Yang Bingxiang was born in 1947 in Linshui, Sichuan. He studied painting since childhood, joined the China Artists Association in 1986, and in 1997 was selected by the China Federation of Literary and Art Circles and the China Artists Association as the first "Top 100 Masters of Chinese Painting", and successively served as the deputy editor of the poetry magazine, the art consultant of the Global Character Art Network, the director of the World Federation of Writers and Artists, the vice president of the Calligraphy and Painting Research Institute of the China Poetry Federation and the special researcher of the calligraphy and painting profession. He is good at landscape painting, both and other, the painting style is natural and fresh, emphasizing the artistic conception and style, advocating "changing the law according to the situation, empathizing into the painting". In 1989, he was invited to hold a solo exhibition at the Gallery of the National Art Museum of China, and in 1995, he was invited to create a large Chinese painting of "Ten Thousand Pine Winds" for the Tiananmen Tower, which was collected by the Tiananmen Gate Management Office and exhibited in the Tiananmen Tower. His works have won more than ten awards in domestic and international painting exhibitions, and have been selected for large-scale exhibitions held in Beijing, as well as exhibitions held in Japan, the United States, Canada, South Korea, Singapore, New Zealand, the United Nations, and many European countries, including Hong Kong and Macao in China; he has been included in the compilation of "Modern Chinese Famous Landscape Painting Collection", "Selected Works of Chinese Calligraphy and Painting Masters of Past Dynasties, Fine Art Volume", "Danqing Painting History: Artists Influencing the Style Trend of Chinese Painting (Landscape Scroll)", "Zhongnanhai Treasured Painting Collection", "Everyone's Road", etc. The biography is included in the "Dictionary of Chinese Contemporary Calligraphers and Painters" and "Who's Who in the World". He has published special collections such as "Selected Works of Baijie Painter Yang Bingxiang".
Yang Bingxiang works Fishing songs on the lake 68cm × 136cm
Pen and ink freehand landscape lyricism - read Yang Bingxiang freehand landscape painting
Text/Shao Dazhen
Shi Tao of the Qing Dynasty wrote in the "Painting Quotations and The FaZhang": "The painter of the husband, the one who shapes the heavens and the earth and all things, gives up his pen and ink to form it." It means that the landscape painting of "forming the heavens and the earth and all things", if you give up the pen and ink to form, how to become a painting. Master Shi Tao learned after waking up that landscape painting is a plastic art, and without the pen and ink rhyme, it is impossible to express the form and spirit of all things in heaven and earth. Indeed, pen and ink, as the backbone of the historical tradition of Chinese painting, is a basis for the artistic expression of Chinese painting, and the history of Chinese painting with a grand view of the ocean can be said to be a world of pen and ink evolution. It is not only an abstract language that can be independently appreciated, but also a kind of expressive discourse that can be related to the theme, mood and content of expression. In fact, the pen and ink itself is neutral, but the performance of the pen and ink is clumsy and beautiful. However, a painting is not beautiful with brush and ink, the key lies in whether the painter is beautiful or not, and the technique is not high. Only when the pen and ink are exquisite, advanced and beautiful, will the painting exude charm and have infinite attraction. This is also the insight confirmed by the works of outstanding painters of all dynasties.
Yang Bingxiang works Rain Break 68cm× 68cm
The landscape paintings of the painter Yang Bingxiang are thick and spongy, fresh and simple, quiet and lyrical, and unique. The pen and ink and layout of his works have the method of traditional and modern art, using the pen to be majestic and deep, Xiao Scattered and clear, vigorous and cheerful, warm and moist with ink, simple and lush, the composition of virtual reality, more ethereal, hilly and strange changes, meteorological benefits and magnificence. Its near-shore wide water, stone shadow cliffs, Yunling cottages, all of them are full of charm and far-reaching imagery, all of them have pens in ink, ink in pens, large densities, thickness in lightness, and deeper and weaker, and deeper and void in the accumulation of health, showing a sense of spiritual exchange.
