Each has its own spiritual seedlings: the meaning and appearance of Liu Liangliang's oil paintings (excerpt)
Text/Li Zhaoxia (Professor, Doctor of Fine Arts, Nantong University)
The expression of "meaning" and "phase" is specifically the metaphysical "shape" and "color" and their combinations, and conveys the voice of the painter through various forms and their different combination forms. The expression of "environment" is also focused on the use of pen and ink color, the operation position, and the image into a painting. Liu Liangming once used the metaphor of "that is, the state of mind" to express his understanding of painting. In his view, "the clarity of a work of art lies in the artist's realm, the voice of the heart, the so-called realm viewer." The mirror is clear and the realm is revealed, and the mirror is cloudy, and the mind is unobservable, and the situation appears. The artist's intention is nothing more than the eye and ear, if it is in the eye, it is all kinds; if it is in the ear, it is the sound. Liu Liangliang just freely smeared with form and color, intention and phase, expressing his heart.
Floral And Peach Blossom Series, oil on canvas 80x34cm
In his paintings, it is difficult to find a clear and specific shape of the object of expression, but we can distinguish the content and artistic conception expressed at a glance through the block surface of its color, which may be a touching place in his works. His "Auspicious Tara" series, "Flowers" series, "Scenery" series, "Plain Heart Like Snow" series, etc., especially the "Lotus" series and "Peach Blossom" series in the "Flowers" series, build the image of "imagery" between "similar and not similar", dashing and sprinkling, wantonly smearing, that touch of deep and shallow red, green, yellow, gray and other colors stir between the pictures, free and unrestrained. Language and technique are relaxed and harmoniously unified in Liu Liangliang's image paintings.
Still Life Pumpkin Winter Melon 45x36cm
In form, he wanders between figuration and abstraction, emphasizing "phase" rather than "image". The choice of its shape focuses on the expression of flatness, attaches importance to the linear texture, and at the same time can combine the interactive relationship of the line surface to strengthen the dual properties of the line: the line as a contour and the line as a "line" quality, which strengthens the aesthetic and writing effect of the line itself. For example, in his "Su Xin Ruo Xue Series - Early Spring", the line is not used as an extension of the outer contour binding surface, but with the face of each posture, long and short, or loose or tight wandering in the picture, he expresses the quiet state of mind in the early spring, the different states of the early spring, borrowing things to see people, borrowing things to refer to people. Observing Liu Liangliang's picture, it is not difficult to see that its "line" does not lie in the shape but in the performance, not the "real" line, but the "virtual" linearity. If "writing shapes in shapes" lies in the shaping of "images", liu Liangliang's paintings emphasize the writing of "images".
Buddha statue series Tara 36x45cm
In color, between the subjective color and the objective color, find a method and color gamut that suits the needs of their own expression. There is both the cold and warm relationship of Impressionism, and the color expression of post-impression and modernism. Its grasp of color is very good, can reconcile the conflict between cold and warm tones, and present the color brightness of gray tones on the overall picture, so that the painting gives people a soft visual aesthetic effect. For example, his works such as "One Flower and One World" and "Peach" contain rich layers of colorful colors, and the brushstrokes are full of color, but the colors in the paintings are not ostentatious, both rich viewing points and integration with the picture, without jumping out. Combined with the theory of "color with color" in Chinese painting, Liu Liangliang's painting focuses more on the "appearance color" of mental writing, rather than just the "color" of "color with the class".
Buddha statue series 2 Tara 36x45cm
For Liu Liangming, his painting is not to reproduce objective things, the "shape" of the essence of things is not the content he wants to express, and the expressiveness of painting is the picture effect he wants to pursue, and the "realm" composed of line color and virtual reality is the essence he wants to express. His "Lotus" series of works is ethereal and bright, and the vase flowers are both simple and complex. The "Landscape" series paints the most ubiquitous scenes, which are expressed by Liu Liangliang, with thick or dead trees, staggered houses, winding paths, black and white sailing ships, etc., forming a rhythmic country song. His paintings are not limited to the traces, but the elements of the paintings are also immersed in them, and the skillful use of flatness and decoration creates a quiet and pure artistic conception.
Liu Mingliang Landscape Series 940× 50cm 2020 Oil on canvas
"Yi" is known as "gentleman into moral cultivation", Liu Liangming read poetry books, anthropology, sociology, fine arts, literature and other books he dabbled, and recorded more than 200,000 words of reading notes. At the same time, he also studied traditional culture intensively, and the cultivation outside the painting nourished the order in the painting, understood the soul, and gained fun. As a result, thousands of worlds, in Liu Liangliang's oil paintings, are simplified to pen and ink, color, shape and form, that is, Zong Bing's words that "reason enters the heart and appears outside the traces" and his mental traces are also integrated into it, and with the shape of the picture spreads, the spiritual seedlings of his mind evolve into a continuous exploration of the picture.
Liu Liangming Floral Series 6 36x45cm 2020
Liu Liangliang Auspicious Tara Oil on canvas 40x120cm
Backlit landscape 60x60cm
Su Xin Ruo Xue series 40x50cm
Liu Mingming
Born in 1972, Xintai, Shandong;
Professor, Ph.D., School of Fine Arts, Qilu Normal University;
Member of the Chinese Society of Art Anthropology;
Vice Chairman of Jinan Literary and Art Volunteer Association;
Vice Chairman of Jinan Artists Association