Mao Xuefeng, the lord of the Great Desert Hall, is the founder of modern Chinese heavy color landscape painting. A native of Lintao, Gansu, he settled in Beijing in 2005. He graduated from the Fine Arts Department of Xinjiang Academy of Arts in 1989 and graduated from the Chinese Painting Professional Research Class of Beijing Academy of Painting in 1997. He studied at the Central Academy of Fine Arts, the Chinese Painters Painting Academy, the Tsinghua University Research Class, and the Elite Class.
He successively served as the first president of the Xinjiang Autonomous Region Calligraphy and Painting Research Institute and the deputy director of the Organizing Committee of the National Contemporary Landscape Painting Exhibition. He is now a member of the China Democratic Progressive Party and a national first-class artist. President of the Beijing Western China Painting Academy, President of the China Chongcai Landscape Painting Academy, Executive Director of the Central Enlightened Painting Academy of the China Association of the Chinese Association and Honorary President of the Xinjiang Minjin Enlightened Painting Academy, Vice Chairman of the American Chinese Artists Association, Vice President of the Canadian Federation of World Artists, President of the Beijing Damei Calligraphy and Painting Institute, Director of the Beijing Mao Xuefeng Art Museum, President of the Beijing Xiongfeng Science and Technology Culture Research Institute, Vice President of the China Shiqi Art Research Association, And Honorary President of the Confucius Institute of Calligraphy and Painting in China. Visiting or part-time professor of Lanzhou University, Yangzhou University, Japan National Academy of Arts, Hong Kong Academy of Arts, Hong Kong International Academy of Painting, New Delhi University of India, Dingxi Normal College and other universities, vice president and researcher of Xinjiang Dashan Painting Research Institute of Shihezi University, Specially Appointed Painter of Jiangsu Provincial Academy of Chinese Painting, director of the Chinese Ethnic Minority Art Promotion Association of the Ministry of Culture, academic host of the nomination of Chinese innovative artists, honorary president of the Chinese Landscape Painting Research Association.
Twenty years of traveling west to the border, the footprints have covered the north and south of the Tianshan Mountains. He is a maverick devote himself to the exploration and practice of Silk Road landscape painting and the in-depth excavation and expression of the great beauty of the Western Regions, founding the Western Regions Heavy Color Landscape Painting, and is a pioneer and practitioner of the theme of Landscape Painting on the Silk Road in Western China. "Mao Xuefeng's works are a positive attempt and breakthrough in the integration of tradition and modernity, abstraction and figuration, ink and color, and the integration of Chinese and Western art, and have expanded the care surface from the reproduction of 'western style' to the expression of the western spirit, increasing the sense of historical depth." "The magnificence of its realm, the heroism of its meaning, the majesty of its hills and ravines, and the symphony of colors have formed a unique painting landscape and artistic style." (Excerpt from Fine Arts, No. 9, 2003).
Over the years, Mao Xuefeng's landscape paintings have participated in many national art exhibitions, and have been exhibited or awarded in more than 30 countries and regions, and hundreds of works have been published in various mainstream journals across the country and overseas. He has held solo or group exhibitions at the National Art Museum of China, Dunhuang Museum, Ginza, Tokyo Central Art Museum in Japan, Taipei Art Museum, New York International Art Fair in the United States, Marietta University in the United States, louvre in Paris, Dubai, Britain, India, The Repin Academy of Fine Arts in Russia, Canada, Australia, Europe, Southeast Asian countries and all over the country, and has been widely praised for academic exchanges and lectures.