Yang Bingxiang works Bashan Night 68cm × 68cm
Reading Bing Xiang's works, I can't help but be moved by the subtlety of her pen and ink, and I am spiritually pleased and enjoyed. For example, "People in the Mountains", "Light Boat", "Sunset", "Fishing", etc. are idyllic and quiet, the pure people's hearts, pure nostalgia, Bibi Nai is a corner of the world's paradise, unloading the noise and strife of the red dust in the world, restoring the calm and peaceful of the soul, "Yunling Mountain Residence", "Lingshang", "Mountain Home" and other works, the color is simple, the color is smudged, the rubbing is near and far, the texture rhythm, the layers are clear, the picture is deep and solemn, and the artistic conception is far-reaching and long. Perhaps this is the "poetic dwelling" that Bing Xiang yearns for and the place where the soul retreats! The thousands of weather in the painting have long been separated from the ancients, and are actually the spiritual structure of the great void and the recklessness, and the dazzling dots and lines, the clumps of ink and the natural ingenious white cloth reflect each other, showing a kind of imaginary image of mountains and rivers, giving people the beauty of "there is an elephant outside the image" and endless reverie. In a word, the pen is created, and the landscape is really interesting.
Yang Bingxiang works Chenguang 66cm× 66cm
Shi Taoyun: "The landscape is really interesting, you must go into the wild to see the mountain village, see her or real or illusory, all of which are the aura of my pen." When others start to start, they can't get it, and this is true, and there is no need to talk about ancient and modern. It seems to say that it is the beauty of Yang Bingxiang's landscape paintings - the natural "true or illusory" and the painter's "brush head aura" coincide, making people "find the end of the unobtainable", a natural. North and south, east and west, just like the present, autumn, winter, spring and summer, born at the bottom of the pen, far mountains and near mountains, full of vitality, see the Fadu in the free, see the wind god in the ethereal, see the moisture in the vastness, as Liu Xun said in the "Wenxin Carved Dragon Divine Thought": "Between the chants, the sound of the Tuna pearl jade; before the eyebrows, the color of the wind and clouds." It is precisely because the subject matter is freely controlled when conceiving, so there is "the author, although according to the law, the luck is changed, it is not qualitative, it is not shaped, it is like flying." Ink, high and low, shallow and deep, literary and natural" (Jing Hao's "Penmanship")," the temperament, condensed between the scales, in the mountains and rivers, water and water in the water and stone run.
Yang Bingxiang Works Morning Mist 68cm× 68cm
On closer inspection, Yang Bingxiang's artistic expression of freehand landscapes has the following outstanding characteristics:
The first is that her landscape paintings have strong sensual colors, random and occasional painting methods, and the atmosphere in the creation process comes from the real feelings of the mountains and rivers, but also immerses the painter's rich personal feelings, and thus opens the novelty and change of the personality of the schema, that is, the personality differences in the overall structure, shape, space, perspective, tone, atmosphere, and artistic conception of the picture, emphasizing the rhythm, rhythm and tension of the visual senses. The painter focuses on what kind of abstract combinations to weave, but not completely stripped of natural characteristics, but unique and self-reliant. Her works are always looking for the formal beauty of the relationship between lines (branches or mountain stones), points (leaves and moss) and surfaces (rivers and mountains), and schema changes, opening up new aesthetic fields and providing new aesthetic experiences.
Yang Bingxiang works Chushui Wushan 68cm×68cm
The second is that her pen has been extremely loose and natural, there is the magic of dead vines falling stones, mentioning and outlining, rubbing dots to write, spontaneous to the point, pen and image, meaning and realm, heart and painting, into the unhindered realm, the so-called "from the heart to desire, not excessive". This state of free kingdom in brushwork expression is the result of many years of pure experience of the painter. It comes from the ancient tradition, and is different from the ancient tradition, strengthening the transformation, beginning and ending, reflection, square circle, rigidity and softness of the brushwork, thus forming a distinct personality language. It weakens the depictiveness, strengthens the expressiveness, and makes the painting move towards the "inner need" (Kandinsky), towards the expression of the mind. The price is that the appearance is not easy to resemble, and the harvest is the freedom of mental expression and the acquisition of the elephant (god-like) of the landscape, so that the mind and the object are inseparable, so that the natural nature of the landscape and the heart of our people are highly unified. "Heavy is stagnant", "light is floating", only "loose" and "heavy", "heavy" and "light", in order to live in a vain spirit. Shi Tao's so-called "wrist is not vain, then painting is not", "its pen is extremely heavy, but it must fly on the paper to dissipate the fierceness", which is also the way to use the pen. Yang Bingxiang's painting method is precisely the magic of embodying "wrist weakness", "pen work" and "flying paper".
