At this time the style who can write Hi have Hao Liang Cui Zi Xi
——A Brief Discussion on the Characteristics of Yang Liqi's Goose Painting Brush and Ink Technique (Excerpt)
Text/Zhao Qibin
Yang Liqi is a powerful contemporary painter of gongbi flower and bird, who fully understands the traditional brush and bird brush and ink techniques of the mainland, especially the late Tang, Five Dynasties, and Song And Yuan Gong pens and birds brush and ink techniques, and creates a unique brush and bird brush and ink technique for painting creation according to the needs of painting creation and its years of painting practice, and establishes a painting art style with deep personality characteristics. The characteristics of Yang Liqi's brush and ink technique are first manifested in the comprehensive and comprehensive inheritance of the late Tang Dynasty, five dynasties, and Song and Yuan Gong pen flower and bird paintings, and the other is in the choice of painting materials. Yang Liqi combines the brush flower and bird technique and the freehand flower and bird technique and the elements of modern painting to create flower and bird painting on raw rice paper, which provides the most basic conditions for the formation of his distinctive painting artistic characteristics. His goose-painted paintings are made possible by his skillful use of this brush-and-ink technique. The formation of Yang Liqi's fresh and elegant, exquisite and elegant and dashing painting style is related to the use of his unique pen and ink techniques, which makes the traditional brush flower and bird paintings shine in his hands and present outstanding artistic expression.
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Yang Liqi's goose paintings show many unique pen and ink techniques, and it is his skilled and exquisite pen and ink techniques that add many highlights to his goose paintings. Yang Liqi's pen and ink technique not only has a more transformative side, especially a more personality-changing side, but also has more value and significance. Yang Liqi has made active explorations in the field of transformative brush painting of flowers and birds, and his technique of painting flowers and birds with revolutionary brush is the result of the combined action of the era in which he lived and his thoughts and emotions. As Fu Baoshi said:
Pen and ink technique not only comes from life and is subordinate to a certain thematic content, but also is the pulse of the times and the reflection of the author's thoughts and emotions. (Fu Baoshi, "When Thought Changes, Pen and Ink Can't Stay Unchanged" (1961))
Because the times have changed, people's life feelings have also undergone new changes, with different life feelings from the past, all of which must be expressed through changes in pen and ink. Pen and ink techniques originate from life, and are subordinate to a certain thematic content, and at the same time are a reflection of the times, a reflection of the author's thoughts and emotions, the times have changed, and the pen and ink forms and pen and ink techniques of Chinese painting will inevitably change accordingly. Chinese painting should be actively transformed, showing a life that is not moving, enriching its life, and showing the interest of growth, in order to truly show its cultural value and spiritual value. In the application of the brush and ink technique of goose painting theme, Yang Liqi constantly breaks through the stereotypes and self-limitations, and actively changes the law, reflecting his correct attitude and insights on art, culture, history, society and real life. Without profound cultural literacy and profound understanding of traditional painting, without their long-term accumulation of life and arduous exploration in painting creation practice, it is difficult to have such a painting concept and pen and ink technique awareness formation and use.
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Yang Liqi has his own distinct principles for the inheritance and application of traditional pen and ink techniques, and he has a unique understanding and insight into the application of ancient methods of flower and bird painting, he said:
The traditional brush technique we want to inherit, the ancients have a lot of very good, we are now difficult to reach the place, with the passage of time, the development of the times, we have lost a lot of ancient methods, such as the traditional brush flower and bird painting of the brush painting technique, three alum nine dyes, layer by layer rendering, the use of traditional mineral pigments, material and technique is consistent, for example, the gun has a gun knife and knife method, is two completely different methods. The pigments we use now are completely different from the pigments of the past, and the methods used are different, and the changes in the materials used will also change the techniques. Now when students are painting Song, we have no way for them to copy according to traditional techniques, because the material has changed, and we no longer need to do the same as in the past, such as dyeing cinnabar and dyeing stone green in the past. We now have a change in materials that no longer need to be priming as in the past, and the use of mineral pigments in complete retro is not only expensive, but also the blending method of many pigments has been lost. Even we may not be able to fully grasp the techniques of the past, let alone teach them to students? Moreover, if all the ancient methods are used to paint the engineering quantity is huge. Ancient laws need to be inherited, but the process of inheritance is full of difficulties, and we need to overcome them a little bit. As for innovation, I think innovation is about finding its own way out of the existing situation. Use new materials and new techniques to find your own new methods.