In 2005, China Art Newspaper was nominated for the academic nomination of "The West Wind is Vast, and the Five Northwest Provinces Are Hundreds of Chinese Paintings." In 2007, China Calligraphy and Painting News awarded the "Lifetime Artistic Achievement Award for 50 Famous Painters in the National Calligraphy and Painting Circle". In 2006, he won the "World Chinese Artist Outstanding Artistic Achievement Award". In 2008, he was awarded the honor of "Outstanding Painter in the Thirty Years of Reform and Opening Up" in the Auditorium of the National Committee of the Chinese People's Political Consultative Conference. In 2010, the China Federation of Literature and Literature was rated as "200 Chinese Landscape Paintings" and "99 Chinese Hundred Masters Painters". In 2012, the China Literature and Art Foundation of the China Federation of Literary and Art Circles awarded the "Outstanding Achievement Award in Literature and Art". In 2013, he was named "the most innovative Chinese painting artist in China" and "15 calligraphers among contemporary Chinese painters".
In 2016, he was rated as "30 Chinese painters with the most academic value and market collection appreciation potential in the country."" His works have won the titles of "United Nations International Year of Peace Art Award", "Special Gold Medal of Famous Professors of International Art in the 20th Century", "Gold Medal of Asian Chinese Painting Touring Exhibition", "Gold Medal of 2008 Harmonious China Olympic National Art Exhibition", "Gold Medal of Xi'an World Expo National Fine Arts Exhibition", "Salon Award of Contemporary International Ink Painting Exhibition", "International Gold Medal of the 35th New York International Art Fair", "Ambassador of Sino-US Cultural Exchange", "Ambassador of Sino-Indian Culture and Art", "Ambassador of Sino-Russian Cultural and Artistic Exchange" and so on.
Mr. Mao Xuefeng was invited to give lectures and academic reports to many universities at home and abroad. In 2008, he was invited to give a lecture on the theme of "Innovation is the Ladder to Climb" at the Centennial Lecture Hall of Peking University, and in 2013, he was invited by Marietta University to hold a solo exhibition and gave lectures to teachers and students entitled "Reading America" and "The Kiss of Chinese Ink and Western Color";
In 2014, he was invited by Lanzhou University to give a lecture on "The Establishment and Development of Heavy Color Landscape Painting" and "My Artistic Life" on November 10, and in 2016, he gave a lecture on "Silk Road Journey" at the invitation of Charda University in New Delhi, India. Mr. Mao Xuefeng has served as the academic host of the nomination of Chinese innovative artists for many times.
The famous collections "Yearbook of Chinese Art", "Dictionary of Chinese Artists", "Encyclopedia of China Xinjiang Volume", "Lintao County Chronicle", "Who's Who in the World in the United States" and other dictionaries. Fine Arts, Jiangsu Pictorial, Chinese Painting, Art Observation, Book and Painting, Artist Newsletter, China Painting and Calligraphy, Fine Arts Daily, People's Daily, Guangming Daily, Xinhua News Agency, European Times, Macau Daily, New York Times, China Painting and Calligraphy, China Art Daily, Global Times, China Culture Daily, Chinese Painters, CCTV and many other media have made special reports on his artistic achievements.
His works have been collected by more than 30 museums, art galleries and leaders of many countries at home and abroad, including Qi Baishi Art Museum, Shanghai Municipal Museum, Hong Kong Art Center, Dunhuang Museum, Tokyo Museum of Art, New York University in the United States, SEF in Taiwan, Repin Academy of Fine Arts in Russia, Sharda University in India, Louvre Museum in France, and Mariet University Museum in the United States.
The State Cultural Relics Publishing House publishes "Mao Xuefeng Calligraphy and Painting Collection", "Mao Xuefeng Painting Collection" (Da Hong Pao), "Mao Xuefeng Calligraphy Collection", "Mao Xuefeng Heavy Color Landscape Painting Collection", and "Mao Xuefeng Art Criticism Collection".
