistic care for reality. Looking at it carefully, there seems to be a little bit of dazedness and sadness in the picture. On the surface, she expresses her affirmation and yearning for the life state of ethnic minorities, the concern and sympathy for the state of existence, but in fact, she is deeply concerned about the state of human life.
Text/Xie Xiaoyong
Looking at fang jing's brush strokes, it is particularly reminiscent of the purity of the background. The feeling of the purity of the background cannot be created by simply leaving blank space; Chinese painting has always paid attention to the relationship between the subject and the background, the so-called "painting after the fact", the so-called "counting white as black". If the subject is unbearable, the white space becomes pale; the subject must be refined, and then the white space can echo with the main body, in order to be able to merge into one and blend together.
Predecessors on painting: the beginning of the mixed lun, gradually broken, clean up the broken, restore the mixed lun (Zhang Geng's "National Dynasty Painting Collection"). Only with the overall situation in mind, supplemented by superb pen and ink control, can the intentions when painting be close, and finally turn into a sense of naturalness when viewing paintings. Fang Jing's pen creation should have achieved this.
Fang Jing talked about when she created "Zang Girl", in order to express the texture of the wool hat, she repeatedly rendered it for a long time. Reminiscent of a text recalling Mr. Shen Congwen, when asked mr. Shen how he could concentrate on doing something that cost energy, Mr. Shen replied in three words: Be patient. Painting is difficult. Only when there is no dust in the heart can there be a refined, timeless, and rhymed pen.
Friends who are familiar with Fang Jing know that she is introverted and has a pure heart. Therefore, the characters in her pen are as clear and clear as herself. Whether it's her Tibetan gongbi character creation or daily classroom sketching. With great enthusiasm, she devotes herself to thinking about the living conditions of the characters. On the surface, her works are simple and true depictions of typical characters, but in fact, they are the reproduction of the deep understanding and purification of all sentient beings. This deep humanistic care makes its works appear solemn and sublime.
Female artists have a different delicacy and sensitivity than men. Fang Jing pays attention to the relationship between the times, tradition and art with a female vision. She delved into the exquisite expressive techniques of traditional painting, incorporating religious piety into painting. Look at the ordinary people around you with compassion and compassion. Dai Xiyun: "The face is amazing, it is not as pleasing as it is gratifying, it is better to make people think." "Fang Jing's pen creation, in addition to the exquisite ink of the pen, also attracts people to stop and reminisce.
In addition, Fang Jing's flower and bird works reflect her agile and relaxed side, her boneless lotus flowers, bright and elegant color, the combination of shape and pen and ink is just right; freehand orchid, loose and flexible with the pen, pay attention to the fit of the pen edge and the growth characteristics of the object, showing the elegant charm of the literati.
Fang Jing, with her own diligence and efforts to feel the pulse of the spirit of the times, in the continuous practice and creation of the dialectical relationship between the integration of traditional classics and contemporary emotions, just as her mentor Mr. He Jiaying expected her to "use the sincerity of artists to find the spiritual home that is generally lost in contemporary art works".