Artist Profile
Zhang Tong (1917-2010), known as Ta Shan, was born in Liaoning. Famous Chinese painters, cartoonists, muralists, calligraphers, arts and crafts artists, art educators, and art theorists in contemporary China. In 1932, he entered the Chinese Painting Department of Beiping Fine Arts College, and in 1938, he went to Yan'an to teach at the Lu Xun Art Institute, and later served as the chairman of the Shaanxi-Gansu-Ningxia Border Region Artists Association. In 1949, he designed the emblem of the National Committee of the Chinese People's Political Consultative Conference and the commemorative stamps of the First National Committee of the Chinese People's Political Consultative Conference, was responsible for and participated in the art design work of the founding ceremony and the National People's Congress, designed and transformed Huairen Hall and the Hall of Diligence, and designed the venue of the Tiananmen Square Conference and the first batch of commemorative stamps of New China. In 1950, he became the director and professor of the Department of Applied Fine Arts of the Central Academy of Fine Arts, and led the national emblem design team of the Central Academy of Fine Arts to participate in the design of the national emblem. In 1955, he participated in the preparatory work of the Central Academy of Arts and Crafts, and in 1957, he was transferred to the Central Academy of Arts and Crafts as the first vice president, and in 1981, he was appointed as the president of the Central Academy of Arts and Crafts, and then left. In 1999, the Central Academy of Arts and Crafts was merged into Tsinghua University and renamed tsinghua University School of Fine Arts, serving as a doctoral supervisor in the first studio of the Department of Fine Arts. He once served as a member of the China Federation of Literary and Art Circles, a standing director of the China Artists Association, a chairman of the National Mural Work Committee of the China Artists Association, a vice chairman of the China Arts and Crafts Artists Association, a member of the Academic Council of the Chinese Painting Research Institute, the president of the Huang Binhong Research Association, and an advisor to the "1949-1989 Chinese Art Yearbook".
Masculinity
"Son of the Mountain - Painter Zhang Tong" testimonial
Mr. Zhang Tong's paintings, his scorched ink landscapes are qualitatively superior, solid and rich in rhyme, and the pen always reveals a tenacious masculine atmosphere. In this day and age, it is even more precious.
For decades, in the period of refreshment, these characteristics have been strongly reflected. In the comics of the 30s, whether it is the shape, ink or composition, the strength of the spirit is fully revealed. The same is true of the highly decorative works of the 1960s, which were clearly influenced by modernism. Whenever Mr. Li was radiant, his spiritual temperament had a special performance, becoming the loudest voice in the art world at that time, leading the way.
▲Spring Snow in the North Sea
Mr. Zhang's Jiaomo era is the period with the longest duration, the largest scale, the deepest accumulation and the greatest achievements. As if there is divine help, starting from the 60s, Mr. suffered severe pain and serious injuries in the spiritual aspect, like purgatory, for his choice of Jiao Mo, gave a full spiritual preparation, to the 70s to return to the painting world, when, with Mr. Temperament, only high, good at thinking quality, wide knowledge, do not give themselves a problem, do not raise a high standard, do not make a bland choice is impossible! Contemporaries, such as Mr. Li Keyan, know Mr. Li's potential the most, and when he talked about "Fangshan Shidu Jiaomo Sketching" in 1977 and the title, he must have high expectations. He must have been full of joy, saying in his heart that "it is the right time", as if it were a declaration, a unique path, a forward move, and the scale and spirit have jumped on the paper. Mr. Zhang's heroic ideals can now be carried out. At this time, Zhang Tong was already full of white hair. Twenty years back from now, reading this album of "Children of the Mountain - Painter Zhang Tong", the curriculum he arranged for himself is simply another complete life journey. Mr. Zhang's late wife, Ms. Chen Buwen, wrote for "Fangshan Shidu Jiaomo Sketch", which is very touching to read. You can see how well they know each other. In the following twenty years, the wife who had been in love with Mr. Zhang and gave Mr. Zhang a deep emotional and spiritual support, the poet Gray Baby, was incomparably important to Mr. Jiao mo's era. The intersection of sorrow and joy in between them is stirred back and forth, and has a profound repercussion in jiaomo.
▲"Li River Smoke and Rain"
The great weather is a common feature of many of Mr. Zhang's jiaomo works. Not only painting Taihang, Kunlun, and Taiyue, some of them are majestic and majestic, and some of them paint their vastness. And "Ode to Kunlun" is like a magnificent and fierce symphonic poem, such a grand masterpiece is unprecedented, and a "Giant Wood Praise" is almost like a "divine comedy" that praises the immortality of the soul.
There are almost no people in Mr. Zhang's landscape, but there is affection in the paintings. Mr. Zhang knows people, knows the world, deeply loves the natural landscapes and waters, a grass and a tree endless vitality, I think, but also I am deeply moved, in Mr. Zhang landscape there is a deep sense of awe for the heavens and the earth, the whole natural world is full of deep awe, a sense of awe, a sense of awe. This is precisely the spiritual trust of the foundation of the Chinese national culture. This is our common religion, this is not a religious religion, this is a belief.
▲Wuxi Huishan
In today's society, it is this spirit that we want to cry out, it is this kind of reverence, it is our culture that continues, the life is endless, and the creativity is endless. Tianxingjian is not an empty word, only has righteousness, is not burdened by the arrogance and superficiality of the times, and concentrates on making it alone. My name is masculinity, which is the foundation of Mr. Zhang's art.
For this, we will all be grateful to Mr. Zhang Tong.
Jiao Mo Shanshui is the strongest voice that Mr. Zhang has always called out the spirit of national culture, and is an important stroke in the history of Chinese art towards the 21st century.
Author/Yuan Yunsheng Originally published in "Zhang Tong Studio, Jiao Mo Landscape"
Appreciation of works
▲ "Huai Bing" 68.5x67.5cm
▲ "Lamei News" 137.5x34.5cm
▲ "Yang Guan Singing Thoroughly" 138.5x34.5cm
▲ "Clear Qi, Clear Heavenly High" 35.2x138.5cmx2
▲ "Elephant Invisible, Subtle Mysterious" 59.3X133cm