Yang Bingxiang's works Wind and rain return to the boat 66cm×58cm
The third is that Yang Bingxiang's ink has reached the realm of "pen and ink meeting, is for the sake of the pen", "pen is not pen, ink is not ink, painting is not painting, free I am" (Shi Tao language). This realm is called nature. Try to look at the current popular painting style, are clear and pure beauty, and Yang Bingxiang is unusual, not to repair the work, not to carve as the ability, then with the natural unadorned painting style, dry and wet and moist pen and ink world, the viewer is led into a special aesthetic world, it is not a painting of human habits, not a common scene in the world, mysterious and deep, strange and quiet, beauty in chaos without losing elegance, wonderful in the rambling without losing clarity.
Yang Bingxiang's works Guan Waterfall Pavilion
As a contemporary landscape painter, Yang Bingxiang is well aware of his mission and responsibility. With the self-consciousness of modern people, she walked out of the traditional limitations of drowsiness, rationally moved towards modern aesthetics, and walked towards the era of artistic self-consciousness. His creation firmly grasps the essence of the beauty of Chinese painting with the Tao as the heaven and earth, and when painting, he does not stick to the shape and color of limited specific things, but has the intention of painting not in the idea of things, "the painter dances the brush, intended to be in the heavenly way". That is to say, her art has gained randomness and freedom from nature, and has entered the search for "art ontology". In this regard, Yang Bingxiang's landscape painting has entered a new stage and a new realm, and she has achieved gratifying new results.
Works by Yang Bingxiang Zephyr 98cm×68cm
Looking at the history of Chinese painting, Dong Qichang, Shi Tao, Zhao Zhiqian, Huang Binhong and others have all surpassed their predecessors in practical skills with their profound academic training, super-elegant talent, exquisite pen and ink methods, and have excavated the rich traditional core of their predecessors with theoretical cultivation and inheritance, and have surpassed their predecessors in practical skills. Yang Bingxiang's way of landscape art has developed from the early stage of the "sketching" tradition of "wonderful and true", and then developed to the "Yuxing" tradition of not losing the shape and blending of scenes, and finally to the evolution of the "freehand" tradition that is not limited to the form of his lyricism, when he has devoted himself to the repeated study of traditional theories and methods over the years, and is closely related to the understanding of the spirit of oriental culture such as Lao Zhuang philosophy and Taoist thought. It is precisely based on this profound accumulation of traditional cultivation that the painter can combine the brushwork skills with the image of "painting shadows without painting shapes", and between the brush and ink sprinkling of the sparse rate, he can construct a spiritual miracle outside the heavens and the earth, and develop a high and scattered atmosphere, which should be in the face of his independent and arrogant personality and spirit. We believe that with the passage of time and the hard work of painters, there will be great tools, and it is inevitable.
January 10, 2017 The original article was published in The Literary and Art Daily on May 19, 2017
(The author of this article: Professor of central academy of fine arts, famous art critic)
Yang Bingxiang works Hefeng 68cm×68cm
Self-elevation of character: change the law according to the situation, empathize into the painting
Text/Sima Lieren
I prefer to appreciate paintings, and the standard for good works is two words - "comfortable". Recently, reading Ms. Yang Bingxiang's paintings, I couldn't help but get an axe and write them at will.
