《犇》 143cm x 100cm
Majestic wildness Desolate and tragic
——A brief analysis of Mr. Jiang Zhixin's Great Wilderness series
I met Mr. Jiang Zhixin in 1983 by a poet friend. Sir was the first teacher to introduce me to and understand Chinese painting. Together, we walked from Pingliang at the foot of Kuntong to Lanzhou on the shore of the Yellow River, and from the bank of the Yellow River to Beijing at the foot of Yanshan Mountain. Along the way, forty years have passed, Mr. From youth to ancient rarity, and students from teenagers to whiteheads. Today, when I want to write something to my husband, I quietly comb through these forty years, like an illusion, going back and forth, looming from time to time.
Ice Pool 69cm X 69cm 2021
Forty years, I have been familiar with every painting of my husband in every period of time. Sir has entered a state of deification, a realm of easy creation in which things and self are illusory. Using his unique combination of forms, constructing the image in his chest, and using his unique pen and ink language, he reveals the spiritual ideas in his heart. In his landscape paintings, from the early freehand longdong to the gradual entry into the yunhua spectacle of the wilderness of the western region, his devotion to mysteries and religion is contained in the chaotic and meditative paintings.
Pilgrimage, 60cm X 138cm, 2009
His deep aesthetic experience with a unique personality no longer stops at the depiction of natural appearances, but enters the spiritual depth of expressing the "union of heaven and man". He has made many explorations in artistic language and expression forms and natural materials, so that he can integrate the forms and constituent factors in Western modern art into his own production, and strengthen the visual effects and the tension of painting language. Series of works such as "Leaving the Original Grass" and "Heavenly Diarrhea Copper Liquid" use monumental composition forms to strengthen the sense of volume of the mountain elevation and the magnificent momentum of the Loess Plateau, the change of the chapter is extremely open and suppressed, and the mighty song of the yellow sky and thick soil is sung, and the works all show the stubborn personality of nature that has not been domesticated and the grandeur of the sky and the earth.
Desert Wind, 68cm X 138cm, 2011
Teacher Jiang's landscape paintings pursue the majestic wildness of the wilderness and the beauty of the mountains looking up at the desolate and tragic. His creations are full of love for the wilderness and the mysteries of heaven and earth, the willful generosity of pen and ink, the construction of the environment is smooth and galloping, and the weather is magnificent and rich, forming his own outstanding aesthetic character. With his constantly innovative creative practice, he has promoted the transformation of Chinese landscape painting from traditional form to modern form.
"Dongfang Hong", 68cm X 138cm, 2006
For decades, Mr. Li has traveled from the Loess Plateau to the Western Antarctic, showing the beauty of the wilderness and power of countless deserts, and each picture pursues a sense of wild beauty that tacitly understands the theme. "Pilgrimage to Dunhuang" takes the composition of the superimposed upward look, and the figures and the lying Buddha's head occupy the center of the picture, reflecting a religious solemnity. High cliffs and layers of upward arcs push the line of sight into the sky, creating an empty tension.
The Origin of Dunhuang, 190cm X 500cm, 2002
Many works such as "Soul of the Loess Earth", "Tianlai", "Yellow River Evening Singing" and so on show Teacher Jiang's painstaking pursuit of tragic tension and magnificent form, so that the composition and sense of strength of the overall block surface of the picture are presented to the greatest extent, so that the work appears in his pen with great explosive force. In the selection and direction of creation, Teacher Jiang never stops on his established path of progress, and many of his creations go from one extreme to another. He was obstinate, painting his paintings all the time, and at the same time teaching his students in his own way.
"Proud Son of the Plateau", 68cm X 138cm, 2004
Mr. Wang's creative experience is exuberant, the vastness of the territory, the history is still there, I am afraid that there is no one on the right. I very much agree with professor Xue Yongnian of the Central Academy of Fine Arts for these general comments on Mr. Xue's works, Mr. Xue said, "Jiang Zhixin's large-scale freehand landscape paintings are magnificent and have a great atmosphere. The nature he represents is not domesticated, but his own spirit and the spirit of nature merge with the spirit of the universe, which is the unity of heaven and man." In Mr. Jiang Zhixin's series of creations, there is a vast and thick yellow land. There is a stubborn flow of the Yellow River. There are endless deserts and mysterious Dunhuang. There are three thousand years of life and death god resident poplar. Aden and Shangri-La with hearts. There is a snowy plateau that crosses Kunlun. There are primitive wild yaks that traverse the grasslands. There is a virgin land that touches the Antarctic ice fairy tale. There are flowers and calligraphy with a favorable wind and smooth brush and ink.
Autumn on the Plateau, 68cm X 138cm, 1989
These works convey a kind of soul-catching atmosphere, making people involuntarily feel a great power of man and nature as one, and the sense of awe of majestic wildness, desolation and tragedy and mountain elevation arises from the heart. Since the modern period, the outstanding achievements of Chinese painting have included the renewal of language style and the use of brush and ink, which is by no means limited to the level of artistic language and style skills, but also highlights the expansion and deepening of spiritual connotations. Mr. Jiang Zhixin's meticulous creation of the mysterious snowy land and the desert wasteland, the epic pouring out of the sacredness of the wasteland and the loftiness of the distant wilderness, effectively expanded the spiritual field of artistic expression of Chinese painting.
Gobi Defenders, 120cm X 246cm, 2007
Under the excavation and exploration of Mr. Jiang Zhixin, the wasteland snow mountains in the western region and Antarctica will surely be deeply embedded in the modern and contemporary art history of Chinese painting. This will enlighten later art creators, enlighten them to interpret the west from a modern humanistic perspective and visual experience, and inject new blood into the excavation and exploration of artistic creation themes in the Great Western Region and the Antarctic Snowy Plateau.
Gobi City 120cm X 246cm
Author: Meng Zuomin
Completed in Vancouver on February 21, 2022
Antarctic Ice and Snow, 55cm X 85cm, 2013
Antarctic Paradise Bay, 70cm X 136cm, 2011
"Ink Rhyme of The Sacred Lake", 68cm X 138cm, 2011
Holy Lake, 60cm X 138cm, 2010
"Counting the Merry People And Looking at the Present Dynasty" 138cm X 68cm
Years, 120cm X 246cm, 1998
Invincible, 68cm X 68cm, 2014
Five Bulls, 68cm X 138cm, 2013
Souls of the Snow, 67cm X 68cm, 2014
"Snowy Landscape", 68cm X 68cm, 2014
Jiang Zhixin, the Great Wild Bull and Yuan He. Born in 1949 in Pingliang, Gansu. He graduated from the Fine Arts Department of Northwest Normal University in 1974, is a national first-class artist, a member of the Chinese Artists Association, a member of the French International Artists Association, a member of the Chinese Council of the Asian Calligraphers Federation, a director of the Chinese Painting Society, a member of the Hong Kong Calligraphers Association, and the founder of the Dahuang School. His works have been included in national large-scale painting collections such as "Complete Collection of Chinese Modern Art", "One Hundred Years of Chinese Painting", "Sixty Years of Chinese Art" and so on. His works take the original wildness and magnificence as the expressive style, high and majestic, passionate, magnificent, and simple, and are pioneering artists in the Chinese painting world who use books into paintings and express the ancient wilderness style with large freehand techniques.