【Editor's Note】On April 17th, "Inheritance and Pioneering - Laizhi Steel Ink Art Exhibition" opened at the National Academy of Painting of China. The exhibition is jointly sponsored by Guangdong Museum of Art, Li Keyan Painting Institute and China Art News, and organized by Shenzhen LaizhiGangji Ink Landscape Painting Culture and Art Development Co., Ltd., with the theme of "inheritance and development", and exhibits more than 100 classic works of painter Laizhigang. This exhibition is a concentrated report display of Laizhigang's artistic creation achievements for more than 40 years.
On the afternoon of the same day, the academic seminar of "Inheritance and Development - Laizhi Steel Ink Art Exhibition" was held at the National Academy of Painting of China. The seminar was presided over by Wang Yong, a researcher at the China Academy of Art, Sun Ke, former vice president of the Chinese Painting Society, Wang Zhong, former editor-in-chief of Fine Arts Magazine, Chen Chuanxi, professor of Chinese Min University, Shang Hui, president and editor-in-chief of Fine Arts Magazine, Wang Luxiang, researcher of the National Academy of Painting of China, Wu Hongliang, president of Beijing Academy of Painting, Wang Ping, president and editor-in-chief of China Art Daily, Zhang Dang, professor and doctoral supervisor of Tsinghua University Academy of Fine Arts, Yu Yang, professor of Central Academy of Fine Arts and deputy director of the National Thematic Art Creation Research Center. Chen Ming, deputy director of the Theoretical Research Institute of the National Academy of Painting of China, attended the seminar, and art theorist Liu Xilin sent a handwritten letter for the seminar. Experts and scholars made a comprehensive theoretical analysis of the historical origin, artistic characteristics and innovations of Laizhi steel ink art, and studied the ink art of Zhizhi Steel as a case study, and discussed the era proposition of Chinese ink painting in contemporary inheritance and pioneering innovation.
Seminar site
【Seminar Summary】
Wang Yong (academic host of this exhibition and researcher of the China Academy of Art): As a re-disciple of Li Jia Shanshui, Lai Zhigang inherited the Li Family Landscape - Jimo Painting, and developed Jimo Painting to the extreme to a certain extent. I call his ink paintings rich and simple, and they have a unique ability to deal with the changes in black, white and gray tones, creating a very majestic and profound artistic conception, and even a sense of tragedy. Laizhigang has been working hard for decades, from a grassroots painter to now having a place in the field of landscape painting, showing us the mental state of contemporary painters who have struggled hard. At the same time, in his ink landscape, I vaguely feel his deep feelings of home and country. Just as the Chinese nation has truly risen from its miserable situation to the present day, the sense of tragedy in its landscape paintings is intrinsically related to this. Lai Zhigang's works, whether from the technical point of view or from the artistic point of view, have opened up the traditional ink landscape painting.
Sun Ke (Former Vice President of the Chinese Painting Society): Mr. Kejian is the real peak of Chinese landscape painting! Laizhigang is the third generation of Lijia Shanshui. From the works of ZhiGang, it can be seen that he has made great efforts. Moreover, his attitude towards art is very strict, which is also the inheritance of the spirit of Li Pai's landscape. Lai Zhigang's works, while exploring and inheriting the Landscape of Li Pai and The Landscape of Jimo, have also formed their own style, and the artistic conception and meteorological atmosphere of the picture are different from others. Laizhigang's paintings are magnificent, and the aspects of mountains, water, clouds, gas, and trees are well handled, creating a new characteristic of landscape painting. In addition, Laizhigang also has a unique exploration and creation in the creation of sketching.