Yang Bingxiang was born in Shudi, loved painting since childhood, joined the army in his early years, and later engaged in art work in the "Poetry Journal" company, doing what he liked and working diligently. She loves Tang poetry and Song poetry, immerses herself in the artistic conception and description, and lingers on the water and fog of her hometown, often traveling to famous mountains and rivers to capture the natural beauty of unsatisfactory words, just as Shi Tao of the Qing Dynasty said, "Search for the Qifeng to play the draft"!
Yang Bingxiang's faithful painting concept is mainly as follows: "The artistic conception is self-contained, which can be called a good structure." The indifference is like geography, tour guide map", "deep feelings and then deep realms, love and truth can be touching", "style can not be stylized, can not be patterned", "depending on the situation, empathy into the painting", "pen and ink are light and heavy, there are slow and urgent, there are sparse and dense, there are thick and light, constituting the strong and weak rhythm of yin and yang, the whole picture can produce a sense of rhythm, movement and rhythm. (See Yang Bingxiang's "Pen and Ink in Chinese Painting" and "Also On the Artistic Conception of Landscape Painting")
Yang Bingxiang's artistic path is mainly the continuation of tradition, but it has its own continuous change and innovation, which is the process of personal style formation - a character problem cultivated on the basis of inheritance, and a height problem that grows up. Huang Binhong said on painting: "If you don't talk about the ink and ink, you can't create it, and if you don't talk about the source flow, where does the new realm come from?" "What I want to say is that it is not easy to truly inherit the tradition, and it is not easy to truly open up the new one: the former is the source, which requires a refined pursuit and reverence consciousness, and the ancients are magical; the latter is a rheology, which requires an independent pursuit and breakthrough consciousness, which is different from the people of the times. Neither can create a true classic.
The ancient Chinese painting art has a profound foundation, and has a relatively complete set of methods and views on the understanding of the external world, especially the landscape world, of which "scene blending" is the most prominent, and artistic expression should turn scenery into emotion, turn emotion into scenery, highlight the ethereal mood and vivid charm. This has become a clear feature of Chinese landscape painting, and it has always been the pursuit of Danqing's clever hands.
Yang Bingxiang's works Jin Qiuling 68cm × 68cm
I read Yang Bingxiang's landscape works, trying to find the painting style, arrangement techniques and creative mentality that belong to her, and experienced that the pen and ink are vivid and meaningful forms, revealing the multi-faceted feelings for life and life. In addition, she feels that she is trying to find and express at least two harmonious styles- the consistency of imagery and the contrast of imagery, focusing on the presentation of "the state of no self" and "the state of having me", so her character is self-exalted. Implement the following four points:
1, the temperature of the scenery
Zong Bing's "Order of Painting Landscapes" and Guo Xi's "Forest Springs Are High" all illustrate a truth: the scenery in the eyes of ordinary people is mostly a landscape, but the eyes of the painter are completely different, and the observation of looking up, chenghuai taste, and xinghui are all poetic. I think that in Yang Bingxiang's eyes, the scenery is warm and fresh, "Spring River Moon", "Mantang Fragrance", "Light Boat", "Floating Light", "Morning Dawn", "Morning Wind", etc. are mainly gentle, giving people a warm feeling, good at creating a large area of halo effect, hazy, focusing on conveying the warmth of different life scenes, leaving memories of different times. In addition to "Mantang Qingxiang", the other five paintings have a leaf boat, bringing our thoughts back to the Song and Yuan literati paintings, elegant and natural, with endless aftertaste, which creates the warmth of history and the consciousness of continuing tradition. The opposition between the lone boat and the two trees in "Spring River Moon", the moon in the water under the left, such a three-point layout is very exquisite, and then combined with the distant background, it reminds people of Zhang Ruoxuan's poem in "Spring River Flower Moon Night": "The river flows like a turn around Fangdian, and the moonlit flower forest is like a thunderbolt." The frost in the air does not feel flying, and the white sand on the Ting cannot be seen"; the lonely boat exercised in "Morning Wind", the idle fisherwoman, the birds in front of the eyes, the vast landscape, and the swaying reeds constitute a harmonious picture, and the magic echoes in the movement and stillness, and there is a sense of warmth for some literati since the Wei and Jin dynasties. Warmth is the result of an observation, an inner experience. The warmth of history often accumulates a feeling of a long time ago, there is no sense of restlessness in the fire, Yang Bingxiang has done it!