Echo of Life - Reading Mao Xuefeng's Heavy Color Landscape Paintings in Xinjiang
Text/Xiao Yang
It has been several days since I read Mr. Mao Xuefeng's paintings, and a complex has lingered for a long time, and the shock of that visual feast has been in my heart for a long time, and I have not been able to find the right words to express. The mind seems to be struck by a kind of yellow bell-like music, trembling, wandering in the deep and vast time and space for a long time... Western China, the blue sky and thick soil, the father of a thousand mountains, the source of ten thousand waters, the pure snow, the vast grassland, the stubborn and vicissitudes of the poplar forest, god has given us such a mysterious and colorful vast world. It was she who gave birth to the Ancient Chinese Civilization. The distant desert and the sky in the west have always been a theme that has been constantly praised by poets of all generations, and the poems and paintings of the literati expressing the landscapes of the west have invariably pointed to a sense of beauty and sentiment that is vast, vast, majestic and tragic. The desert and the sky in the west also show their unique mind and style, especially the masculinity and grandeur, which have become a unique spiritual vein in the Chinese art tradition. The vastness of "the sky is clear and the wilderness is vast", the desolation of "Pingsha wanli is uninhabited", the tragedy of "a river of gravel is as big as a bucket", the magnificence of "the desert is lonely and straight, and the long river is full of sunsets"............ All of them show the masculine and majestic mountains of the west, the poetic spirit and the broad and desolate atmosphere. The western landscape nurtured Mao Xuefeng and gave him a talent for painting and a thick soil to grab inspiration.
The rich natural resources and profound cultural resources of the west have deeply affected Mao Xuefeng's artistic state, and her vicissitudes and extremely changeable regional features have attracted him. Over the years, he has traveled all over the north and south of the Tianshan Mountains, deep into the vast desert Gobi, and if he is in the wild loess plateau, he feels all natural things, directly integrates into nature to absorb the nutrition of art, and feels the pulse of the soul. The unique experience of life led him to many reflections on the artistic life. Painting is a symbol of the mind, a sign of emotion. The heavens and the earth are yellow, and the universe is flooded, so that it can most directly experience the meaning of heaven and earth, and produce the ultimate thinking of the compatibility of human beings and nature. For decades, he has completely integrated his emotions into the west, and each painting is an interpretation of his soul, strongly expressing the meaning and humanistic spirit of natural mountains and rivers. He said that his creative themes are inseparable from the mysterious land of the Western Regions, and only here can he have inexhaustible creative resources. He used his body and mind to feel and comprehend the simple customs and customs of the western region and the majestic and rugged style. Thus getting inspiration and materials, and constantly sublimated into the heart of the painting and fierce creative passion, with a kind of careless, high-spirited, sincere and strong performance of the west, he will be structure, color, charm, artistic conception into one furnace, カ to pour the soul of the west into the pen end, sprinkled on the paper silk. After years of continuous refinement, his painting language is more and more pure, can be simple and changeable, rich and not chaotic, pen and ink language and pen objects are harmonious and unified, but at a glance you can recognize his unique language and pen and ink symbols, his paintings have a chaotic power, a sense of volume, the magnificent momentum of the mountains and waters! All the means he uses are not only to depict the shape of the landscape, but to grasp the spirit of the landscape, the life of the landscape, and the soul of the landscape, and in a certain sense, his landscape is to prove his concept, not only the unique understanding of the western landscape, but also many of the concepts of life that he has understood. The layers of accumulation of dyes show the vicissitudes of the thick soil so chaotic, as if to bring the viewer into a landscape world constructed with emotional spirit, in which the grand composition and the momentum of the pounds show the regional landscape of the western region for our art, so that we can see the vastness and vastness of the western part of the motherland from the picture.
His works can reveal a profound foundation in modeling and exquisite brushwork, in a strong expressiveness, with full of passion, showing us the spirituality and soul of this land, with exquisite techniques, showing the unique regional style of the west. In the exquisite combination of modern aesthetic tastes, it reveals a sense of innovation, full of the beauty of Shen Xiong and Broad. The vast mountains, the thick loess soil, and the remnants of the sun like blood are all exquisitely depicted, which shock you, because from the painting there is a majestic atmosphere, which comes from the northwest mountains, from the cosmic flood, and in the high-pitched excitement of Huang Zhong Da lu, people feel the recklessness, making people unconsciously indulge in the silent, ethereal, broad and mysterious natural realm, experiencing a life that is broad and deep, and full of rhythmic meaning.