Wang Zhong (former editor-in-chief of Fine Arts Magazine): The concept of "Xionghun" has been pursued by painters for generations, but in Chinese painting, it is very rare to feel xionghun. A few years ago, I saw the painting of Laizhi Steel, which made me feel "majestic" immersively, which was not easy. Lai Zhigang's composition is panoramic, and like a great director, he grasps the key parts and expresses the complex internal structure of the landscape in a tense form, forming a shocking composition. Most of the steel companies have chosen the extreme of mountains and rivers, and in the way of "full screen" and leaving no heaven and earth, they have constructed a tragic, symphonic, epic-like effect, with the momentum of black clouds pressing the city to destroy, grasping people's vision, and shocking people's hearts, he did it. In addition, the ink used in Laizhi Steel is also very distinctive, he learned Huang Binhong, Li Kejian, etc., can be integrated into such forms to be used and developed...
Liu Xilin (Research Librarian, National Art Museum of China): Time is merciless, and the history of painting is like a shuttle, as if yesterday it was still discussing the inheritance chain of landscape painting in the 20th century from Huang Binhong to Li Keyan to Jia Youfu, and today it is connected to the steel, as if I saw the evolution trajectory of this landscape chain in the 21st century, and it is a steel rail. Zhigang inherits the context of modern landscape painting, and also conveys changes in the inheritance and obtains new life in the changes. The change of the branch steel, supported by the general trend of the rise of thousand rocks shaped by the accumulation of ink, may depend more on the thick charm of the cloud smoke weather that sweeps freely. The ancients had the saying that "clouds stay for poetry", which showed the magic of Chinese poetry and painting. Zhigang has enlightenment, so the number of cloud Zen, like to paint long clouds like arrays, clouds like dance, light like the image of radio, for thousands of rocks and valleys draped in colorful clothes and long sleeves, with ink elephants for the rhyme of poetry, to get the black and white world style, to get the mountains and rivers are beautiful, the way of honest Lao Tzu is also.
Zhigang is good at summarizing the laws of art, and his works embody a kind of atmosphere, a realm, a kind of fire, and a great beauty. I believe in his talent and understanding!
Chen Chuanxi (Professor of Chinese Min University): Laizhigang's "inheritance and pioneering" summed up: inheriting the ancients, inheriting Li Kejian, and then pioneering and changing, forming their own appearance. He started with sketching, generalized and refined, and then exaggerated, which is very good. In particular, the clouds he painted were one of his great inventions. In the past, Chinese painting paid attention to lines, clouds were outlined, but the clouds that came to support steel were without lines, and the water was also without lines, and the method of drawing clouds with ink reached a height, showing his deep accumulation. In addition, I thought that Laizhigang's inheritance of Li Keyan was more of an inheritance spirit, with great courage and great momentum in painting, which was very remarkable. Laizhigang is still young, on this basis, there are famous teachers to guide, there are traditional techniques, coupled with boldness, I believe his paintings will go to a higher level in the future!
Shang Hui (Director of the Art Theory Committee of the China Artists Association, President and Editor-in-Chief of Fine Arts Magazine): Laizhigang's personality symbols are relatively distinct, he paints black, thick, and has the effect of backlighting side light, which are the basic characteristics of Lijia landscape. However, Laizhigang landscape painting in the great majestic momentum and other Li family landscape is very different, his painting of "Art Road" and "Cloud Dao", not completely from the reality of the landscape, intended to change Mr. Li Keyan's extraction from the natural mountains and rivers of the creative way, more embodies their own subjective imagination, this is the spiritual mirror landscape, indeed as Mr. Wang Yong said there is tragedy, but also with a sense of mystery, Laizhi steel painting is particularly large, particularly full, but also particularly dense, partial look is more shocking, The whole allows the viewer to be in a fantasy state, which is exactly the style of Laizhi Steel Landscape - Landscape Mirror. Lai Zhigang's works, such as "The Great Tide", are repeating the changes of a certain section of landscape, a certain section of clouds, and a certain section of waves, and this kind of reproduction is very good, with a sense of rhythm of the picture and an exploration of its inner formal laws. His ink-based treatment of clouds and water is a kind of isolation from amorphous lonely image to a stereotyped lonely image, making them a world that we can touch, and in this sense, Laizhigang has changed our understanding of the tradition of landscape painting. In addition, I think that all this momentum in the Picture of Laizhi Steel comes from the pursuit of dynamics, this sense of movement and all the landscape paintings we see pursue quiet, meaning is completely different, which is also different from Li Kejian's works, not completely ink to present the texture of the landscape, this is the creation of Laizhigang, so he can paint clouds and water like the same volume as mountains and stones. In this volume, he pursues a kind of fantastic change, which is the artistic characteristics of Lai Zhigang himself presented from the depths of his heart.