Yang Bingxiang Twilight 66×53cm
2. The strength of the feeling
The painter's feeling is an independent thinking and general expression based on figuration, and the size of the force determines the level. German Kant put forward the "sublimeness of force" aesthetically, that is, the object gives people a sense of shock, oppression and solemnity because of its large size, large number or strong explosive force. Yang Bingxiang's "Midsummer", "Sunset Photos", "People in the Mountains", "Fishing", etc., are easy to cause such a feeling, the pen and ink are sprinkled, the lines and color blocks emphasize the strength, and the most prominent scorched ink rub. "Sunset Illumination" and "Mountain People's Home" are the same, expanding the dynamic area, and forming a strong contrast with the huts and tile houses, as if to highlight the vitality of nature, and to regard human habitation as a part of this vitality, which really makes people unable to calm their minds immediately. The subject matter of these paintings is not a single one, revealing philosophical reflections or tastes of life in many aspects of man and nature. Feeling the feeling as a feeling lies in its personalization, and without the individualization of the feeling art withers. But to grasp the feeling and convey the meaning, it is more necessary to bring philosophical thinking and life experience, which is the strength of the real feeling. The intensity is endless, it varies from person to person, and it requires extra-painting effort, and Yang Bingxiang proves this through his paintings.
Yang Bingxiang works Light boat 65cm× 45cm
3, the heat of the mood
The scenery is in front of you, the situation is in your heart. Feelings can be complex or simple, both of which stem from the understanding and generalization of worldly affairs. If the heat of the mood can be understated or highlighted in the painting, it is not easy, because too condensed is difficult to achieve, and too much rendering is easy to be complicated. Yang Bingxiang's "Nostalgia", "Jiang Shuiqing", "Mountain People", and "Hometown New Residence" are mainly implicit, giving people a sense of implication. These four paintings, from 1988 to 2007, from a warm landscape of "Nostalgia" to an open momentum of "Hometown new home", all pay attention to the arrangement of far, medium and close-up scenes, reflecting the author's change in painting style around 2005, and is more inclined to simplify realism and condense freehand. The mood heat expressed in "Nostalgia" is specific and subtle, and the heat of the mood is thick, as Wang Wei's "Han River Linpan" said: "Outside the river flowing outside the heavens and the earth, the mountains are in the middle"; the mood heat expressed in "Hometown new residence" is overall summarized and vast, as Du Fu's "Tang Cheng" said: "The back of the Guo Hall is shaded with white grass, and the Yuanjiang Road is familiar with the green suburbs." "The characters in the two works may be a subtle expression method pursued by the author for many years, and the reader can put himself in it, imagining and stirring up a strong nostalgia." Will our mood of nostalgia be without heat? Heat is an energy, and one more such heat in the heart will haunt the nostalgia of farewell one more time - "beautiful sorrow"! At this point, Yang Bingxiang's skill lies in the fact that he writes about a mountain and a river, a tree and a stone.
