The development and innovation of Pengcheng New Han Painting!
The development and innovation of Pengcheng New Han Painting!
My hometown of Xuzhou, influenced by the ears and ears of Han culture, approached the art of the Han Dynasty, and felt the artistic charm of Qin bricks and Han tiles, Han portrait stone carvings, and Han rubbings.
It was from reading the stories in the Han Dynasty portrait stone carvings that I began my creation. Perhaps it is fate, from the Angkor Grottoes to the four major grottoes in China, to the Terracotta Warriors of Qin Shi Huang, and then to the creation of the Han Terracotta Warriors.
Along the way, I returned to my hometown of Liu Bang's hometown of Pei County. Began the road of new Chinese painting creation. The change of Ma's Jiao ink painting to Pengcheng Jiao ink painting, the past and present life of jiao ink painting art, resulting in the original Pengcheng carved stone painting method. In the many new Chinese paintings I have created, I have a thousand-year covenant with Chinese paintings, and indulging in Pengcheng New Han paintings has produced inseparable emotions and creative passion.
The auspicious land of Pengcheng in Xuzhou has given me endless creative wisdom and life heat, and given me the opportunity and innovation stage to continue the tradition, interpret the classics, and compose a new chapter. It can be said that
To be able to have a little creative achievement today, to be able to have a stroke of ink painting gathered by famous artists, is entirely due to my diligence and talent, as well as the eyes that always look for beauty and discover beauty.
Therefore, when I approached the Han Portrait Stone Museum and the Han Terracotta Warriors and Horses Museum with affection, and read the time, space and story in the Pengcheng Han Portrait Stone Carvings with my heart, I would find that the road I had walked from the road of art left a journey of seeking innovation and change step by step. The pursuit of artistic conception,
Everywhere is engraved the aesthetic elements of Qin Feng Han Yun, seeking the concept of seeking knowledge and seeking new changes. It is this accumulation of time that makes my works shine more of an ideological light among contemporary masters.
There is more penetration of Xuzhou Han cultural genes, and more spiritual power to lead.
In fact, letting the ancient Han portrait stone carvings speak, letting the heavenly lacquered ink paintings grow aesthetic branches and leaves, and then creating the poetry of the work, has always been the lofty realm that I have pursued.
Jiao Mo painting can speak, so that Jiao Mo art releases the glory of history,
It is also the theme of Chinese painting that I have devoted myself to creating and expressing. In fact, from the scorched ink painting has spirituality, it is a process of quenching and changing vigorously and cultivating the spirit. During this time, I need a lot of hard work and sweat to moisturize and feed.
For example, how to use stone to turn pen carving, how to carve shapes, carved yin and yang lines, how to grasp the use of pens, wrinkles and so on. These are all processes of innovation and degeneration. It is innovation that goes beyond the basic skills, and the work will have a soul and life. Let the new Chinese painting grow aesthetic branches and leaves.
This is the heavy Han cultural realm that Jiao Mo art wants to carry, and I have been looking for a way forward for this. In fact, making Pengcheng's New Han paintings full of intellectuality is the process of pupating into butterflies and cultivating potential. During this period, it is necessary to cultivate art, the tacitization of teachers, and personal leaps. Looking at the inheritance and development of jiaomodi,
The root cause is to discover the perspective of beauty, create the vision of beauty, and build the vision of beauty. It is necessary to retain beauty, gather beauty, seek breakthroughs in the meaning of reality, and strive to call the spiritual world with the heart.
Let Pengcheng Jiao ink painting art present a poetic sky. This is the aesthetic that Jiao Mo art wants to accumulate and study, and I have gone through the storm for this. In fact, let his works cover the truth, goodness and beauty, and exalt the spirit, which is also the process of Qianfeng reading and cultivating taste. During this period of creation, it is also necessary to learn from each other in cultural forms, read thousands of books, and travel thousands of miles.
At present, as far as the creation of Jiao Mo's works of art is concerned, it is necessary to strive for famous works that can be passed down from generation to generation, create masterpieces worth collecting, read more books, get out of the predicament of insufficient cultural heritage and poor pioneering spirit, and go wider and wider on the road of innovation and creation from art;
It is more and more liked by most people engaged in collecting, and directly builds a long-distance social platform for the development of Pengcheng's new Han painting art. After more than twenty years of persistent searching, research.
Found the wonderful time and space that makes the art of Jiao Mo painting take off the poetic road, that is, to make the Drum City Xinhan painting works sound and shine, and complete the series of works such as "one jump out of color and good gu minqiu, ma to success, etc., so as to achieve atmospheric elegance, qingxiu ancient clumsiness and simple and thick works, laying down an irreproducible cultural brand and adding a rare Junxiu Xiongqi.
Ma Peitong wrote about Langpei County
Chen Chuanxi commented on Ma Peitong's Pengcheng Xinhan paintings
Anything that can be called a good painting must have outstanding characteristics. It is not easy for a painting to have advantages, and it is even more difficult to have characteristics.
Xuzhou painter Ma Peitong's jiaomo paintings are very distinctive. The subjects he chose were buddhist statues in Angkor Wat and the Terracotta Warriors of Qin Shi Huang, as well as Han paintings unearthed in Xuzhou (mainly terracotta warriors and portrait stones and portrait bricks unearthed from Han tombs), which he created with scorched ink, which seemed to be very realistic.
In fact his pen and ink have been newly created. His Buddha portraits also use the form of sketches, but he uses the forms of oracle bones, gold letters, portrait stones and Dunhuang murals as the pen and ink of expression, which looks like the dark, bright or gray places of the sketch, but closely looks at the oracle bone gold text. Ma Peitong is a native of Xuzhou and is very familiar with and affectionate about the portrait stones of Xuzhou.
He not only transformed the content of the portrait stone into the pen and ink of the portrait and the Buddha statue, but also the whole picture had the feeling of the portrait stone, but the painting was a Buddha statue or a human figure. His scorched ink pen has strength,
There is toughness, simplicity, deep and majestic, which is not available in the previous generations of jiaomo painting, so Ma Peitong developed jiaomo painting. Ma Peitong's jiao ink paintings, also known as Pengcheng carved stone stones,
He used his pen to draw the feeling of carving stones, which felt particularly similar to the portrait stones of Xuzhou, so it was called Pengcheng carved stone. Ma Peitong synthesized many ancient and modern Chinese and foreign arts into an organic combination and created a new road. I hope that he will continue to study in depth and create better works.
Chen Chuanxi