Zeng Xianguo, born in 1956 in Qingzhou, Shandong, is the 8th director of the China Artists Association, a researcher of the National Academy of Painting of China, a founding director of the Chinese Painting Society of the Ministry of Culture, a vice president of the China Ink Painting Academy, an advisor of the Shandong Provincial Artists Association, a member of the Shandong Provincial Committee of the Chinese People's Political Consultative Conference, a former vice chairman of the Qingdao Municipal Federation of Literature and Literature, the honorary president of the Qingdao Academy of Painting, the honorary chairman of the Qingdao Artists Association, a national first-class artist (Zhenggao grade ii), and a special painter of the China Friendship Painting Academy. Experts who enjoy the special lifetime allowance of the State Council. In June 2009, he was awarded the Academician of the National Academy of Arts of the Kyrgyz Republic, the Academician of the National Academy of Arts of Kazakhstan, the Master Tutor of the Academy of Fine Arts of Qingdao Technological University, the Master Tutor of the Academy of Fine Arts of Qingdao University of Science and Technology, and the Visiting Professor of the Academy of Fine Arts of Tsinghua University.
In 1997, he was awarded the title of "100 Masters of Chinese Painting" by the China Federation of Literary and Art Circles and the China Artists Association, and successively participated in the 7th, 8th, 9th, 10th and 11th National Art Exhibitions and won the Excellence Award. His works "Twilight Autumn Mountain Rain" and "Jiangnan Smoke and Rain" participated in the first national Chinese painting exhibition and the first national landscape painting exhibition respectively, and won the Excellent Work Award and the Excellence Award respectively. He held solo exhibitions at the National Art Museum of China and the National Academy of Painting of China. He has served as a judge of the National Landscape Painting Exhibition organized by the China Artists Association for many times.
In 2004, he was awarded the "Huang Binhong Academic Award" by the China Academy of Arts. Many of his works have been collected by institutions at all levels, such as the National Art Museum of China, the Academy of Chinese Painting, the Great Hall of the People, Zhongnanhai and Tiananmen Gate Tower. His works successfully returned with shenzhou no. 6, no. 7 and no. 8 spacecraft, and were invited to participate in the creation of large-scale Chinese paintings in Zhongnanhai under the State Council, and his work "Scenic View of Laoshan Jiushui" was hung in the conference room of HuairenTang in Zhongnanhai. Created a huge landscape painting "Donglao Cuixiu" for the reception room of Putin of the Qingdao SCO Leaders' Summit. He has published more than 30 monographs such as "Zeng Xianguo Painting Collection" and "Zeng Xianguo Landscape Collection".
Qinghai Mutual Aid County 50X50cm
Lush and moist, broad and thick
Text/Liu Xilin
Landscape painting occupies a very important position in the Chinese cultural tradition, it becomes an independent aesthetic object in people's spiritual life and transcends the material dependence between man and nature, with a "metaphysical" character. More than 2,000 years ago, Chinese philosophers proposed a unique view of nature. Confucius said, "The wise man enjoys water, and the benevolent one enjoys the mountain." Mencius believed that man's "mighty righteousness" was "stuffed between heaven and earth." Zhuang Zi said: "There is great beauty in heaven and earth without words." "All of them profoundly express the isomorphism and commonality of human spiritual temperament and beauty with nature, or a relationship of "the unity of nature and man" and "the forgetting of things and me".
Xiling Printing Society, 50X50cm
Due to the profound influence of this view of nature in Chinese culture, landscape painting has become an independent painting discipline more than 1,500 years ago, and painters have also regarded landscape painting as a medium of "unimpeded", "flattering", sending affection and writing hearts, and making it flourish in the history of art, with new evolution from generation to generation. Zeng Xianguo, one of the representative figures of Chinese landscape painters in the late 20th century, has worked hard to make his landscape paintings express modernity, but he still calls his studio "Shi Guzhai". I think the ancient art he taught was not limited to pen and ink techniques, but also included the ancient Chinese view of nature. From his two seals, "Confidant of Landscape and Water" and "The Breath of Heaven and Earth", we can also see that his modern landscape paintings and ancient Chinese landscape paintings are constantly linked in aesthetic concepts.
Halong Bay Island Pier 50X50cm
Broadly speaking, this is the endless blood inheritance between the entire Chinese modernization and traditional Chinese culture. Indeed, in the spiritual life of Chinese, there can be no landscape without landscapes, nor can there be no landscape paintings. Perhaps in today's human living environment is increasingly polluted by industry and human beings are more eager for ecological balance, China's "unity of heaven and man" will become a universal human consciousness, and Chinese landscape paintings that embody this spirit will increasingly be understood and resonated by people around the world. Zeng Xianguo, like all modern Chinese artists, carries the mission of how to inherit and carry forward China's excellent culture and modernize it, and this mission takes place in the process of his selective preference for tradition and his independent personalization.
Incense Burner Temple 50×50cm
Zeng Xianguo's landscape paintings have a magnificent image and a reckless atmosphere, which can be seen in Zhuangzi's aesthetic origin of "there is great beauty in heaven and earth", and the influence of Fan Kuan, a landscape painter of the Northern Song Dynasty. In fact, this is the temperament of the northern Chinese hanzi who does not admire the beauty of softness and smallness, the natural expression of personality and self-grasp. If he is said to be thick and broad in physique, but in terms of qi rhyme, he admires the atmosphere of cloud steaming, smoke and rain caused by thick and lively ink. He also cleverly set off the flowing water of the clouds, so that nature can become a living statue on rice paper, but his paintings obviously have a lot of modern atmosphere, and he likes to be full in the chapter and the whole in the shape. Even occasionally borrowing the overlapping and compositional styles of Western modernism, he is good at rendering atmosphere and integrating into the expression of light and color in Western painting. The ink and warm colors that envelop the whole painting have become modes with emotional tendencies and geomorphological characteristics, while the blank space is like a flickering stream of light, which produces mysterious and subtle charm in the light and darkness, he breaks the program of ancient landscape painting, and creates many of his own methods, dot methods, water has its own flow, grass and trees have their own shape... It can be seen that he strives to make the historical landscape paintings evolve towards personality and close to the aesthetic tastes of modern people. The art of Zeng Xianguo has become quite sophisticated, and it has also produced considerable repercussions.
Smoke and rain seclusion figure 50×50cm
Of course, like all artists who have formed their own faces and their own programs, he is always not satisfied with looking in the mirror to face his familiar faces. In an article a few years ago, he said, "How to go forward, how to grasp yourself, how to get rid of the shackles of stylized techniques and aesthetic inertia." Thus constantly distinguishing between others and myself, this became a problem that I pondered day and night. "This kind of self-reflection is a good mindset for an artist with a constant sense of creation. It can be seen that through his re-observation, experience and new creative inspiration of nature, he has made new changes in his pen and ink program, or entered a new stage of exploration. He may face in the future is precisely such a close to nature steps and endless innovation of artistic language of the course, he will further cultivate his grand righteousness in the dialogue with nature, further transform nature into personality, personification into nature, and grasp the modern view of nature, in the spirit of modern people and nature isomorphism, to create the future of many Chinese landscape paintings.
Smoke and rain zaga that 50cmX50cm
Yixing Dongpo College 50X50cm
Cinque Terre, La Spezia Town, Italy 50×40cm
Yulin Hongshi Gorge 50×50cm