Introduction to art
Wang Kuohai (formerly known as Wang Kehai), born in 1952 in Zhaoyuan City, Shandong Province, joined the army in 1970, graduated from the Chinese Painting Department of the People's Liberation Army Academy of Arts in 1989, was the former chairman of the Artists Association of central state organs, the vice chairman of the Calligraphers Association of central state organs, the seventh director of the China Artists Association, the art consultant of CCTV's "Interview with Large-scale High-end Figures", the director of the Chinese Painting Society, and the executive director of the China Gongbi Painting Society. He is a full-time painter in the Creative Room of the Political Department of the Second Artillery Corps and a national first-class artist. He is a judge of senior professional titles of the whole army, an artistic committee member of the Chinese People's Liberation Army Calligraphy and Painting Art Research Institute, the president of the Chinese Painting Art Research Institute, and a senior graduate tutor of Tsinghua, Renmin University and Rongbaozhai Painting Academy.
Mr. Wang Kuohai's research and innovation in the art of new Chinese painting is the culmination of more than 50 years of pen and ink experience accumulation and plastic art literacy and education. He has long been immersed in the study of Chinese painting art theory and traditional brush and ink techniques, advocating the comprehensive inheritance of Chinese painting traditions, and advocating the broad and majestic cultural spirit of the Han Dynasty, and absorbing the essence of Han brick, Han tile and Han portrait stone carving art, communicating the soul between Han portrait stone carving and Chinese brush and ink, and absorbing the essence of folk art and classical art such as relief carving, mural, Tang Sancai, bronze, faience, gold stone, oracle bone, paper-cutting, shadow puppetry, etc., opening up the joints and lifelines of various cultures for five thousand years. Combined with the Chinese literati painting boneless painting ink painting to transform it into a modern ink pattern, it is praised by the art community as "Wang Kuohai's new Chinese painting art". Form your own unique artistic language and formal symbols. And far from the Song Liang Kai's "Splash Ink Immortal Figure", the eight mountain people, close to the Integration of Zhang Daqian, pushed the Chinese painting boneless painting method into a new field. The fusion of his own poetry and calligraphy has pushed his self-created new Chinese painting art to a high-quality, high-character, high-grade literati painting realm. His new Han paintings exalt the broad and majestic cultural spirit of the Han people, the strong and unrestrained cultural spirit, the simple and elegant and rich book-like temperament to taste carefully; Wild and subtle, free and powerful. His works create a kind of fusion illusion between the ink and color, seemingly existing but not existing, seemingly nothing but existing, and mysterious and mysterious into the mysterious realm of the door of all wonders. The neoclassical style shows another new direction for the development of Chinese painting ink painting. He is recognized as the founder of the art of New Chinese Painting in China. In 2018, Mr. Wang Kuohai's original Chinese painting technique was awarded the invention patent right of the State Intellectual Property Office, becoming the first person to obtain the national invention patent right of Chinese painting technique since the founding of the People's Republic of China. In 2019, the Wang Kuohai New Chinese Painting Art Museum "Tengzhou City, Shandong Province" was inaugurated and held an academic unveiling ceremony and academic seminar, and the joining experts unanimously agreed that Mr. Wang Kuohai is a model of contemporary integrity and innovation.
Teacher Liu Xilin talked to Wang Kuohai, the founder of new Chinese painting art
Liu: Broad sea.
Wang: Hello, Teacher Liu.
Liu: We should have known each other for many years. Over the years you have left a deep impression on me, you are a Shandong Hanzi, a military painter, a general demeanor. Strong, broad, dashing, there is delicacy in the strong, you can say that your art is the same as yourself, it is you who converted the ancient Han portrait stone into modern New Han painting ink, which is completely included in the name of Wang Kuohai. Your sea, the sea is full of rivers, the sea is still genetically intergenerational, and there is cross-border cultivation. You take the image of the golden stone and take the things of the Han Dynasty as a contemporary tradition, which is different from the path that ordinary painters have to take, so you have achieved a Wang Kuohai. When you paint the revolutionary historical theme of "Flying to Seize luding bridge", you have fused the things of the Han portrait stone with the things of modern ink and modern realistic sketch modeling, and have a new look, a new background, and a new strength, which is very suitable for this theme.
What was your original intention? When did you start to think about drawing when you were a kid?
King: When I was six or seven years old, I lived in my grandmother's house, and I had an aunt and cousin, and the two of us competed in painting on the wall of my grandmother's house. Using that black stick of the battery as a pen, I drew in front. My little sister couldn't draw it, so she smeared it on the back and blackened the wall. I've loved painting since I was a kid, and when I was eight years old, I went to school, and the honor roll on that wall let me draw anything. When I was about 13 years old, I aspired to be a painter.
Liu: It should be said that your understanding of the Han portrait stone began at that time. Black and white and gray are on the wall. Influenced by others? Or is it innate?