Wang Luxiang (Researcher of the National Academy of Painting of China): Mr. Zou Peizhu, the wife of Mr. Li Keyan, personally wrote the inscription "Inheritance and Pioneering" for Laizhigang before his death, which is deeply pinned on, and this sustenance is also the biggest theme in the development of Chinese culture and Chinese art. Today's exhibition is held at the National Academy of Painting of China, in fact, it is also a tribute to Mr. Li Keyan in a sense, and to answer Mr. Zou Peizhu's proposition. Mr. Li Keyan's dying instructions to Mr. Li Baolin said that he wanted to suddenly change and change greatly, and he also hoped that Chinese painting could develop again..., so laizhigang's decades of exploration and creation are also an answer to Mr. Kejian's dying instructions. From the works of Zhigang, we can see the inheritance of LiJiashan' landscape, the continuation of such a "gene", of course, there are also "variations". Laizhi steel paintings give people a baroque feeling, light and shadow are confused, many side lights, backlight, including brilliant light, cloud light, water light, mountain light, tree light, a variety of light to build the visual characteristics of Laizhi steel ink art. LaiZhigang inherited the Li family landscape in the ink accumulation method of painting landscapes, and he is indeed the third generation of the Li family landscape.
Wu Hongliang (President of Beijing Academy of Painting): "Inheritance and pioneering" is not only a topic given by Mr. Zou Peizhu to Laizhigang, but also an expectation. There is "fullness" in Laizhigang's works, but in his "fullness", there is his modern sense of composition, and in his "fullness", we see his ethereality, which through the "water" and "cloud" in his works, allows us to find his personality language from it, which grows more and more in the logic of inheritance. After reading so many wonderful works of Zhigang, it is certain that he has spent a lot of energy and has his own unique visual program, but in the logic of the modern space system, painting and the viewer are related, so there is still room for the painter to think about re-creating from the perspective of the viewer. Looking at his paintings, I can't help but think that nowadays we can solve many problems with new technology, but what different ways of thinking can the painter provide the viewer, which is an interesting proposition. From the perspective of the current development of Chinese painting, I think that after the unity of the spiritual energy of pen and ink itself is raised, there is actually a lot of homework to be done.
Zhang Gan (Professor, Academy of Fine Arts, Tsinghua University): Landscape painting should enter our current life and be related to the current aesthetic, in this sense, Lai Zhigang's works are very interesting. The works of Laizhi Steel are generally very imposing. On the basis of "foreign teacher creation", he accepts the "gift" of external nature to inspire him, and on this basis, combines his own feelings and cultivation, and then presents it with pen and ink language. He did not completely detach himself from the object and maintain contact with nature, but he did not directly take nature as an objective portrayal, and in a very subjective form, condensed a lot of the artist's emotional expression, from here it can be seen that in the creation of Lai Zhigang has an understanding of the essence of Chinese landscape painting. Lai Zhigang is particularly unique in painting clouds, and he uses the ink accumulation method to make the clouds vivid. In general, on the one hand, Laizhigang goes deep into the tradition, on the other hand, with the aesthetic intention of contemporary people, the language of art itself is explored through the east and west, there is no doubt that this can create some works that conform to the spirit of the times, and can also make his works circulate for a longer time, and can also impress more audiences.