In his works, he has shown a conscious consciousness of integrating into Chinese culture, embodying a unique creative spirit, and carrying forward the national spirit with his own cultural vision and wisdom. In his paintings, we seem to be able to see a sense of responsibility and responsibility for publicizing the customs and customs of the west and the cultural mission of the west.
In his works, he has shown a conscious consciousness of integrating into Chinese culture, embodying a unique creative spirit, and carrying forward the national spirit with his own cultural vision and wisdom. In his paintings, we seem to be able to see a sense of responsibility and responsibility for publicizing the customs and customs of the west and the cultural mission of the west. In his works, he has shown a conscious consciousness of integrating into Chinese culture, embodying a unique creative spirit, and carrying forward the national spirit with his own cultural vision and wisdom. In his paintings, we seem to be able to see a sense of responsibility and responsibility for publicizing the customs and customs of the west and the cultural mission of the west.
Xinjiang is a vast area, not only vast, but also different styles. Here the mountains are like cast iron, the desert is boundless, the Gobi is vast, if in the old pen and ink program, with the inherent style concept and pen and ink techniques to create Xinjiang landscape, a little unable to write, its expression space has been very limited, which requires the need to find new forms of expression, new painting styles and new techniques to update, supplement and improve, and this thick soil carries too many things. And to get as much as possible, you must completely abandon the past, starting with a grass, a tree, a mountain, a water. Then enter into the exploration of the inner structure of things. Therefore, "integrating ancient and modern, eclectic Chinese and foreign", and creating landscape paintings rich in new Xinjiang regional characteristics have become a topic that Mao Xuefeng has been thinking about. He repeatedly experimented with how to perfectly combine traditional Chinese pen and ink with Xinjiang's unique landscape.
This exploration is a transcendence of the traditional landscape formula, but also a refinement of the tradition, he applied some western painting techniques to his own works. This is a way of respecting tradition with breakthroughs. In addition to the contrast between the thick and dry and wet colors in its own works, it also has a unique and well-designed color variation, so that the strong visual impact of the color formation makes up for the pure and subtle but slightly monotonous side of the tradition. He gave up the traditional method of hook dot dyeing, adopted new techniques such as water flushing ink dyeing, gave color with the class, and used the law of pen but no pen everywhere, so that the ink color was calm and deep, and the layers were thick. Through the combination of mountain blocks and the composition of space, it fully expresses the unique characteristics of Xinjiang's soilform sandy, wind-eroded and rainy, water-eroded landform and the vast, mottled, primitive and rough expanse of the distant outline, which embodies the broad and profound and resolute spiritual characteristics. The outstanding performance of this form is based on pen and ink, strengthens the expressiveness of color, improves the color to the same important position as the lines, pen and ink in Chinese paintings, makes full use of the strengths of color, and expresses the beauty of Xinjiang's landscape on the surface of brilliant and rotten comics, with a distinct oriental mood and modern aesthetic charm. After Mao Xue collected the colorful colors in the scenery, accurately and deliberately purified the colors that originated from life but were detached from life, and then used an almost fanatical brushwork to boldly and enthusiastically sprinkle these sublimated colors on the paper, almost every work had a distinct primary color, or a large block of blue, or a large block of red, or red, blue, green, and yellow one by one harmoniously coexisting, and the stars appeared bright. Beautiful, very infectious picture. The intersection of color and ink, the fusion of imagery and reality, the variety of colors, gorgeous and colorful, forming its own unique western heavy color painting style.