WANG: It has an impact. One was my uncle, a country artist who worked as a mirror shop and painted mirror plaques in his early years. Our room in Shandong has a feature, for example, to the west room, in front of the face is a large mirror, there is a horizontal plaque on the big mirror, there are vertical plaques on both sides, the big mirror is generally painted as a golden dragon and jade phoenix, both sides are carp channeling lotus flowers and other folk themes, my uncle painted the mirror plaque is famous far and wide, he later returned to the countryside, the surrounding villages to act let him paint the set, what dragons and tigers fight and so on. Later, he painted "Sha Jia Bang" and the like, so he had a great influence on me. The other was my junior high school teacher, Li Wanmin, who was an art teacher. I once went to the county cultural center, my teacher was not there, but I had the opportunity to meet with teacher Yuan Dayi for the first time. I was always looking around, and he asked, "Son, who are you waiting for?" I said I was waiting for Teacher Li Wanmin. What are you looking for him for? I asked him to learn to draw.
He said, your teacher has gone back to the countryside, and he may not be able to come back for a while and a half, so I will tell you about it. I said that I really couldn't ask for it, he was painting "Go to Anyuan" and "Swim in the Yangtze River", and we all carried him in a parade. Yuan Dayi was my first object of worship, and he told me about two hours, and I have never forgotten him in my life. I learn to paint should be said to be related to my relatives and family, my uncle had a great influence on me, I remember that I could not buy art information books at that time, "Mustard Garden" was borrowed from my uncle, I learned to paint from "Mustard Garden", that is very precious, "Mustard Garden Painting Spectrum" had a great influence on me. My mother didn't have much culture, but it was a coincidence. For example, cutting clothes, she dares to cut the scissors, the average person does not dare. I don't sketch a sketch and cut it under the scissors. When she was in her 40s, she learned to tie flowers, and after the countryside had a sewing machine, she tied flowers very well, and she had a sense of art modeling and color. My mother is very clever, maybe my genetic source is my mother's ingenuity, her sensitivity to color, sensitivity to modeling, I began to paint and she often gave me advice.
Liu: Culture is likely to be another kind of art, and folk art without culture is the most simple. So what triggered your research on ancient Chinese painting and the innovation of new Chinese painting?
Wang: When I was 35 years old when I went to the People's Liberation Army Academy of Arts, a classmate of mine said: You Wang Kuohai's pen and ink are no longer spicy, and your style is skillful, but do you have any artistic style? At that time, the question of artistic style was raised. After this classmate finished mentioning it, I seriously thought about it, and I was not very comfortable at that time. But privately I think he is right, the success of a painter lies in the establishment of artistic style, where is your artistic style? Where are the coordinates of my art, which really caused me to think for a long time, which direction do I look for? I pondered literati painting, and for a thousand years I have rarely absorbed folk art and classical art. I vaguely felt that this piece was very blank, so I consciously bought a large number of materials, including Han portrait stones, Bashu masks, Anhui wood carvings, etc.
I began to study my artistic tentacles, which direction I was going to go, and at this time I was very shocked to see the Han portrait stone carvings. Another mention of Li Cunbao, he showed me a map of the carriage and horse travel of the Wuliang Ancestral Hall given to him by a family, and then he framed it up for me to see, and it touched me very much, because what I saw in the past were prints, so looking at this original Tuo touched me a lot, too modern, this immediately there are horses, there are still people on the plane composition, very romantic, the cultural spirit of the Han people is displayed at a glance, it is really broad, masculine, majestic, outward, that kind of modernism, so that my eyes light up, If we can convert this into modern ink painting and the stone carving form into ink form, this is unprecedented in the history of Chinese art, and it is unprecedented. I was very excited and my eyes lit up. I also looked at the print of the Han portrait stone carving in Nanyang, there is a riding shooting field hunting map, maybe it is the blur of the broken stone, it may also be blurred by photography, it may also be printed blurred, as if the pen and ink flow there, in a trance I see a kind of pen and ink rhyme, if this is transformed into a flowing modern ink can not be.
Liu: Your brain is very lively, inspired and inspired, but what is valuable is that you have caught it. Some people see a flash of inspiration and fail to grasp it, and you grasp it for more than 30 years, biting this and holding on. Insisting that qingshan does not relax is also a kind of green mountain.
Wang: I experimented with it repeatedly, again with glue and alum. At the beginning, try to get closer to the Chinese painting or rubbing effect, close to the original rubbing. During that period, I painted "Xianghe", "You Chun Tu", "Carriage and Horse Travel Map", "Impression of Ancient Han Painting", including the review article "The Broad Sea of Art" that you wrote to me, published in this book titled by Mr. Shen Peng, "Wang Kuo Haiguo Painting Collection", published by the People's Fine Arts Publishing House in 1995, the works in it have the feeling between the murals or Han portrait stone rubbings, I painted a batch, at that time, after the exhibition, you gave high praise and guidance in front of my "Expedition Map". It mainly shows the scenes of the ancient generals and great generals of the Han Dynasty going out on a grand march.