Wang Ping (President and Editor-in-Chief of China Art News): The artistic style of LaizhiGangshanshui not only inherits Mr. Ke Dye's painting style, but also stems from his teaching of Jia Youfu's skills in the learning process, but at the same time, he has also completed a personal breakthrough in Mr. Li Keyan's painting style. The paintings we see today are larger, fiercer, denser, and darker, which is precisely the characteristic of the language of laizhi steel art form--clumsy, heavy, large, and thick. In particular, Lai Zhigang has broken through his own world in the accumulation of ink painting landscapes and smoke clouds, achieving a breakthrough in the traditional landscape pattern, and also reflecting his return to the traditional Chinese literati pen and ink feelings. In general, Laizhigang's works embody the majestic and sublime beauty, which is an intrinsic echo of some of the realistic artistic issues in the development of our times and the spirit of the times of our nation today. I think this is a key factor in everyone's affirmation of Laizhigang's works.
Yu Yang (Professor of the Central Academy of Fine Arts, Deputy Director of the National Thematic Art Creation Research Center): Laizhigang's paintings are a pure ink expression and a variation of gray tones, showing the richness of the pen and ink color scale. His large-scale paintings have a symphonic feel, and the medium-sized ones remind us of arias. In the ink to find the richness of the five colors, this is also a very conscious choice of laizhi steel, a kind of seeking. In the personalized expression of the pen structure, Lai Zhigang produces a subtle new style with the superposition of Seiko dense, ink accumulation, and ink rhyme, from a detailed point of view, his mountain stones, water, etc. show a sense of carving, solidification, the shape of the clouds he paints, he paints the bones of water, the waves in his pen are easy to indulge, even a bit like corals, trees, flowers, which are captured from a fluid moment, so his landscape paintings will have that sense of desolation, sublimeness, or majesty. In the use of pen ink, Lai Zhigang not only witnesses his own personality, but also reflects his control over ink, and the style is self-contained.
Chen Ming (Deputy Director of the Theoretical Research Institute of the National Academy of Painting of China): Laizhigang is the third generation of LiJiashanshui. The inheritance relationship of Laizhigang's painting language is very clear, that is, it inherits the context of Li Jiashan's landscape, especially the technique of accumulating ink, which has reached a very high level. The accumulation of ink in Laizhigang is based on the grasp of the characteristics of ink painting, which is based on Mr. Li Keyan's pen and ink skills, but in the use of water and ink, he is a little different, more use of the transformation of water and multi-terminal characteristics, he shows the landscape has a magical effect, especially a large-scale work, imposing, has a huge attraction. The works of Laizhigang are online and the use of points, set points as lines, which is the starting point at the beginning, and gradually develops to points close to the surface, so it looks a bit like the modern abstract painting effect up close. In terms of chapters, full and dense is the biggest feature, but it is not layered and impermeable, but it opens up the veins in a clever way of leaving blank space, forming the effect of the flow of air between ink and color, so that the picture has a strong sense of life and a majestic sense of music. In general, the landscape of Laizhigang is based on the development of Song and Yuan landscapes, and even modern landscapes, constantly adding subjective imagery, and finally forming such an unforgettable appearance.
【Famous Reviews】
Today I am very honored and very happy to see a very wonderful exhibition of Chinese paintings at the National Academy of Painting of China. The painter Lai Zhigang made a comprehensive exhibition of his works at the National Academy of Painting of China. Walking into the exhibition site, I felt a huge shock. The first feeling of these works is grandeur, including several huge ink landscapes, showing the great rivers and mountains of the motherland and the beautiful scenery spanning ancient and modern times. At the same time, there are also a series of wonderful sketches and some banner works, which contain the poetic understanding and interpretation of the painter.
The whole exhibition made me feel the long history of Chinese culture. The thickness, momentum, majesty and majesty of Chinese culture are fully displayed in the works of LaizhiGang, which is very imposing and has a great visual impact. This is one of the few good exhibitions I've seen over the years. Lai Zhigang's creation has his own unique style, but his research on traditional Chinese painting is very deep, and he has made in-depth exploration of traditional Chinese painting from ancient times to the present, and later learned with Jia Youfu and Li Xiaoke. Such a learning and research experience makes his artistic starting point very high, and it can be said that he stands on the shoulders of the master.