Works by Yang Bingxiang Appreciation 27cm×24cm
4. The thickness of the pen and ink
Wang Guowei's "Words and Sayings on Earth" says: "Look at things with me, and all things are colored by me." "Paintings should pay attention to the thickness of pen and ink, with which emotion is heavy, not light and fluttering." In my opinion, Yang Bingxiang is very good at this, "Silent Shore", "The Sound of Night", "Desire to Rain", "YouYun", "Xiaose", "Drizzle", "Hanjiang Snow" and so on carefully conceived and dyed, creating a silent and sound, quiet and swimming artistic effect, especially "YouYun", "Xiao se" shows the author's ability to grasp the personality and ability of nature, giving people a thick and dashing feeling of writing, you can imagine the author's passion when creating, and there is a momentum of sudden openness between walking heaven and earth. Shi Tao's "Quotations on Paintings" said: "The ancients had pens and ink, there were also pens and inkless people, and there were also ink without authors; non-mountains and rivers are limited to one side, and people's endowments are uneven." The splash pen of ink is also based on spirit, and the ink of the pen is also based on god. Murphy is not nourished, and the pen is not life. The god who can be nourished and does not understand life is the god who has ink and no pen; the spirit that can be nourished by the god of life without change is also the spirit without ink", which is to talk about pen and ink from both the aspects of technique and life. Passion without pen and ink thickness is superficial, pen and ink thickness without passion is false. Art needs to exalt its own personality and be unique, which is a well-known truth for practitioners. The above two "no" often determine the vitality of the work, but many people are difficult to do, just like people who like to paint bamboo can not control zheng Banqiao to talk about the relationship between "bamboo in front of the eyes", "bamboo in the chest", "bamboo in the hand", the same as the bamboo drawn is half dead and lacks vitality. Yang Bingxiang is consistent in his heart, drawing fun, without showing traces, borrowing the words in Wang Wei's "Narrative Painting", that is, "Looking at the autumn clouds, the gods fly; the spring breeze, thinking hao! ”
The four characteristics of Yang Bingxiang's paintings above are to highlight the depth of the artistic conception, the pursuit of pen power, ink dry and wet, scene movement, imagery is virtual, the style is rigid and soft complementary performance, both elegant and fresh, but also imposing, as well as taking into account both, more to give people a pleasant, swaying and colorful charm, showing a silent philosophy and rhythmic elements, in line with my criteria for judging good works - "comfortable".
Yang Bingxiang has made remarkable achievements and is well-known. I wish her to continue to live poetically in her paintings and harvest more!
January 2, 2014 The original article was published in the "Literature and Art Daily" on February 17, 2014
(Author: Ph.D., Professor, Art Critic, Department of Chinese, Peking University)
Yang Bingxiang Qingxia 68cm×68cm
Painted as a mental image, the temperament as the top
Text/Yang Bingxiang
Knowing painting is like knowing people, and the temperament is supreme. The so-called "essence, qi, and god" are indispensable to people, and paintings are also indispensable.
A painting, first of all, must be determined to be rigorous in composition and chapter, novel and coordinated in shape and color, and steady and flexible with pen and ink without the drawbacks of floating skateboard stagnation. In addition, it is also necessary for the picture to be smooth, full of rhythm and form, fresh and poetic and radiant, and the painting must have charm and style. As for the style of the painting, it can be varied. Even the same painter can show different pursuits of fresh elegance, or indifference and tranquility, or heroic grandeur, or cold and arrogant in different works, so that each work has its own characteristics.
The painter's artistic style is naturally formed in the practice of creation. The formation and development of styles is not contradictory to the different expressions of different works, but is very necessary. The diversified expression ability reflects the painter's multi-faceted artistic accomplishment and artistic talent, which can make the painting language and subject matter content and expression form of different works achieve a more harmonious and unified artistic effect, so that each work of the painter presents a more exquisite and more perfect artistic realm, so that the overall style of the painter is more plump.
Yang Bingxiang Qiu Yun 68cm×136cm
There are many reasons why a painter can maintain and highlight the consistency of his personal artistic style while having the diversity of artistic expression methods, in addition to the technical aspects, the key lies in the spirit and cultural orientation presented by the painter in the work, as well as the difference in the artistic quality and temperament of the work. Therefore, appreciating a painting, in addition to those professional and technical grasps, it is also necessary to understand that the painting style is clear and elegant, and the beauty and ugliness of the literary field are different from each other, so as to distinguish the overall level of the work.
Painted as a mental image. Creation enters the heart, illusions become images, and it is for the mental image. Mountains and rivers, the sun and the moon, the cold and heat at four o'clock, the grass and trees withered, the painter sees the excitement of things, but also in response to the thousands of changes in the heavens and the earth, poor and map changes, changes according to the situation, empathy into the painting.