At that time, mr. Li Cunbao, a great writer, wrote an article, and his words were: "Yu Zhongqing Han portrait stone carvings for a long time, Er came and went jiaxiang, Nanyang to explore the Range Rover, then for the ancient and modern Han Dynasty art obsessed, I slept between the stone inscription stele forest, sighed that Daya did not do for a long time, the ancestors whether chiseling horses carved people, inscribed beasts and gods, all iron painting silver hooks, riding skills are snakes and chapters." Yu absorbs the essence of the ancient Han painting stone carving art, and shows the scene of the ancient soldiers' drums singing and fluttering, driving Jian Ce Fat, aiming to strengthen the majestic style of China." He wrote this passage too well.
At that time, I painted a batch of paintings including "Confucius Teaching", "General Xianghe", "You Chun Tu", "Carriage and Horse Travel Map", etc., the most inspiring to me was "Riding and Shooting Field Hunting", at that time, perhaps the printing was blurred, giving me the feeling of seeing a kind of pen and ink flow, I also painted this painting, which is a real Han portrait stone of the original extension, I converted it into modern pen and ink. There is a lot of pen-and-ink conversion.
Liu: In total, there are several transformations, one is inheritance, and black and white is inheritance. There is no contradiction between the taste of goldstone and the brush, and Chinese artists who study epigraphy have gained a lot of inspiration from calligraphy, from seal carving, and from the pattern of bronzes. Epigraphy has always been accompanied by pen and ink science, and it has always been accompanied by its progress. But the two of them integrated the ancients did not have a lot of discoveries, you have a conversion here, this conversion is very good, one is to convert the flat ink in the rubbing, the dead ink into living ink, the thick ink, dry ink, burnt ink into wet ink, the shape of this plane into the current shape, the transformation of ink color, the conversion of structure, the conversion of subject matter, the conversion of material, and then the calligraphy is also added. There is very little calligraphy in Han portrait stones, and there are more works by folk painters. One is a painting of hard coldness carved into stone, and the other is a modern composition of ink paintings that seep through on rice paper, and it is really hard to imagine that you have achieved a clever and significant transformation between the two.
Wang: Later I used calligraphy as a major method and means of connecting compositions.
Liu: You are further cross-border, the ancients have long stepped into calligraphy, you further stepped on the Han portrait stone, this is from you, so you study the Han portrait stone, you have a spirit of research, this spirit is Mr. Li Keyan's "pressing nail" spirit, I pressed the pushpin to the wall, reached in, grasped this one point pressure, this "nail" spirit may give us some inspiration. The understanding of Chinese ink figure painting, the understanding of literati painting is not limited to pen and ink, limited to brushes, not only limited to calligraphy, not only limited to seal carving, but also to open up another new world, this world is cross-border, so Chinese painting is always cross-border, is a comprehensive art, poetry, calligraphy and painting are so, martial arts, Chinese medicine, dance are all here, you put the Han portrait stone into it, it is a meritorious achievement, it should be said that it is very unique. You have opened up an aesthetic field, a new pen and ink miracle!
Wang: I'm going to write "My New Chinese Painting Theory" or "My New Han Painting with Me."
Liu: Listening to you say that you have to write your new Sinicization theory, all those who are successful must first establish a career, and then make a statement, which is very good. Already have a writing outline? Can you reveal a little bit and let's get a sneak peek?
Wang: First of all, my new Chinese painting is originality. The new Chinese painting should be said to be unprecedented and the latter. Future generations may be inspired by my learning and generate new creations. And the life of art lies precisely in innovation. Therefore, it is possible to obtain wholesale patent rights at the State Intellectual Property Office. He became the first person to obtain the invention patent right of the State Intellectual Property Office with the innovation of Chinese painting techniques since the founding of the People's Republic of China.
Liu: Pan Tianshou said: "Difference is art, difference is unique, unique, unique." Your new Chinese painting is definitely original, which is a very valuable artistic quality.
Wang: The second is to summarize the ins and outs of the new Chinese paintings, at least four sources; 1. Academic, I graduated from the Chinese Painting Department of the People's Liberation Army Academy of Arts, and received strict theoretical, styling, pen and ink training, laying a solid foundation for the innovation of new Chinese painting; 2. Classicism: Classical refers to absorbing the essence of Han Dynasty portrait stone carving, folk paper-cutting, shadow puppetry, Tang Sancai and other sister arts, converting the stone carving form of Han portraits into the ink form of New Han painting, and opening up a new field of boneless painting method of Chinese painting; 3. Composition of Western classical art and modernism. From Western sketching, color to modern form composition melted into my new Chinese paintings, the key is a "hua" character rather than a figure seeking appearance. For sketching, I not only studied Western sketching, but also studied how to paint Chinese painting sketches that serve Chinese brush and ink, and put forward the four elements of Chinese painting sketching with line as the mainstay, clear structure, combination of lines and surfaces, and shaping the shape, which I have been teaching in the advanced training class of Tsinghua University for more than ten years, and have walked in the forefront of sketch teaching in major colleges and universities.