In the process of learning, exploring and researching, Laizhi Steel has inherited not only excellent traditions, but also has a lot of innovation. General Secretary Xi Jinping's requirements for literary and art workers are to adhere to the inheritance of China's excellent traditional culture, and at the same time to creatively transform and innovate. As an artist, you are expensive in innovation and you are in creation, so we can see the styles of predecessors such as Li Keyan, Huang Binhong and Lu Yushao in Laizhigang's works, and at the same time, we can also feel that Laizhigang jumped out of the paradigm of these predecessors.
These works are completely ink, colorless but very heavy. His paintings are characterized by winning in black and white. This kind of black is relatively rare among the current Chinese painters, and I think it should be a result of exploration on the basis of Li Keyan and Huang Binhong, because the expression technique is not the same as the technique and the two predecessors, the black is transparent, the black is thick, and it is very charming, so it is very rare.
In addition, the picture is vigorous and warm, and the elements such as meteorology, rhythm, and pattern are very well grasped. Although the picture is black, the contrast is very strong, which makes people feel that the meteorological pattern is extraordinary, that is, "vivid and vivid". Traditional Chinese painting pays the most attention to lines and charm, and if these two are handled well, the spiritual essence of Chinese painting is grasped, and elements such as aesthetic pursuit can be reflected. The current Chinese painting in terms of freehand, in the understanding of the line compared with the tradition has a lot of faults, in the meteorological pattern is also for innovation and "innovation", but we often say to keep the right innovation, the picture should have a healthy atmosphere, to have positive energy, to bring people the pattern and realm, in these aspects, to support steel to do a good job.
Each of these paintings seen today has taken a lot of effort, and this rigid brushstroke, the old and spicy lines and his gentle brushstrokes take a lot of time to think about it repeatedly. His work also has two characteristics. The first is the performance of light, Chinese painting often does not emphasize the performance of light, but in fact, in ancient times, when painting clouds, clouds, clouds, the process of using black and white contrast, in fact, is also a kind of expression of light. In the performance of Laizhi Steel on the clouds, there is a particularly strong sense of light. When he expressed the clouds, he did not use lines, not through lines to outline like Lu Yushao, but completely used ink rhymes and the use of light to express the relationship between clouds and pictures, forming a strong contrast. The momentum of the mountain, the lines of the mountain, and the expression of the pen and ink swirling in the clouds are coordinated together, and the relationship between light and heavy, movement and static is reflected in the picture. In addition, his performance of light is actually more flexible, which is different from Li Keyan's backlighting method, and has his own understanding and innovation.
These works of LaizhiGang are worth visiting, learning and exchanging. How to inherit Chinese painting in contemporary times, how to reflect the times, how to innovate is a problem worth thinking about for each of our painters, and the works of Laizhigang seen today should be said to reflect these characteristics: inheritance, innovation, and reflect the prosperous weather and pattern of the new era.
- Xu Li
(Vice Chairman of China Artists Association)
Compared with a few years ago, the works exhibited by Lai Zhigang this time have changed a lot, which can make us feel his extraordinary creativity. The works he exhibited this time have been greatly improved in terms of ideology and artistry, reflecting more attention to the subject matter, making us feel that he has a very profound ideological height and ideological connotation on the basis of creating a certain artistic realm. At the same time, he also raised his concern for art in the general sense to the grasp of the national spirit, and he took a big step forward in the spiritual grasp of the artistic language of the national style and national style characteristics. He is an artist who respects the national cultural tradition, loves real life, and has innovation and creativity in artistic practice. Inheritance and innovation are the needs of our times and the requirements of the times, so today such an exhibition with the theme of "inheritance and development" held by the National Academy of Painting in China also hopes to play a good leading role.
