Ni Yangxing, also known as Yang Xin, the word weed, the number of the spirit dove, also known as the dove. People from Zhuji, Zhejiang. Specializing in landscapes, he specializes in loquat, persimmons, plum blossoms, etc. Shi Chenglu, Kong Zhongqi, Wu Shanming, Liu Cun and other gentlemen, asked Mr. Wang Bomin and Zhu Yingren for advice.
He is currently a member of the Zhejiang Artists Association, the Zhejiang Chinese National Painters Association, the Lu Non-Art Research Association, and the director of the Yu Rentian Art Research Association.
He has published: the large-scale eight-open hardcover edition "Selected Landscape Paintings of Ni Yangxing" published by Xiling Printing House, the cover is signed by Lu Yushao, the title page is signed by Cheng Shifa; "Ni Yangxing Chinese Painting Collection" is published by Xiling Printing House, the cover is signed by Shen Peng, the title page is signed by Wang Xuezhong; "Ni Yangxing Painting Selection" is published in Heilongjiang, the cover is signed by Xie Zhiliu, the title page is signed by Lu Fei; "Ni Yangxing Chinese Painting Collection" published by China Academy of Art Publishing House, the cover is signed by Liu Jiang, the title page is signed by Shen Peng; in 2011, Beijing Education Publishing House published " The Twelve Classics of Chinese Painting include Liu Dawei, Long Rui, He Jiaying, Wang Xijing, and Yu Jigao;
Lu Yu less inscription
Ask about the smoke cloud
——Ni Yangxing's freehand landscape painting art
Literature/Art
Ni Yangxing was born in Zhuji, the hometown of Xi Shi, who had a simple literary style. Since childhood, under the influence of the sages of Wang Mian, Chen Hongshou and Yu Rentian, he has a special love for art.
Ni Yangxing's landscape painting style is far away from Shi Tao, Zhu Yun, Shi Xi, and Wanjiang, who are known as the "Four Painting Monks" in the early Qing Dynasty, so their works are not limited to one family and one school. And absorbed Huang Binhong's pen and ink "Neimei Jing Zhongshen", lyrically writing a new realm of modern aesthetics of pen and ink "Thick Huazi". It shows the unique humanistic value and aesthetic value of Chinese landscape painting.
Ni Yangxing was personally taught by Kong Zhongqi and Wang Bomin. Mr. Kong Zhongqi's lushness and agility, Mr. Wang Bomin's ethereal and empty meng, he can all blend without making a "red" copy. In particular, he did not forget to learn from his predecessors. Ni Yangxing uses his keen observation to perceive the beauty of nature, sketches diligently, and obtains artistic inspiration from the beauty of nature. He pays great attention to the charm of pen and ink, seemingly sketching and sketching priorities, and can withstand in-depth taste regardless of whether he looks at it from a distance or a close look." This is also the atmosphere of zhong lingyu xiu who grew up in zhuji good mountains and rivers, coupled with years of diligent Yantian, which has accumulated a lot of materials for his artistic creation, and at the same time given new vitality.
A habit developed in simplicity due to the limitations of painting conditions. In the use of burnt ink and wet ink, he often used accumulated ink, su ink and stained ink, and he actually appeared with a smart, huazi and dripping momentum. From this, I think of Mr. Yu Rentian's "lonely building for forty years" in poverty, when he painted thousands of real landscapes with bald brush and ink, which shows the truth of poverty and refinement. Yang Xing told me: "At first, I was not confident, it may be that Lu Yufei first reminded me that the fusion of the three ink paper mainly relies on practice to make skill' If the kung fu is deeper, the initiative may be completely in my own hands." "I prefer his large-scale pages: the alternating expanse and cascading formed after being cleaned up with a dry pen in splashed ink, which has both the smell of grass and trees, and the texture of a thousand walls: ethereal in the thick, and mountains and rivers in the haze. Traditional Chinese calligraphy and painting are especially heavy pen and ink cultivation, which can glimpse the author's inner connotation between the abstract pen marks and ink rhymes.