Combining this theory with Chinese brush and ink will make it clear where the line is going and where the ink is falling, which is very operable and benefits my students a lot. Over the years, my freehand paintings of donkeys, horses, cattle, sheep and tigers have been painted with this theory, which has made a breakthrough development for predecessors; 4. The quality of literati paintings. For a long time, I have always adhered to the practice line of literati painting poetry, books, paintings, and printing at the same time, so as to improve the artistic quality, taste and character of my new Chinese painting. From Liang Kai's "Splashing Ink Immortal Figure" of the Southern Song Dynasty, to the Boneless Painting Method of Bada Shanren, Xu Zhi and Zhang Daqian, to absorb nutrition. My new Chinese painting method without bones comes from both tradition and new technical breakthroughs. If I talk about the innovation of new Chinese painting, I am a school of self-creation, but I am conservative about adhering to the humanistic quality of literati painting.
Liu: You are a model of integrity and innovation in the new era, which is very important. You can fully absorb ancient and modern Chinese and foreign art, and you have analysis and criticism, which is rare among today's painters. For the Chinese tradition, we can regard comprehensive cultivation as a whole, that is, the holistic view of Chinese brush and ink.
Wang: The third is to keep the integrity and innovation, I advocate the comprehensive inheritance of tradition, from the East to the West, from the classical to the modern, from the Han and Tang Dynasties to the Ming and Qing Dynasty literati paintings. We need all-round and in-depth research and inheritance, which is the main feature of art presented in a new era, and only in this way can we do a good job in innovation. The heavens do not fail me, I do not live up to the heavens.
Liu: From Chinese painting to new Chinese painting, you are a modern expression of Han Dynasty culture, and you are a visionary artist. I see that your poetry and calligraphy, including the animals and animals you paint, donkeys, horses, cattle, and sheep, are so comprehensive, and the relationship between realism and freehand is handled so well, you are one of the few people in the new period who has a comprehensive understanding of tradition, and basically realized the transformation of academic painters into literati paintings, which is also rare in contemporary times.
Wang: I pay more attention to reality and the current situation of the art world, which is the fourth point. In the face of the current fall of the freehand spirit of Chinese painting, the rampant ugly books and jianghu qi, and the misguided way of directly painting Chinese painting into gouache, oil painting, and scorched ink woodcuts, I have a sober view. At present, the most important direction of Chinese painting is to carry forward the spirit of freehand, which is the call of the times, and an upright artist should adhere to the artistic conscience, carry forward positive energy, and send out positive energy.
Liu: You are a military artist in the army, and you should be an example of adhering to the correct orientation. As a very accomplished artist, he not only firmly walks in the front in the direction, but also walks in the front in artistic thinking and artistic accomplishment, which is worth learning.
Wang: Teacher Liu, you are too famous. I feel that there is no end to learning. To live to learn from old age, to prolong the artistic pull. I have been practicing art for sixty years, making up calligraphy and poetry for forty or fifty years, and this year I will produce a box of three poems, books, and paintings of the Big Red Robe, which is also a summary of my sixty years of art.
Liu: I wish you success!
Wang: I'm 70 years old this year, and I'm ready to finish this before I turn seventy-five, and I'm going to reach a critical point.
Liu: You can allocate time, what time to paint, what time to write a book. Chinese artists also have a characteristic, if they want to take the path of scholar-type art, they need comprehensive academic cultivation. At that time, Lu Yushao proposed four points of reading, three points of writing, three points of painting, four points of three three, Pan Tianshou came to a three three three, three points of reading, three points of writing, three points of painting, how do you decide now?
Wang: I want to divide it into stages, and in the previous stage, I put forward the concept that contemporary Chinese painters should make up lessons, and most painters may first make up calligraphy. What is missing makes up for what is my mantra. I wrote Xiao Cuan, "Cuan Long Yan Stele", Zhang Cao, then the Second King, then Zhong Xuan, Huai Su, Sun Guoting, then the current Yu Youren. Han Li wrote "Zhang Qianbei". At one stage I even proposed to spend four minutes of time painting and six minutes of time writing calligraphy. I have a theory of governance called eating more than one meal, not only eating one meal, only in this way can we widely absorb the nutrition of various families and synthesize and create art. It seems that learning calligraphy is also the same law to form its own style.
Liu: Your ratio is even higher than theirs, four or six points. Four-point drawing and six-point writing, you can see your efforts in calligraphy. Therefore, to say that you are pushing out the old and the new, turning the old into the new, and taking the past as the present, is a kind of re-digestion of the traditional culture of the Chinese nation. Your new Chinese painting is based on traditional brush and ink, with kung fu. You use the change of thickness and wetness and the ink very well, which is a very important creation for you. Convert the ink into ink gas, into broken ink and ink punching.
Wang: There are also some subtle changes in pen and ink, which can also show that what we usually say is to carry the Tao by painting, and it can carry the Tao. For example, mystery, then mystery is precisely the state of Lao Tzu's description of the Tao, when Tai Chi was first born, "Trance, there are elephants; Trance, there is something in it; There is a fine in it. Its essence is very true, and there is faith in it. "The state of the Tao is here, he is wonderful here, trance, seemingly there is but not, seemingly nothing but there is, this state, manifested, this can be said to be in the painting of the Tao, it is not a mysterious proposition. For example, from my paintings, you can see an "empty" word, see a "Qing" word, see a "positive" word, Zhengda weather, ethereal and transparent, these inks are transparent! Penetrating the square void is also the highest realm respected in Buddhist culture, this great atmosphere of Confucianism, the qing qi that Lao Tzu respects, you have qing qi and you are close to immortal qi. Therefore, this is the philosophical realm advocated by literati painting, saying that you are ever-changing, or do not depart from its sect, this sect is the quality of literati painting.