In order to paint a mental image, the painter must have a keen aesthetic vision, enrich and profound life feelings and life accumulation, and have the ability to paint the image in his heart into the image in front of him. Ability can not rely only on talent and wisdom, but mainly on the day after tomorrow to learn, cultivate and practice.
Painted as a mental image, the temperament as the top. Painting should be full of atmosphere. The Zhou Yi Zhi Ci says: "Essence is a thing." Although qi is invisible and caressed, qi can be felt and felt everywhere. For all things under the heavens, if there is no qi, there is no birth, there is no growth, and if there is no growth, there is no achievement. It can be seen that the precious importance of qi is high and broad. Pen and ink skills, layout and color setting are the basis of painting, and the essence of painting lies in Shen Yun. God is born of qi, pneumatic god comes, there is no sense of qi in the painting, there is no atmosphere, no taste, there is a sense of qi in the painting, there is a sense of emotion, there is a realm and a radiance.
Qi is divided into clear qi and turbid qi. Qing qi is healthy, turbid qi is dead, and qi is the same for people and paintings. The flow of air in the painting is like the flow of human blood, which is a symbol of life. How do you make the air flow through the painting? Emotionally! Painting is a sentient thing, a product of god, and it is very important for painters to be indifferent to Ming zhi, improve cultural and artistic accomplishment, cultivate the spirit of the gods, and sublimate the spirit and artistic realm. Only in this way can the painter paint a high-quality work with fresh artistic conception, elegant style, realm and taste.
Qi has a clear and turbid, elegant and customary, a person has a personality, and a painting has a picture grid, all of which are related to the realm and cultivation. Painting is made by skill into art and then into the Tao, and those who have virtue become masters, which must be known.
To paint with a pen, the painter must have a respectful and pure heart, the true feelings and high spirits are contained in the pen and ink, integrated into the objects, presented to the image, the love god will be intentional, the things and I forget, the pen is not hindered, the heart and hand will have the stroke of god, and the masterpiece will come out. Therefore, it is said that a good painting can nourish the eyes, and a good view can nourish the heart. All because of the good painting style is high, there is a clear atmosphere, and it can make people meditate and reverie, wander the eight wildernesses, and be relaxed and happy!
November 18, 2014
Yang Bingxiang works Mountain Home 136cm×68cm
I walked out of the landscape to write
/ Yang Bingxiang
The painter's mental image, the trace is the trace of the heart. The heart is the sum of life experiences. The so-called painting is like its own person, this statement is true.
The place where I was born is across the river from the ancient town of Motan Yulinhe in Linshui County, Sichuan Province, called "Gao kanyuan", which is a small village surrounded by mountains and rivers and covered with bamboo trees. In the early years of the town, it was a water transport terminal, known as "Little Chongqing".
Since childhood, I was fascinated by the comic strips, New Year paintings and books that my father bought back, and loved to paint the houses in the village, the trees and birds on the mountain. Based on this, when I was in elementary school, I was able to draw small life scenes and often received praise from teachers. I am very fortunate to be born and raised in such a beautiful environment, running wildly in nature since I was a child, watching it, listening to it, painting it, knowing, familiarizing, and affinity with the landscapes and rivers there like my own family.
I went to junior high school and high school in the county town one hundred and twenty miles away from home, and I had to go from home to school once or twice a semester. Sometimes in the middle of the house to go home to get food certificates or food expenses, you can only take three days off, go back for a day, rest for a day, and return to school one day. Several times I walked back and forth alone, a day to walk so far away from the mountain road, the feet are swollen, the way often more than a dozen miles do not see people, thirsty to drink a few mouthfuls of mountain spring water, tired on the scenery of a good place to sit for a while, watch the scenery to see the mountains, listen to the cicadas chirping birds, although hard, but tempered my will and guts, feasted on the beauty of the mountains and rivers on the way.
