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Dong Tingzhu, born in 1973 in Gaizhou, Liaoning, currently lives in Beijing. He graduated from the Chinese Painting Department of Lu Xun Academy of Fine Arts in 2000 and graduated from the Jiang Caiping Studio of the China Academy of Art in 2008.
He is currently a member of the Youth Joint Fine Arts Committee of the Ministry of Culture, a director of the China Gongbi Painting Society, a member of the Chongcai Research Society of the China Artists Association, a deputy secretary-general of the Liaoning Gongbi Painting Society, a member of the Beijing Gongbi Chongcai Painting Society, a member of the Art Online International Women Painters Association, a member of the Art Committee of the Guoyun Wenhua Painting Institute of the Foreign Exchange Center of the Ministry of Culture, and a member of the CPPCC Committee of Tongzhou District, Beijing.
"I Love the Green Mountains, Sun and Moon" 137.5cm×34cm×4 Color on Silk 2021
Xinyiwu, 99-179cm, heavy color on silk, 2019
However, among all painters, most of them "learn to paint", but very few people "learn how to paint".
People who "learn to paint" pay attention to forms and methods, follow the style of each school, and follow the style of the teacher or faction. If you paint well, you will have to be sought after for a while; if you don't paint well, you can also look decent, and mix a mouthful of rice under a school of doors. Painters who "learn how to paint" pay attention to thinking and emphasizing themselves, and only those who jump out of the teacher and then follow the law can be called self-style. Of course, this still needs to be replaced by a "learning" word, because the road of art is always a process of learning, not revolutionary, not creative, not imaginary, but to learn to think, learn to learn to read, learn to conform to the rules of painting for art.
Rouge Mountain, 22mX18cm, color on silk, 2019
White Moonlight, 50-140cm, 2015
"Carefree Garden", 200-480cm, heavy color on paper, 2010
"Spring And Back" 120 -240cm
Among my painter friends, Dong Tingzhu belongs to the standard "learn how to paint" painter. Obviously, in her works, you can't find some familiar styles and faces through the pictures, and at the same time, it is difficult to discern the traces of the master's entry into the door in terms of technique. The schema structure is her own, the color composition is also her own, and the technique and method of running the pen line is still her own, so it is a one-dimensional, and it also has visual effects and beauty that can be seen. It's all her own? But not really. It is just a new look and a new look after all kinds of changes, which completely belongs to the natural growth state under the irrigation of traditional culture.
Big Fish Valley, 86cmX45cm, color on silk, 2018
Leap into Dragon, 33cmx134cm Ink on Paper, 2019
"Nanshan with the Old", 140-170cm hemp paper stone color, 2010
"May Locust Incense Partial" 200-200cm
The Wizard of Oz, 80-80cm, hemp paper stone, 2007
"Self-Contemplation", 95cmx41cm rice paper ink, 2019
Judging from Dong Tingzhu's experience in learning painting, she is different from most of today's painters, but more like the ancients. She has not been influenced by too many modern art trends, has not been forced to draw sketches on the desk, nor has she been disturbed by forms, concepts and ideologies, but has only drawn nourishment from the classic models step by step. Reading, painting, and then pursuing the ancients' "walking and lying down", but in the process of self-justification.
The Night's Eve, 60-130cm, heavy color on silk, 2015
Xianrui, 63-63cm, silk, 2019
Spring Mountain, 80-120cm, hemp paper, 2011
Moonlight Pond, 140x140cm, heavy color on paper, 2010
The ancients learned to paint, emphasizing that the heart does not need to use the eyes, that structure, that technique must be thought through a hundred times, the heart has been copied a thousand times, why do you have to look at the details of entanglement. For her, the hand is her own, the vision is also her own, and the heart is aimed at the quality and spirit of the ancient literati, she rubs it in and dissolves, and the ones that are laid out between the painting papers really all become her own.
Valley of the Winds, 66.3-135cm, heavy color on silk, 2015
"Into the Mountain", 27-64cm, silk stone, 2015
Spirited Away, 64-133cm, stone on silk, 2015
Usually people who learn to paint with such a state of mind are arrogant, and from time to time they will question themselves and insist on setting a few more thresholds for themselves. When asking how to paint and watch paintings, you should ask how to paint yourself, you should ask how to ask when you present to others for appreciation, and you should ask how to look at your own paintings. Ask and ask, trap yourself in it, overturn and start over. But not long after, I withdrew and became a different look. Therefore, when I was still fascinated by her modern forest seclusion, she had entered the barrier of the South Mountain; when I applauded her "routing and gathering mountain method", she began to change her mind to meditation and sit in the carefree garden; when I was immersed in the drunken and poetic painting, she began to face the ever-changing weather, releasing her feelings in the layers of mountains and valleys. This time became the norm, and there were obvious differences between each transition. Thinking that those who "learn to paint" are still circling around on the road of innovation, she has already flipped back and forth several times.
Tranquility, 32-67cm Rice Paper Pastel, 2010
"True Water Without Fragrance", 32-67cm Rice Paper Pastel, 2010
"Shangshan Ruoshui", 32-67cm Rice Paper Pastel, 2010
The landscape is a narrow road in contemporary times, while the green landscape is obviously narrower, others squeezing the gap to drill forward, but she raises her sleeve, that is, hovering in mid-air. High vision, good talent, plus no limitations, this is her cultivation and skill. Looking at it backwards, it is actually the result of a painful struggle between hands, eyes, and hearts.
Text: Liu Zifeng