Liu: It is very interesting for you to use Lao Tzu's Tao Te Ching to understand literati painting, which is a study angle.
Wang: He's not an empty phrase, we say that it's a reality to make up for the culture class, but we don't have the time to read a lot of books, so we all do it, right? It is really necessary to read Lao Tzu thoroughly, the Tao Te Ching, and the Analects, which are compulsory courses and read them repeatedly. For example, Liu Xun's "Wenxin Carved Dragon", "Leaving the Troubles" I also read intensively, there are also many words that I do not recognize, the marks are also dense, this reading, this make-up class must be made up. Then from my own, from my alumni, peers, or slightly above and slightly below the level of painters of this age, all those who seriously make up lessons, who have made great efforts in calligraphy, who have made great efforts in literature, his artistic pull is strong, he can be pulled to sixty years old, sixty years old to seventy years old, I am not modest to say that I am constantly strengthening my own artistic pull, this pull is to be pulled, can not say that the elastic belt is broken, can not move, then no, I still have to strive for seventy years old to eighty years old, eighty years old to ninety years old, Qi Baishi was pulled until he was ninety-three years old.
Liu: Chinese painting has the law of late formation of large instruments, and this law should be very precious to it. "Humanistic initiation, Lingtong Taiji, Pangu Kaitian, sun and moon stacked on the wall, hanging heavenly signs, mountains and rivers Huanqi, dragon and phoenix algae painting, tiger and leopard condensation posture." This four-character poem is very learned, and it is a small passage in the first chapter of your "Praise for Ancient Chinese Paintings". It can be described as a peeping leopard in the tube. Here I would like to discuss the issue of your personality, the tiger and leopard, the strong personality and the tenacity of the will unified in your art. The cultivation of comprehensive cultivation is very important, how much you can make up can produce as much height, the amount you make up is directly proportional to the height of your art, so in the end it is to paint personality and paint cultivation.
Wang: Mr. He Jiaying said to me: "Your pen and ink kung fu control ability is too strong, how can this ink run just right?" How do you get to the contour line and stop?" I explained that I had set up an innings for it in advance, a paper-cut innings, so that it was changing and colliding and seeping in such an innings. That is to say, the combination of control and non-control, nature and manpower, then this ink has been infiltrated until the painting is dry and will not move. Before it dried, it was moving, it was all seeping, you rushed me, I rushed you, and the original contour line and structural line were diluted. It turned out that I had drawn heavier than this, but it was blurred after being punched. Some experts of these phenomena have proposed that there is a process of "kiln change", and the pen and ink effect of Xuanzhi and Xuan is achieved through "kiln change". Here I want to talk about a problem is that we Chinese painters should study the five natures of paper, brush, water, ink, and heart, and the heart is the dominant.
Liu: This is the change in the effect of your use of water. After grasping these points, you activated the Original Han Portrait Stone on the stone and activated the ancient Han painting. Ancient themes are all the subject matter of Han portrait stones, so in the contemporary period of new historical painting, how do you use the nutrition of Han portrait stones? How is it combined with sketching?
Wang: After I studied Western sketching, I studied Chinese painting sketching, that is, how to draw sketches that serve Chinese brush and ink? I taught at Tsinghua University, and my first class was Chinese Painting and Sketching. I put forward four elements, "line-based, clear structure, line-surface combination, shaping the shape", which is a Chinese painting sketch that goes straight to the body structure, which pays attention to the blank use of white and black and rich changes in pen and ink color, and excludes all interferences of light and shadow.
Liu: This permeates your personality, in fact, you have a lot of places to give up, you combine the structural lines and surfaces, and then shape the body, the sense of concave and convex is strengthened, and the strength is strengthened. You also solved a technical problem, that is, the ink can run, so how do you shape?
Wang: This is very simple, but sometimes I can't think of it, so it's easy to think of it, I was at the best time for the ink to run, I asked to fix it, don't run anymore, I suddenly remembered the hair dryer, a blow immediately fixed, and then the next layer.
Liu: You are the unity of the strength of physical consciousness and structural consciousness, the strength of the spirit, this is a unity. At the same time, you break the 20th-century mindset of combining Western drawing with Chinese brush and ink. Your pen and ink are transparent, serene, and layered. Is your emphasis on pen and ink and calligraphy related to the enlightenment teacher? Or do you know it yourself? Or did you realize it after you arrived in Beijing?