Yang Bingxiang Wollongong 68cm×68cm
As an adult, I have visited Guilin, Huangshan, Huashan, Taishan, Tianshan, Emei, Swiss Snow Mountain, as well as the Yangtze River, the Yellow River, the Seine River in Paris and other famous mountains and rivers, but in the end I was not as impressed and comfortable as in my early years of my hometown landscape. Shi Tao said that "searching for Qifeng to make drafts" has a profound impact on my landscape paintings and is crucial. To this day, as long as I close my eyes and concentrate, the mountains, the water, the clouds in the sky, and the grass on the side of the road are still in front of me, and in my imagination, people will swim with the white clouds and soar with the birds. Suffering and tiredness will pass, but beauty and happiness will remain forever. These experiences of mine have been more or less integrated into my work.
In my early years, I was instructed by the well-known painter Feng Zongxiang to learn the basics of Chinese and Western painting. After becoming an art editor in the Poetry Journal, he listened to some major lectures and painting demonstration classes taught by famous teachers such as Qian Shaowu, Huang Yongyu, He Haixia, Lu Guangzhao, Wu Guanzhong, and Bai Xueshi to the students and graduate students of the Academy of Fine Arts. Later, he met Mr. Bai Xueshi and Mr. Wu Guanzhong and was able to ask them for advice in person.
In addition to painting, I also like to read. During his elementary school years, he read through "Rap journey to the West", and later read many Chinese and foreign literary masterpieces, aesthetic painting theory, ancient and modern poetry, as well as books such as Confucianism, Interpretation, Taoism, including the I Ching. The philosophy of the I Ching is the philosophy of change, and all things evolve and develop in change, and the same is true of painting. Painting should have style, but to avoid "stylization", the free expression of art is related to the life of art, and cannot be trapped by the so-called "style". In 1987, I said in a short article published in the "Artists' Newsletter", "Also on the Artistic Conception of Landscape Painting": "People are different, the scenery is different, the feelings are different, we must seize even a slight difference, change the law according to the situation, and explore the corresponding means of expression." If different subjects are concocted in one way, they must look the same, and it is difficult to express a variety of peculiar artistic conceptions", which is just applicable here, and one of the best choices to prevent stylization is to change the law according to the situation, change is the law of change, and the cure for stagnation.
Yang Bingxiang works Salt Lake Sunset Photo 68cm × 68cm
Mr. Goyanagi said that he was "good at reading and does not seek much understanding", which means that when reading books, do not die in books. Reading books is one is to seek knowledge, the second is to be reasonable, and the third is to improve self-cultivation. It doesn't make sense, it doesn't work, what kind of knowledge accumulates what kind of work. It is very important for painters to be grounded, attach importance to life feelings, communicate with the context, continue with the spirit of Chinese culture, attach importance to cultural and artistic accomplishment, cultivate the spirit of the wind and spirit, and sublimate the spirit and artistic realm.
Painting is the selection and reorganization of objects after entering the creative state, a process of integrating emotions and understanding of beauty into the scenery, and the expression and presentation of illusory or definite scenes and uncertain and unpredictable ethereal spaces. Painting is a mental image, the painter can only make the work new and tasteful under the premise of improving his own self-cultivation, the mind is not dusty, the pen is not hindered, the heart and hand are corresponding, and the law is changed according to the situation and empathy is put into the painting. Everything that is related to the realm and style cannot be obtained from the pen and ink skills alone, but most of them must be nurtured and produced in cultivation. In the final analysis, the painter's comprehensive cultivation and self-reflection are the most important.
As a Chinese painting art that carries the profound traditional cultural spirit of the Chinese nation, how to inherit and develop today, not only without losing its essential spirit, but also radiating new style and vitality, is a topic that must be considered and answered.
November 26, 2013
Yang Bingxiang's works Wild Kai Paradise 68cm × 68cm
Works by Yang Bingxiang 68cm × 68cm
Yang Bingxiang works A touch of autumn color 68cm× 68cm
Yang Bingxiang works You Yun 68cm× 68cm
Works by Yang Bingxiang After the rain, Xishan 136cm × 68cm
Works by Yang Bingxiang Great Wall 68cm× 136cm