--Lu Yushun
(President of the National Academy of Painting of China)
Laizhi Steel Baishui Zhai Flying Waterfall Figure 250cm× 160cm
After watching the exhibition of LaiZhigang, I felt very shocked, and his large-scale works were large but not empty, and they were very connotative. Chinese ink painting such a large scale of works, if not grasped well, is usually difficult to stand, but the connotation of his pen and ink, he can create this kind of large painting with sufficient durability, this is not simple. This shows that he has a very good grasp and understanding of the traditional language of Chinese painting. In addition, some of his small landscape works, both sketches and creations, small but not simple, don't look at the small size, but the space is large, the pattern is large, which is also a visual impact on me. His works have a heritage at a glance, from Li Ke dyeing to Jia Youfu and Li Xiaoke, he paints ink very thick and ethereal. Inheritance is not the goal, development is the purpose, from his works can be seen that he has both inheritance and development. I hope that he will dedicate more good works to our great era in the future.
—— Yu Wenjiang
(Vice President of the National Academy of Painting of China)
Laizhi Steel Huangshan Smoke Cloud 180cm×500cm
Looking at these works of Lai Zhigang, I was particularly shocked! These works reflect the theme of the exhibition, "Inheritance and Pioneering". As a descendant of this branch of Mr. Li Keyan's artistic vein, it can be seen from his works that he has well inherited some of Mr. Li Keyan's realms, languages and techniques on the art of landscape painting. It can be seen that he inherited the ink and ink of Mr. Kejian, Mr. Huang Binhong and Mr. Gong Xian. Lai Zhigang pays tribute to tradition with his own pen and ink, pays tribute to Mr. Li Keyan, and also pays tribute to nature. His landscape is majestic and thick, and while inheriting traditional techniques, he can feel a spirit of standing on Chinese landscapes by integrating nature into his works through sketching.
--Ji Lianbin
(Former Vice President of the National Academy of Painting of China)
Laizhi steel Mountain high cloud does not hinder 248cm× 124cm
Being able to hold a solo exhibition at the National Academy of Painting in China is indeed a major event in an artist's life. In addition to exhibiting the works of researchers of the National Academy of Painting, the National Academy of Painting of China also organizes and invites outstanding artists from all over the country and the artists we expect to exhibit in the hall of the National Academy of Painting, which is also a mission of the National Academy of Painting of China. Lai Zhigang, an ink painter who came out of Anhui, is indeed a very exciting thing to be able to display his masterpiece here today. His work is very full of paintings, full of passion for ink, and he has a very mature representation of "clouds", which is indeed a great thing. His small sketches are very deeply painted, and his understanding of ink painting has made great progress over his previous works, which makes me see the efforts and persistence of Laizhi Steel. I sincerely congratulate Laizhigang on his artistic achievements, and also look forward to his more and greater contributions to Chinese art!
- Li Geng
(President of Li Kejian Painting Academy.)
Professor, Kyoto University of the Arts, Japan)
Laizhigang Sketches 46cm×34cm
Lai Zhigang's paintings, the first time I saw them many years ago, left a deep impression. In the Landscape of Li Jia, Lai Zhigang is a painter of the third generation of painters who worked harder. You can see that many of his large paintings have been painted for a long time, and each large work, every place on the picture is explained more clearly, and the painting is more in-depth. In terms of inheriting the Li family landscape and Mr. Huang Binhong's ink accumulation method, he has his own unique things. In particular, his "Big Tide" is tens of meters long, and he is very smart when he looks at it! "The benevolent Leshan, the wise enjoy the water", the person who draws the water must be very smart! It shows that the steel in the use of pen and ink and pen and ink control, can be retracted and released, very atmospheric! The "mountains" and "clouds" in his works are very well painted, I prefer his clouds, the painting is very rich, very ethereal, this is not easy in the ink, the painting is vivid and deep, very good! I hope that in the Lijia landscape, Laizhi Steel can further contribute!
--Li Baolin
(Member of the National Academy of Painting of China)
Laizhi steel Pear blossom with rain 250cm× 125cm
Today I saw the exhibition of Laizhi Steel, and I was shocked! Such a large length, full of momentum, while inheriting Mr. Li Keyan's landscape paintings, there is both a new atmosphere and a new expansion, and he shows Mr. Li Keyan's light, air, clouds and mountains atmosphere. I think Laizhigang is a very prominent and outstanding landscape painter in contemporary times. On the basis of tradition and then expand forward, this aspect is more difficult, and Laizhigang obviously has his unique artistic language, and has made very meaningful exploration and innovation in this regard, congratulating him on the success of his exhibition!