King: There is a person I want to bring up to you, and I have a relationship with him, Mr. He Haixia. Mr. He Haixia came to our class to give a lecture, he said that the pen and ink should be used up in one stroke, and after the pen is used up, it will come out from thick ink, wet ink, light ink, dry ink, and burnt ink. At that time, many people could not understand it, and they may not remember that many people repeatedly rubbed the pen for the effect of dry ink and burnt ink, which knew that it was most natural to use up a stroke. Mr. He Haixia's few words broke me and affected my lifelong use of pen and ink. Ink is divided into five colors, do not adjust the ink casually after a stroke is used, do not adjust the ink so flat, it is enough to shoot twice. Mr. He Haixia, who talks about traditional skills, belongs to the better people. He came from Shitao.
Liu: He has more shitao stuff. The Eight Greats are pure ink things, simple elegance. There is also Xu Wei, and your ink has xu Wei's influence in it. The camel you paint, the horse you paint, there is some spirit of Xu Wei's pen and ink, chaotic but not chaotic, the level of pen and ink is very subtle, black and white ash can distinguish between black in black, bright in light, gray in gray, ink ten colors can be done. "Doraemon Solasi" is all there. At the same time, you have mastered the ink punching, how to have a degree in the process of punching, and you have a very good grasp of this degree! Coupled with the fact that your poetry and calligraphy have improved the taste of your original new Chinese paintings, it can be said that the pen and ink spirit of ming and qing literati painting has been continued here, becoming one of the very few people who bear the fire.
WANG: Thank you for your compliment. My new Chinese painting, Fengrun Huazi is easy to do, but that kind of large piece of black and white ash dry and wet strong extrusion and contrast, in the process of ink punching and coloring will definitely be diluted, that kind of dry crack autumn wind is there but not very strong, this is precisely the aesthetic realm of moderation. Because after jiao mo rushed in, it could only be reduced to 80% after it dried. The blackest thing in my painting is in the ah guan, in the finishing touch, that is, the blackest, the most scorched is at this point. Splashing ink like water and saving ink like gold these two painting methods, it should be said that I am like gold. I compare the art form to a small quilt, covered with head exposed feet, covered with feet exposed, always can not be perfect, the key is to exaggerate its tendency, Wu Changshuo is thick and heavy and bright is insufficient, Qi Baishi is bright and thick, one of them is "ink accumulation method", one is "one stroke painting", different effects of painting methods are different, his advantages are also his shortcomings, his shortcomings are also his advantages, this tendency is the art style.
Liu: Your explanation and handling are very good, more bold and precise and dialectical. In particular, it is not easy to combine the sense of modeling and the consciousness of pen and ink, after watching "Flying to Seize the Luding Bridge", I was very moved, the shape is so vivid and profound, the power of the details deepens the performance of the theme and spirit, and the pen and ink are so alive, which is rare and the pen and ink in the historical painting are highly consistent, and it is a kind of strength. According to your positive and enterprising personality, there will definitely be new heights after the age of eighty or ninety, because the highest state of art is still between the law and the inability to do so. This is the historical mission entrusted to you by the times.
Wang: Thank you Teacher Liu for your expectations. As the saying goes: live to be old, learn to be old, but also study to be old, but also to further improve themselves, improve themselves, art is endless. I once had a saying called, "The heavens do not fail me, I do not live up to the heavens." Thank you!
March 9, 2022
Timeline of Wang Kuohai's artistic activities
In 1985, he studied oil painting at Shandong Academy of Arts
In 1987, he was admitted to the Chinese Painting Department of the People's Liberation Army Academy of Arts, and received personal guidance from famous art teachers such as He Haixia, Huang Yin, and Liu Dawei
In 1989, the Chinese painting "Sun, Moon and Stars" was selected for the 7th National Art Exhibition
In 1990, he donated a huge eagle painting "Nine Xiongtu" to the Asian Games, which caused strong repercussions, and CCTV, People's Daily, and China Youth Daily successively reported on it
In 1991, he held the "Old District Style Painting Exhibition" with his fellow painters.
In 1992, the Chinese painting "Zhengrong Years" participated in the national art exhibition
In 1994, the Chinese painting "Earth Gun and Soil Cannon" won the Excellent Work Award of the Eighth National Art Exhibition
In 1996, the "Wang Kuohai Chinese Painting Exhibition" was successfully held at the National Art Museum of China.