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It is believed that the pen and ink techniques of the ancients play an extremely important role in the formation of painting style characteristics and the volatilization of personality talents. However, we cannot be superstitious about the pen and ink techniques of the ancients, and we must choose the ancients' pen and ink methods for my use according to our own creative needs and personality characteristics, rather than sticking to the ancient law and not knowing how to adapt. At the same time, the changes in many conditions in objective and subjective conditions are impossible and do not allow the observance of ancient laws to remain unchanged. But do not know the ancient law, the creation of no basis, a daze, that is also not allowed, we must be skilled in the ancient techniques on the basis of creatively expand the new method of painting creation, in the painting creation can be like a master of the luck of the hand, to obtain a more free painting creation space and artistic techniques. So he further concluded:
Most of my early days were painted with ink, which was basically a bit like the relationship between black and white and the feeling of sketching, except that I used ink to express, like many Song and Yuan landscape paintings. Now there are some changes, and I like to use color.
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He believes that his early pen and ink techniques are "like the expression methods of many Song and Yuan landscape paintings", and also recognizes his efforts and experience in learning the ancient methods and boldly changing the law. Yang Liqi found his own pen and ink techniques in the paintings of the late Tang Dynasty, the Five Dynasties and the Song and Yuan Dynasties, and presented a unique black-and-white visual effect in the goose painting theme painting, which has his inheritance and bold transformation of the brushwork of the late Tang, Five Dynasties and Song and Yuan Dynasties, and presents the aesthetic meaning and mood of dreamlike, elegant and elegant in the black and white brush and ink. The emergence of Yang Liqi's painting artistic characteristics and painting situation is undoubtedly the result of the combination of the ancient pen and ink techniques and the practice of self-painting creation. Yang Liqi has achieved the secret communication between ancient methods and his own methods in the creation of goose painting theme paintings, and tried to use different pen and ink techniques to create, which is indeed a successful example of the use of pen and ink techniques that are very flexible and practical.
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Yang Xiaoqi was born in 1979 in Zhaoyuan City, Shandong Province. He is currently an associate professor and master tutor of Nanjing Academy of arts; a member of the Nanjing Municipal Committee of the Chinese People's Political Consultative Conference; the vice chairman of the Nanjing Flower and Bird Painting Research Association; the vice president of the Jiangsu Zixun Calligraphy and Painting Institute; and the vice president of the Calligraphy and Painting Institute of the Jiangsu Collectors Association.
exhibit:
2021 College Classic National Art Academy Young and Middle-Aged Small Brush Works Exhibition
2021 Jiangsu Provincial CPPCC 100th Anniversary Calligraphy and Painting Exhibition
2019 "Oriental Art Beauty. Ink Painting Exhibition "Hatsuho Art Museum, Osaka, Japan."
2018 "Writing a New Era and Envisioning the Chinese Dream- Calligraphy and Painting Exhibition of the Nanjing Municipal CPPCC Commemorating the 40th Anniversary of Reform and Opening Up"
2018 "Hong Yue Shenmei" Exhibition of Teaching Achievements of the 40 Years of Reform and Opening Up of Chinese Painting and Calligraphy majors of Nanjing University of the Arts
2018 Calligraphy and Painting Exhibition to Commemorate the 70th Anniversary of the Founding of the Revolutionary Committee of the Chinese Kuomintang and the 140th Anniversary of the Birth of Mr. He Xiangning
2018 Melt. He-Nanjing International Cultural Exchange Center Famous Works Exhibition
2018 Brahman. Direction" - Yang Liqi gong pen flower and bird painting exhibition in Tokyo, Japan
2017 "Cultural Benefits the People And Then Departure" Water Side Nanjing Fine Arts Photography Exhibition
2017 Nanjing Flower and Bird Painting Research Association first council work exhibition
2017 Shenzhen Beauty - Nanjing Academy of the Arts 105th Anniversary Celebration Calligraphy and Painting Young Masters Group Exhibition