- Tang Li
(Researcher, China Academy of Arts)
Laizhi Steel Trickle Spring 136cm×68cm
I like the works of Lai Zhigang, like the work of "Yidao", I was very touched after watching it, the mountains and rivers. The ancients said that "a thousand rocks compete for shows, and ten thousand valleys compete for the current", I think this work reflects this kind of weather, and it is really the kind of weather that makes people see the mountains and rivers of the Song people. There are streams, mountains, and trees, and the artist's mind can be seen from the performance of the work. In the use of ink, there is also the somber and majestic appearance of Mr. Dye, and the majesty of the mountains such as Fan Kuan's raindrops. This exhibition of Laizhigang is very successful, reflecting his creation in contemporary ink landscape painting, it should be said that Laizhigang is a new force in contemporary landscape painting, and is a painter who walks in front.
- Fan Yang
(Artist of the National Academy of Painting of China)
Laizhigang Sketches 46cm×34cm
Lai Zhigang is an artist from Anhui, his painting style continues from the Li family landscape, especially his use of light and ink adhering to the artistic style of the Li family landscape, he through the observation of life and find a way of blending with ink and the characteristics of the pen, forming his own unique artistic style. Laizhigang learned from lijia landscape, but in his works, there are some pursuits that are completely different from Lijia landscapes, and the big waves and surging images of clouds he painted are all things that Mr. Kejian has not dabbled in. He uses the ink accumulation method inherited from the Li family landscape to paint many different themes, such as the presentation of snow mountains, rivers and waves, as a continuation of the Li family landscape, his spirit of exploration is very worth learning. I wish him as good as he gets on his artistic path in the future!
- He Garin
(Former Director of the Art Museum of the National Academy of Painting of China)
Walking into the exhibition hall, one of my biggest feelings is that the "weather" is very large, and this "meteorological big" is mainly reflected in two aspects: first of all, the use of ink, to support steel ink is very good, very thorough, showing his grasp of "qi", I see that although most contemporary landscape painters like to use heavy ink, there are not many painters who emphasize the weight of ink. In the ink of Laizhigang, you can see his skeleton, there is no contradiction between his skeleton and the relationship between ink, although some use one, two, three layers, but it is very transparent and moist to see. The second is that Laizhigang not only inherits the master, walks along the vein of the master, but also has his own feelings. Lai Zhigang's paintings are very pure, without any distractions, which fully reflects his personal skills and personal ideological connotations, and has achieved the pulse of the times. Even if it is a small painting, Laizhigang also paints a big atmosphere. Of course, it is precisely because of Laizhigang's free use of "qi", so his composition is ever-changing, let us see his paintings are not tired. Moreover, there are several directions in the picture of Laizhi Steel: one is depth, and the other is high. There is coordination and confrontation in such a picture, and the changes produced are very rich, and it will not be associated with the language of the same generation, he is very special.
- Square soil
(Executive Deputy Director of the Art Museum of the National Academy of Painting of China)
In the development process of new Chinese landscape painting, Mr. Li Keyan is a milestone and a symbol. His landscape painting works praise the mountains and rivers to realize the transformation of traditional landscape painting into modern times. Laizhigang can be said to have completely inherited the creative path of Mr. Ke Dye's landscape, and the creative content is also the main expression of "big mountains and big waters". Especially in his early works, this characteristic is fully reflected. On this basis, Laizhi Steel pays more attention to the performance of water, clouds, etc. As a representative work of Laizhigang, "Great Tide" gives full play to his characteristics and pursuits in expressing "water". In the pen and ink, the steel is used to accumulate ink, and the blank and blank ways are used to draw the momentum of the "big tide".
——Wang Fumin
(Honorary Director of the Character Painting Institute of the National Academy of Painting of China)
(Landscape view)
Laizhi Steel Road 249cm × 1134cm
Editor-in-Charge/Xuan Xuan