In 1997, the Chinese painting "You Chun Tu" was auctioned for 24,500 yuan at Guardian Auction House on 6 feet of paper. The People's Fine Arts Publishing House published the "Collection of Paintings of Wang Kuohaiguo". The Chinese painting "Liangshan Tozi" won the silver medal of the 1997 World Chinese Painting and Calligraphy Grand Prix. The Chinese painting "The Soul of Excalibur" won the August 1st New Work Award of the whole army. Held "Wang Kuohai Chinese Painting Exhibition" at Shandong Art Museum
In 1998, he held the "Wang Kuohai Chinese Painting Exhibition" at the Yantai Art Museum in Shandong Province, and was appointed by the China Overseas Chinese Literary Artists Association as the president of the Chinese Painting Art Research Institute
In 1999, the Chinese painting "Giant" won the bronze medal of the 1999 Chinese poet, calligrapher and painter celebrating the 50th anniversary of the founding of the People's Republic of China and welcoming the return of Macao to the motherland. The Chinese painting "Leaning Heaven and Long Sword" won the National Excellent Work Award to celebrate the 50th anniversary of the founding of the Army, and participated in the "99 Sydney Chinese Painting Art Exhibition" organized by the Ministry of Culture of the State Council to hold the "99 Sydney Chinese Painting Art Exhibition" in Australia, which caused strong repercussions in his new Chinese paintings
In 2000, he was invited to paint the historical war themes of the Chinese Revolutionary Military Museum, "Yue Fei Resisting Gold Map" and "Genghis Khan's Western Expedition" and displayed them permanently, and the New Han painting "Safari Map" was collected by the leaders
In 2001, he cooperated with Wang Tengfei in the Chinese painting "Whole Dress" and won the Excellent Work Award of the National Painting Exhibition. The new Chinese painting "Out of the Hunt" won the silver medal of the "Love Olympic Chinese Calligraphy and Painting Art Exhibition". He led the founding of the "Chinese Painting Art Research Journal" of the Chinese Painting Art Research Institute. Together with his fellow painters, he donated 600,000 yuan to the Yimeng Old District Relief and Education Assistance Foundation
In 2002, the Chinese painting "The Same Road" won the bronze medal of the All-Army Painting Exhibition celebrating the 75th anniversary of the founding of the Army
In 2003, the Chinese painting "Dong Lusheng" participated in the first national Chinese painting exhibition
In 2004, "Wang Kuohai's New Chinese Painting Collection" was published by Shandong Fine Arts Publishing House. The new Chinese painting "Docking", which reflects the theme of the Second Artillery, participated in the 10th National Art Exhibition and was collected by Zhejiang Art Museum. "Wang Kuohai New Chinese Painting Art Academic Seminar" was held at the People's Liberation Army Art Academy, and the joining experts fully affirmed the academic value and artistic style of new Han painting in inheritance and innovation, and unanimously agreed to open up a new road for the development of Chinese painting
In 2005, the Chinese painting "Zhengrong Years" was collected by the National Art Museum of China
In 2006, the "National Touring Exhibition of Wang Kuohai's New Chinese Painting and Ink Painting" was exhibited in Ten major cities such as Tianjin, Macao, Nanjing, Shanghai, Changzhou, Zibo and Beijing. The new Chinese paintings "Carriage and Horse Travel Map" and "You Chun Tu" were selected to visit the United States and France as a national gift.
In 2007, the Chinese painting "Luo Rui Liao General" won the silver medal of the national exhibition "Celebrating the 80th Anniversary of the Founding of the Army".
In 2007, he was rated as one of the top ten influential figures in the field of Chinese painting and calligraphy
In 2008, he was elected as a director of the 7th US Congress of the China Artists Association.
In 2008, he was elected as the executive director of the Chinese Gongbi Painting Society
In 2009, the new Chinese painting "Excalibur Inscription" participated in the 11th National Art Exhibition
In 2011, he was elected as a director of the Chinese Painting Society
In April 2012, he was elected vice chairman of the Calligraphers Association of Central State Organs
In May 2012, Shandong Handa Auction Co., Ltd. "Travel Map", "Four Flat Feet", "Qin Shi Mingyue Han Shi Guan" and Six Flat Feet were sold at auction for 310,000 yuan and 630,000 yuan respectively.
In 2012, he was elected chairman of the Artists Association of Central State Organs
He was elected vice chairman of the Calligraphers Association of central state organs
In 2012, the major revolutionary historical theme of the New Han painting "Flying to Seize Luding Bridge" was collected by the National Art Museum of China in the national exhibition celebrating the 85th anniversary of the founding of the Army.
In 2012, the new Han painting "Stepping on the Snow and Looking for Plums", eight flat feet, calligraphy "Qinyuan Spring Snow" and six feet of whole paper were sold at Shandong Handa Auction Co., Ltd. for 780,000 yuan and 130,000 yuan respectively.
On December 16, 2012, the new Han painting "Driving Qi Ji to Travel" (15 square feet) was sold at auction for 1.8 million yuan at Beijing Qindao Rongde International Auction Co., Ltd.
In January 2014, the China Cultural Industry Association created Wang Kuohai's original new Chinese painting "Tongyou Tu" in two paintings and three calligraphy works.
In 2015, Wang Kuohai's new Han painting "Dance Music Hundred Dramas" (1.1 square feet) was sold at auction for 135,000 yuan in the Beijing Poly Spring Auction.
In April 2015, Wang Kuohai New Han Painting Art Museum was inaugurated at the Rongbaohui Art Museum of Beijing Liulichang, and his new Chinese paintings have been on display for a long time.
In 2016, Chairman Wang Kuohai led the Central State Organs Artists Association to successfully hold the "Fourth Invitation Exhibition of Calligraphy and Paintings of Central State Organs to Commemorate the 80th Anniversary of the Victory of the Long March of the Chinese Workers' and Peasants' Red Army" guided by the Working Committee of State Organs and the Federation of Trade Unions.
