Kang Mingyi
Kang Mingyi, born in 1971, settled in Xiamen, studied at the Central Academy of Fine Arts and Tsinghua University. He is now a national first-class artist, a special artist of the State Council, the vice president of the China Academy of National Art, the deputy secretary-general of the Chinese Academy of Chinese Painting, the vice president of the China Ink Calligraphy and Painting Institute of the Ministry of Culture, the member of the Calligraphy and Painting Committee of the China Intangible Cultural Heritage Protection Alliance, the member of the New Literary and Art Group Committee of the Chinese Calligraphy and Painting Association, the vice president of the Chinese National Art People's Calligraphy and Painting Institute, the visiting professor of the Oxford Art Academy, the visiting professor of the Royal Canadian Academy of Arts, the visiting professor of the Central Academy of Fine Arts, and the visiting professor of the School of Fine Arts of Beijing Nationalities University. Visiting Professor of School of Fine Arts of Jimei University, Visiting Professor of Xiamen Chengyi College, Visiting Professor of Xiamen Xingcai College, Tutor of the Third Studio of China Art Advanced Research Class, Ambassador of Calligraphy and Painting art for the "Fire and Fire Chinese" Public Welfare Exhibition of the Ministry of Culture, SpecialLy Appointed Painter of the Wenhua Pavilion Calligraphy and Painting Institute of the Federation of Returned Overseas Chinese of the Ministry of Culture, Vice President of the Qingmei Art Creation Research Association and Director of the Chinese Painting Art Committee, National Calligraphy and Painting Appraisal Appraiser, Senior Consultant of the Straits Film and Television Art Certification Center of the Ministry of Education, Member of the Chinese Collectors Association, Royal Painter of Thailand, Contracted painter of Ink Danqing Column of China Education Television, Vice President of Kang's (Beijing) Calligraphy and Painting Institute, Art Consultant of Sino-US Entrepreneur Summit, Art General Consultant of Oil Painting Collection Committee of Fujian Collectors Association, Art Consultant of Xiamen Happiness Charity Association, Art Consultant of Minnan Cultural Research Association of Xiang'an District, Xiamen City, Vice President of Kang's (Putian City) Committee, Vice President of Xiamen Taiji Culture Promotion Association, Cultural and Art Director of Silk Road International Joint Organization, Honorary President of Quanzhou Zhongyuan Cultural Promotion Association, The first batch of artistic talents of the Art Talent Center of the Ministry of Culture, the first painter of the Xiamen Municipal People's Congress Calligraphy and Painting Institute, the member of the CPPCC Committee of Haicang District of Xiamen City, and the consultant of the Artists Association of Haicang District of Xiamen City.
Major Achievements: He has been awarded "Sino-French Cultural and Art Exchange Envoy", "Sino-Thai Culture and Art", "China-Korea Cultural Exchange Envoy", "Chinese Cultural and Art Celebrity", "Artist with the Most Social Responsibility", "Artist of Virtue and Art", "Leading Figure of Chinese Contemporary Calligraphy and Painting Art", "Patriotic Public Welfare Figure of Transmitting Positive Energy", "Outstanding Literary and Art Worker of China in 2017", and "Advanced Individual of Lei Feng Spirit in China".
Indulgent Brushwork Without Fear of Vulgar Dust - Kang Mingyi's paintings
The expression of writing is an innate understanding of Chinese the writing body of the pen in the plane, and this feeling of gesture is actually reflected in the works of many Chinese artists. When Kang Mingyi uses the pen, he pays attention to the method of wrinkles, conforming to the texture of the object and the rhythm of the picture. He often talks to readers about the vivid rhyme in the layout of the picture, which involves the structural problems of the picture. For example, when he paints the ups and downs of the mountain, the reader seems to be shaping with a large pen, but in fact, the appearance of a certain point and surface needs to be repeatedly pondered, and each stroke must be pinched accurately and pinched. In some places, the brush is loose in some places, and in some places, the pen is tight, forming a dense relationship. It can also be said that when the picture is expressed to a pole, the breath will become very small, and there can be no big panting, on the contrary, some places can stretch them out and pull them apart, forming the overall breath rhythm of the picture. This is the concentration of Chinese painting.
Pin Kang Mingyi's landscape paintings can feel the creation of the mind. As the saying goes, contemplation is self-reliant, and in contemplation, the mountains and waters in nature are sublimated into a realm with a line, a space, and a brushwork. His landscape paintings are full of composition, highlighting the blankness, counting white as black, and virtual and real. The title of his landscape paintings is poetic, which often depends on the fact that he often experiences the artistic conception and interest in the poem in his creation, and then transforms it into the picture through pen and ink, there is a painting in the poem, there is a poem in the painting, in fact, the painting gives the poem a specific image, and the poem conveys the artistic conception outside the painting. Sometimes it is the whole poem, sometimes it is just a sentence in the poem, or two words, and there may be a desire to draw it. Poets use verses depicting nature to express their ideals and living conditions, while Kang Mingyi uses pictures to achieve them.
Kang Mingyi's oil painting is biased towards graffiti expression, he uses body, surface, light and shade to distinguish the way of clumps, so that the color expression is more free, while the edges are appropriately blurred, highlighting the "gesture" in the expression of high points and highlights. The reader can taste the vivid and active rhythm of the brush from the painting, which is not limited to the outer outline of the object, but the inner contour of the expression of the chiaroscuro junction line and the decent relationship. Kang Mingyi pays attention to the sketch structure, emphasizes the importance of modeling, and is committed to solving the problem of the volume sense of sketching, his oil painting is thin but not greasy, has a sense of layering, and the ability to shape and control the overall picture is particularly prominent.
Kang Mingyi is very concerned about the presence and sense of scene of oil painting creation. He believes that the sense of presence is a spiritual attitude that painting needs, something to stick to. The so-called presence includes how to make the scene perception get an effective play, which is where the realistic oil painting language has charm. Therefore, in the "everyday" sketching process of experiencing the scene of the object, from the various relationship gestures to appear one by one, the writing and color of the painting will naturally form a related meaning in the creation, so the temporality of the painting process and the judgment of form and form are superimposed, the presence context has emerged, Confucius said "sacrifice as in, sacrifice as God is like God" is this truth.
Kang Mingyi believes: "Different seasons, different moods, different experiences under the same scenery are not the same way of expression, and the same season, the same mood, the same experience to see different scenery, its expression is also very different." The painter is allegorical to the scene, devotes himself to the landscape with the scenery into the landscape, and is happy to jump on the top of the landscape and will reach the fusion of the scene, so that the painting, the love and the scenery are harmonious and unified, and the time travels in the space. His landscape works themselves go beyond the scope of vision, leaving dynamic imagination in static scenes, breaking through the limitations of time and space on paintings, and even breaking through the limitations of time and space on the author's vision and creation. The use of limited creative techniques and forms of expression creates a fixed view that flows in time and leaves space for the viewer, which is a combination of realism and freehand, fullness and white space, which promotes its unique aesthetic style.