Mao Xuefeng generally pursues fullness in composition. Standing tall in the sky, emphasizing the creation of formal beauty and the division of the plane, there is an intention to extend infinitely in depth, which greatly strengthens the secluded majesty and infinite and far-reaching realm of the picture, and the light and dark changes formed in the ink dyeing. It also enhances the layering and richness of the picture, extends the sense of space, and forms a magnificent landscape. This majestic atmosphere and heavy momentum create a visual shock, stirring a kind of grand generosity, giving people a unique sense of beauty that is meteorological and full of vitality. In the painting "Echoes of History", the U mountains with strong color contrasts are horizontally unfolded and superimposed layer by layer. Giving people a sense of majesty and beauty, the mountains in the distance lead people's vision to the overlapping snow peaks at the junction of heaven and earth, making the picture appear vast and vast. "The Turbulent Feeling of mountain ancestors" and "The Rise of Kunlun" are mainly pictures of large-scale cliffs and cliffs, only dotted with a cold and lonely moon in one corner, without trees, and the composition is extremely simple. Such a composition is framed without a rigorous and in-depth understanding of nature, without fiery feelings, without profound skills, it is difficult to express.
The steep walls of the mountain rock have been carved by rain and erosion for thousands of years, and under different lights, the stars have appeared in unique forms. Under the understanding and observation of the painter, the unique performance and various means of expression of rice paper are used to express the texture and texture of these simple cliffs and steep walls very real and natural, full of vitality. In addition, while processing and integrating the pen and ink language and painting symbols, Mao Xuefeng also strives to seek a unique composition of the painting form, and achieves the harmonious unity of カ and beauty by strengthening the picture conception and creating momentum. The thick ink color has a magic in the strong vision, it is sometimes the passion of igniting the flame, sometimes it is the ice and snow of life, sometimes it is the ruthless axe of the years, sometimes it is the historical ashes that emit residual temperature, bitterness and happiness, life and death, ancient and modern, prosperity and decline are intertwined, constituting a full life tension, the camels in "Camel Bell Shakes Up the Dry Year Dream" silently lift their rugged bodies, the load of heavy objects slowly lifts their feet, and they reveal a fearlessness, a tenacity, a steadfastness, and a kind of arrogance They walk steadily, step by step, toward the green abyss, toward hope. The painter hopes that the spirit of the camel, like the light of the sun and the moon, shines on the motherland through the heavens and latitudes, like the water of the rivers, and constantly nourishes the hundreds of millions of Yan huang descendants to thrive. In addition, Mao Xuefeng also drew spiritual character inspiration and nutrition from life and nature, and used his own feelings and his own language techniques to create a personified nature and express his own chest.
In the painting "Immortal Dry Year Poplar", on the gobi where the grass is overgrown, a piece of Hu Yanglin stands in the long yellow sand, brilliant and brilliant, orange-red color, which is the scenery that people all over the world yearn for. In the painting, the author seems to be ignited by the passion of life, and the large brush strokes convey affection and color, and composes a song of stubbornness and tenacity of life with passion, which is "dry years do not die in the desert soul, and the eternal age still cannot fall." Dry zai still exists as the bones of the world, and dry autumn immortality is the root of the dragon. "The painter paints trees, expresses people, and expresses the spirit and character of people. Not only has a strong visual impact, but also gives people a sublime beauty to enjoy a person living in the world, often have an inner spirit to promote their unremitting pursuit on the road of life.
Over the years, Mr. Mao Xuefeng has condensed all his spirit to three inches long, with the pen as the rudder and the paper as the voice, enjoying the spirit and soul swimming in the sea of art, he is devoted to painting, to the west and nature and humanities. Watching him paint, you will read the author's life and the true persistence of exploring the essence of art, he walked like a mesmerized walk in the empty and distant western landscape, persistently following the solemnity and magnificence of the west, the white snow-capped mountains, under the fiery red rocks, the majestic Kunlun Tianshan Mountain, we can all see the figure of the art saint Mao Xuefeng, the string of footprints, step by step, stretching out into the distance, disappearing into the boundless art firmament...