In 2017, Chairman Wang Kuohai led the Central State Organs Artists Association to successfully hold the "Invitation Exhibition of Calligraphy and Paintings of Cadres and Workers of Central State Organs to Commemorate the 90th Anniversary of the Founding of the Army" guided by the Working Committee of State Organs and the Federation of Trade Unions.
On November 10, 2017, the new Han painting "NongYu Ying Feng Tu" (1.5 square feet) was sold for 149,500 yuan at the 39th fine auction of Beijing Poly.
In September 2017, Wang Kuohai's calligraphy works (Haiyue Yanxia Kai Splendid Embroidery, Jiangcheng Hua Liuhuan article) were sold at auction for 23,600 yuan in the Rongbaozhai online micro-auction.
On December 9, 2017, the launching ceremony of "Art Education into Poor Rural Charity Walks" jointly sponsored by the National Characteristic Industry Culture and Art Alliance, Beijing ZhizhiYirong Cultural Development Company, and Sichuan Zhongfu Charity Foundation. Sale. At the donation event, the "Donkey Picture" (four feet whole sheet) was auctioned for 188,000 yuan.
On March 27, 2018, Mr. Wang Kuohai's original ink painting technique of New Chinese painting was awarded the National Invention Patent Certificate issued by the State Intellectual Property Office of the People's Republic of China and obtained the national patent right.
On March 18, 2019, Wang Kuohai New Chinese Painting Art Museum was officially opened and held an unveiling ceremony at the Han Painting Museum in Tengzhou City, Shandong Province.
In April 2019, Mr. Wang Kuohai led the Chinese High-end Artists Cultural and Art Exchange Group to visit the United States for academic exchanges, and lectured on the academic significance and innovative value of Chinese New Chinese Painting Ink Art in both inheritance and innovation at Harvard University, and his new Chinese painting works were exhibited in high-end galleries in New York. It has aroused strong repercussions in american academia and upper class.
On August 8, 2019, the welcome dinner of the world leaders visiting China was held in Beijing.
On December 21, 2019, Zhenguan International Auction Group Co., Ltd., "Belt and Road Art Into Dubai Auction", auctioned an 8-square-foot New Han painting ink painting "Safari Map" by Mr. Wang Kuohai, the founder of Xinhan Painting Ink Art, for 1.29 million dirhams. (1 dirham is equivalent to 1,89 yuan, or 2,430,000 yuan or 80,000 yuan). A new Han painting fever that promotes the traditional culture of the Chinese nation and Han culture is rising in the international community.
In 2020, the sketch of "Anti-epidemic Aid to Wuhan" was selected to be published in today's headlines, Sohu News, Jianshu, Phoenix News, Baidu News and other major mainstream media, which caused great concern and strong repercussions in the society.
On June 28, 2020, Mr. Wang Kuohai's New Han Painting 8 Flat Feet (Vertical Frame) and "Four Gu Tu on the Top" were sold at Beijing Dongxing Hanhai International Auction Co., Ltd., and the spring art auction was sold for 2.8 million yuan. On the same day, the four screens "Plum, Orchid, Bamboo and Chrysanthemum" (138×69cm per screen×4) were auctioned for 3.68 million yuan, each of which amounted to 920,000 yuan.
On the same day, the four-foot whole paper "Donkey Map" was sold at auction for 1.495 million yuan. The traditional pen and ink characters "Chang'an Waterside" and "Huaigu" were auctioned for 800,000 yuan respectively.
On the same day, the cursive books "Ai Lian Said" and "Burrow Ming" were auctioned for 160,000 yuan respectively. The cursive books "Qinyuan Spring Snow" and "Nian Nu Jiao Chibi Huaigu" were auctioned for 200,000 yuan and 300,000 yuan respectively.
On the same day, Mr. Wang Kuohai's four-character banner calligraphy (138×34cm), "The Wind and Chang", "Harmony is Precious", "Hai Na Bai Chuan" and "Guan Hai Tingtao" were auctioned for 138,000 yuan and 115,000 yuan respectively.
On September 28, 2020, Mr. Wang Kuohai's new Chinese paintings "Hunting Map" (138×69cm) and "Tang Yun Faience Pottery" (69×69cm) were sold for 4.6 million yuan and 3.45 million yuan respectively in the autumn art auction of Dongxing Hanhai International Auction Co., Ltd.
On the same day, Mr. Wang Kuohai's new Chinese landscape paintings (1 and 5 square feet), "Jielu in the Human Realm" and "After the Empty Mountain and New Rain" were auctioned for 230,000 yuan and 253,000 yuan respectively.
On the same day, Mr. Wang Kuohai's horse map (1 and 5 square feet), "Shivachi of Zhaoling Liujun" and "Teller of Zhaoling Liujun", were auctioned for 253,000 yuan and 299,000 yuan respectively.
On August 12, 2021, Mr. Wang Kuohai participated in the charity donation activity organized by Xiamen Buerxuan to sponsor the charity auction of calligraphy and painting in the flood-stricken area of Zhengzhou, Henan Province, and donated all the RMB 127589 yuan auctioned to the Zhengzhou disaster area.