He attaches great importance to the vividness of pen and ink to have a vivid rhyme. Special attention is paid to the potential, sense of direction, and sense of movement of pen line dot painting, which is embodied in one breath with the pen, and the pen and brush are born together, and the pen and brush correspond to the internal qi machine. It is also the key to his landscape paintings to obtain the magnificent, strong and majestic golden stone weather. Ni Yangxing is a master of using Su Mo, and the Su Ink after degumming is dyed with layers of water, which is more moist and thick. He is good at "knowing white and guarding black" layer by layer, full of black, he put the ink color to the fullest, he discovered the light from the darkness, from the chaos to sort out the order, more thick, spicy.
The fifth generation of Jing Hao proposed in the "Shanshui Festival": "Far away takes its potential, and near takes its quality." This is not only a method of chinese painting, but also a touchstone for testing the quality of Chinese painting and calligraphy. Whether Ni Yangxing is making landscapes or painting flowers and birds, he seems to be stable and stable, but in fact, he pays great attention to creating momentum, seeking momentum and change in stability, especially paying attention to creating a visual impact with momentum; the old saying cloud: painting must be "heavy gas machine, seek high grid". Adhering to the teacher's learning, Ni Yangxing pays attention to the beauty of the spatial artistic conception, takes the space and blank space as the painting eye, the open mind, the long-term humanistic cultivation, and the pure brush and ink expression technique, so that the atmosphere and elegance of the book run through his works.
Ni Yangxing's landscape paintings were studied by Yu Rentian, Wang Bomin, kong Zhongqi and other landscapes, and the source of traditional Chinese literati paintings is in the right vein, and the brush and ink reveal the aesthetic value orientation of majestic simplicity and wildness, so that we can glimpse the attitude of life carried by his thick and simple artistic expression techniques. His paintings inherit the connotation of traditional brush and ink, so that the works show the high-pitched appearance of the times and exude a simple local atmosphere. Let the viewer have the feeling of being in the scene, giving people the enjoyment of the humanistic spirit.
Asking about the spirit of Xi Shi's hometown, Ni Yangxing has always maintained the noble virtue of humility and low-key, and he often behaves as a person and paints diligently and earnestly, which is also the spiritual portrayal of Ni Yangxing.
Take a group photo with Mr. Wang Bomin
Wang Bomin congratulated
Group photo with landscape painter Mr. Kong Zhongqi
Group photo with Teacher Tong Zhongtao
Fuchun Hun Hou Hua Zi Sha Menghai Inscription Poetry Hall
After the rain
Black Ink Landscape (Liu Jiang Shitang)
Red Maple Pine House 80x50cm
Takeri 67x60cm
Noyama Makiushi 68x49cm
Thick and thick
Shanshui Qinghui (Lin Ximing Poetry Hall)
Akiyama Yuji Tong Zhongtao Inscription Poetry Hall
Hometown rice terraces
Maolin Ancient House
Persimmon red in front of the door 69x49cm
Mountain stream 83x46cm
Mountain color Changchun Gu Tinglong inscription poetry hall
Boneless Landscape (Wang Bomin Poetry Hall)
Shanshui Qingyin Wang Bomin inscription poetry hall
Lake and mountain color 73x66cm
Splash ink landscape Yan Lichuan inscription poetry hall
Spring Hill 69x46cm
Spring scene
Distant mountain smoke 92x62cm
Akiyama Boat 69x47cm
Qing Qi Xuan (Zhou YongCun Poetry Hall)
Tree autumn color 67x61cm
Green Landscape (Wushan Mingshitang)
Mountain Rain Tan Jiancheng Inscription Poetry Hall
Early harvest 49x43cm
snowscape
Snowscape 68x46cm
Autumn Stream Spring Rhyme 99x49cm
Autumn
Autumn dress
Mountain rain
Water mirror
Goku Zen Temple
Snow Ji