2017 Jinling Xinyun - Invitation Exhibition of Young and Middle-Aged Calligraphy and Painting Artists in Jiangsu
In 2017, he participated in the national flower and bird painting exhibition of art colleges and universities in the new context of painting language interpretation
In 2017, he participated in the Chinese Contemporary Buddhist Art Exhibition
2017 College New Phalanx Decadal Exhibition
2016 7070 Contemporary Chinese Painting Artist Nomination Exhibition
2016 Be your own nobleman - Yang Liqi Gongbi Flower and Bird Painting Exhibition
2015 Hong Kong "Ink Jiangnan" New Chinese Painting Exhibition
2015 Paper Qiankun "China Art Newspaper" 20th Anniversary Calligraphy and Painting Famous Artists Invitation Exhibition
In 2015, he won the silver medal of the first Jiangsu Provincial Art Fair
2015 The 7th Exhibition of Chinese Calligraphy and Painting Masters
2015 Lu NingHui invited exhibition of calligraphers and painters from Ningqi Lu
2015 Academy New Phalanx
2014 The first "post-70s" ink painting exhibition
2014 "Painting for China" National Higher Art College Flower and Bird Painting Teaching Seminar Teachers and Students Exhibition
2014 Yang Liqi "The Story" Hong Kong solo exhibition
2014 Ink to The Abnormal State of China Contemporary Ink Painting Invitation Exhibition
2014 Ten Bamboo Painting Academy 2014 Annual Young Artist Nomination Exhibition
2013 Jinling Evening News Nomination Exhibition for Young and Middle-Aged Artists
2013 Zhuzi Impression 70 Pioneer Contemporary Ink Painting Invitation Exhibition
2013 "Watch Classics" Centennial Ink Painting Exhibition
2013 Group Exhibition of Calligraphy and Painting of Nanjing Academy of arts, National Taiwan University of the Arts
2012 China-Korea Exchange Exhibition
2012 Xiamen National Gongbi Painting Biennial Invitation Exhibition
2012 Hong Yu Shenmei Nanjing Academy of the Arts Centennial Celebration Teachers and Students Art Works Exhibition
2011 Invitation Exhibition of Contemporary Young Masters of Chinese Painting
2011 National University Aesthetic Education Alliance 2011 Academic Invitation Exhibition of Chinese Painting Works
In 2009, he participated in the invitation exhibition of contemporary art masters
In 2009, he participated in the invitation exhibition of contemporary art masters
In 2009, Yang Liqi held a solo exhibition of Yang Liqi's past at the Yangmotang Art Museum
2009 Contemporary Flower and Bird Masters Collection
Won the 2008 Contemporary Art College Students Annual Nomination Exhibition Tian Liming Award;
2008 National Academic Invitation Exhibition of Chinese Painting to Commemorate the 30th Anniversary of Reform and Opening Up.
Silver Award, 2007 Annual Nomination Exhibition for Contemporary Art College Students;
Participated in the 3rd Chengdu Biennale in 2007;
publication:
In 2019, the new classic of Gongbi "Su Wei Xuan" was published
In 2019, Yang Liqi's paintings were published from the line - teaching and research on Chinese painting in the Academy of Fine Arts of Nanjing University of the Arts
In 2018, the 12th issue of "Big Art" was published
In 2018, he published the album of Yang Liqi's paintings "The Direction of the Heart of Brahma"
Published "Art and Design" in 2017
In 2016, he published the collection of works of contemporary Chinese young artists in 2016
In 2015, he published shengqi youth, a collection of works by contemporary Chinese young artists in 2015
2015 Publication of "Notes on Birds of Literature"
2014 Publication of Zoo
In 2014, he published shengqi youth, a collection of works by contemporary Chinese young artists in 2014
In 2014, he published the journal "Nanjing Social Sciences"
In 2014, he published "Painting for China" and the exhibition of teachers' and students' works of the National Higher Art College Flower and Bird Painting Teaching Seminar
Teacher's Portfolio
In 2013, he published shengqi youth, a collection of works by contemporary Chinese young artists in 2013
Published in 2013 Chinese Painting and Calligraphy
Published in 2013 Oriental Collection
2013 Publication of Watchman Classics
2013 Published "Modern Gongbi Bird Painting Method"
In 2012, he published "Monogatari" National Excellent Course, Nanjing University of the Arts, Chinese Painting Technique Course
Published in 2012, Beijing Evening News is a collection of fine artists with new sharp brush strokes
Published in 2012 Oriental Art
In 2011, he published "Painting Realm" Yang Liqi brush flower and bird painting exploration
Published in 2009, a collection of fine works by aesthetic and new sharp brush painters
In 2008, he published a collection of contemporary Gong Pen Paintings by Yang Liqi, a new force of aesthetic beauty