Chen Anjian was born in Chongqing in 1959. In 1982, he graduated from the 77th Grade Oil Painting Department of Sichuan Academy of Fine Arts with a Bachelor of Arts. He is currently a professor at the Sichuan Academy of Fine Arts, a member of the China Artists Association, and a member of the First Oil Painting Art Committee of the Chongqing Fine Arts Association.
Solo exhibitions
In 2019, he witnessed the Traffic Tea House - Chen Anjian's solo works exhibition ji, an art communication agency, Chengdu.
In 2011, Chen Anjian's "Tea House Series" oil painting exhibition of "Tea House Series" was exhibited by art communication agency, Chengdu.
Exhibition
2021 "TeaHouse Series - Big Brother", Light of the Times - The Fifth Chinese Oil Painting Exhibition, Chongqing Art Museum, Chongqing.
2020 "Teahouse Series - Douyin", The Truth of Painting - 2020 Second Chongqing Oil Painting Biennale, Chongqing Art Museum, Chongqing.
2019 "Tea House Series - Joy and Peace", the 13th National Fine Arts Exhibition Oil Painting Exhibition into Beijing Works Exhibition, National Art Museum of China, Beijing.
2014 "Tea House Series - Shuai", the 12th National Fine Arts Exhibition, Nomination Award, National Art Museum of China, Beijing.
2012 "Tea House Series - New Tea", the first China Artists Association member oil painting prints exhibition, Merrill Lynch Art Museum, Guangzhou.
2004 "Tea House" Series, The 10th National Fine Arts Exhibition, Excellent Works Award, National Art Museum of China, Beijing.
2000 "Tea House" Series, "Research and Beyond" Chinese Small Oil Painting Exhibition, National Art Museum of China, Beijing.
There is a salt and a smell, and there is a secular picture of temperature
A Chen Anjian and his "Teahouse Series<文林>"
Mr. Chen Danqing wrote in the article "Place and Painter": "Hometown is not equal to art. "I think it should also be added that artists cannot do without the homeland of the soul. This is true of Vermeer and Hoberma in the Netherlands, as well as the Lingnan painters in China. The famous American novelist William Faulkner claimed that he had spent his whole life writing about a postage stamp-sized place in northern Mississippi (that is, the town of Jefferson in the novel), and Shen Congwen in his later years said: "I often lived in the impression that small town used to give me. Of course, Chen Anjian is no exception, and everyone familiar with it knows that in his thick chest there is a smoky and fiery Chongqing city. An Jian brother was born in Huayipo, the oldest real estate development site in the Yuzhong Peninsula, from which the only land artery in old Chongqing, Qixinggang TongyuanMen, can be reached upwards, and down to the No. 1 Bridge Shuishui Liushaba Linjiangmen Wharf. Brother An Jian spent the entire adolescent era in the space of these tens of meters, and unconsciously marked a deep cultural brand for the future artistic hometown.
For the old teahouse that mixed the three religions and nine streams, An Jian Brother's narration is unique, he said that when he opened his eyes when he was a child, his ears were filled with the sound of tea brewing next door, and then he wanted to pee until the sound of water disappeared from his body and the new day began. Like the tea-loving and authentic Chengdu people, sitting in a teahouse is also a part of the life of the old Chongqing people. Before the 1990s, the winding and winding city of Chongqing on the slope, a tea house with the smell of soot, scattered between the low and ugly alleys and the stilt buildings along the river, on the tiger stoves, most of them had two or three long-billed kettles made of foreign iron, Tuo Camellia tea eagle tea, soaked in rough ceramic cups day after day, listening to all kinds of bland and strange news on the rivers and lakes. People sit around the teahouse in spring, autumn, winter, and summer, blowing shells and playing chess and cards in the mountains, watching martial arts videos, in order to pass a lot of free time. I once listened to a retired employee of the Port Authority surnamed Tang in a tea shop on Jintang Street in Qixinggang talk about old Chongqing, and those vivid and interesting people and events really made me see the reason why a city is immortal.
Unlike many people, Chen Anjian sees sitting in a teahouse as reading a big book. Many years later, when recalling the original creation of the "Tea House Series", he said: My life has never left the tea house, whether it is in Chongqing, Fuling, or the Huangjueping where I work and live now, the tea house has always accompanied me, inspiring, warming and the truth of being a person. This is an indisputable fact, from the many details provided by An Jian Brother's "Tea House Series", we can see the joys and sorrows he revealed, all of which without exception released a touching pyrotechnic gas. The happiness of those who are likely to pass us by is also extremely simple, and it is uninhibited to summarize it in words. This is undoubtedly secular and trivial, and such expressions in the language of painting can only be borne by photorealism.
However, like his classmate Luo Zhongzhong, Brother An did not faithfully defend the rules of photorealism that prevailed in the West in the 1970s, and simply translated photographic information into painting information. Instead, it incorporates a lot of dramatic subjective consciousness, so that the specific scene of "Tea House" presents unprecedented humor and exaggeration, sublimating the meaning and artistic value of simple recording. This is obviously a difficult and meticulous project, which not only requires the artist to have a solid modeling strength, but also emphasizes that the artist must accurately describe the inner world of the character. The German philosopher Schopenhauer said: "The artist conveys to us the wisdom of nature in a way that clarifies and doubles the pure representation." "More than ten years have passed, and Brother An Jian has indeed done this, and he has done it with pure fire." The lineup of the "Tea House Series" that began in 2009 continues to expand, and Chen Anjian said that he does not know what year and month he wants to paint. But one thing is certain, that is, Brother An Jian has used a portrayal similar to dripping water through the stone, evoking the sadness of one generation and showing the unimaginable past for another generation. Yu Hua, a well-known Chinese writer, said: "There is no road in the world that is repetitive, and no life can be replaced." Therefore, we have reason to believe that the "Tea House Series" with rich connotation and imagination actually reflects the warm and simple life of Brother An Jian.
April 2022 in Zhengyang Zhai
"Teahouse Series - Joy and Peace", 193× 155cm oil on canvas 2019
"Teahouse Series - Bubbles", 96× 102cm oil on canvas 2019
"Teahouse Series - Windmills", 81× 67cm oil on canvas, 2017
"Tea House Series - Lao Zhou's Pearl Dream", 41× 31cm oil on canvas, 2017
"Teahouse Series - Flowers and Flowers", 30.3× 44.4cm oil on canvas, 2016
"Teahouse Series - Shuai", 200× 165cm oil on canvas, 2014
"Teahouse Series - Nobel", 206× 166cm oil on canvas, 2014
"TeaHouse Series - Living Immortals", 61.5× 59.5cm oil on canvas, 2014
"Tea House Series - Tea Fragrant Sword Liang", 62.5× 51.5cm oil on canvas, 2014
"Teahouse Series - Warm Water Bottle", 161× 117.5cm oil on canvas, 2013
"Teahouse Series - Little Brothers", 40× 31.5cm oil on canvas, 2013
"Teahouse Series - Bright Day", 40× 29.5cm oil on canvas, 2012
"Teahouse Series - Tian Stick Walking Black Chess", 110× 78cm oil on canvas, 2010
"Teahouse Series - Summer Wind", 100× 72cm oil on canvas, 2008
"Teahouse Series - Go Here", 130× 104cm oil on canvas, 2008
"Tea House Series - White Virgin", 156× 200cm oil on canvas, 2008
"TeaHouse Series - Milk Dog", 30× 40cm oil on canvas, 2007
"Tea House Series - Days in July", 180× 140cm oil on canvas, 2007
"Teahouse Series" 170× 200cm oil on canvas, 2004