Praise for the contemporary calligraphy and painting artists of the new era - Wu Chengyan's works appreciation

Wu Chengyan, the person in charge of Wu Xing Calligraphy and Painting Garden, a director of the China Calligraphy and Painting Association, the vice president of the Xiamen Branch of the Cross-Strait Calligraphers and Painters Association of China, the vice president of the Xiamen Hanmo Strait Calligraphy and Painting Institute, was known as "Xiamen Excellent Teacher" in 2008, and "Xiamen Backbone Teacher" in 2009.

His biography has been included in the who's who of Chinese literature and art in the world, Chinese calligraphy art, selected inkblots of well-known Chinese calligraphy artists, a handbook of Chinese calligraphers, a collection of contemporary Chinese calligraphers and painters, a treasure trove of Chinese hanmo art and other classics. His works have been collected in Australia, Canada, the United States, South Africa, Taiwan, Hong Kong and other countries and regions, and he has participated in many national calligraphy and painting exhibitions and won awards.

Partial awards:

In 2003, he won the first prize of Nanjing (International) Calligraphy and Painting Art Exchange Exhibition;

In 2008, he won the first prize of the "China Cup" National Calligraphy and Painting Competition;

In 2005, he won the first prize of the International Calligraphy and Painting Aesthetic Competition;

In 2007, he won the gold medal of the National Calligraphy and Painting Exhibition "Commemorating the 80th Anniversary of Kang Youwei's Death";

In 2008, he won the gold medal of the "Yanhuang Cup" Invitation Exhibition of Chinese Calligraphy and Painting Works at home and abroad;

In 2008, he won the gold medal of the National Calligraphy and Painting Exhibition "Commemorating the Creation of Lanting Preface in 1655";

In 2009, he won the gold medal of the National Calligraphy and Painting Exhibition "Commemorating the 2286 Year of Qu Yuan's Death";

In 2009, he won the gold medal of the National Calligraphy and Painting Exhibition "The 105th Anniversary of Deng Xiaoping's Birth";

In 2009, he won the gold medal of the National Calligraphy and Painting Exhibition of "Singing the Motherland and Praising the Mother" and "Celebrating the 60th Anniversary of the National Day";

In 2010, he won the gold medal of the "Yueyang Lou Cup" National Calligraphy and Painting Exhibition.

"Li Zhong Jing Cai"

Teacher Wu Chengyan integrates calligraphy and the perception of life into his creation, and the words flow with wind and bone, charm, elegance and emotion. It has both traditional calligraphy charm and strong characteristics of the times, surging with strong vitality. Enriched and improved the connotation and appeal of his works, and cultivated his rich bookish atmosphere. Therefore, from content to performance, from temperament to creation, it reflects the organic integration of cultural emotions and traditional pen and ink. In fact, the real calligraphy works are by no means superficial technology and formation, and good calligraphy works are inextricably linked to the cultivation and cultivation of calligraphers.

"The Gathering of Heroes"

"Huifeng and Chang"

Liu Yuxi's "Buried Room Ming"

"Houde Carrier"

"And"

From theory to practice, from scholars to scholars, here in Teacher Wu Chengyan, is to first lay a deep foundation in the humanistic realm, and then borrow the art form of calligraphy, naturally born into the spiritual creative activities of modern scholars, but also naturally with the deep gene of the spirit of Chinese culture and Chinese art - retreat and solitude; the so-called internal no obstacles, no external demand, is only corresponding to the development of their own learning, the itinerary of life, and there is no solution, free and transparent, unintentional and perfect in the Tao. In this way, we can trace back to the source, reconstruct the root nature, on the basis of a deep understanding of the essence of traditional calligraphy, and then through the process of synthesis, development and mutation of the practice of dedication that falls into the daily life and belongs to the practice of cultivation, transcends the traditional procedure, integrates the ancient and modern calligraphy, infiltrates the individual talents, is silent, accumulates thick and thin, and becomes a modern writing that is very interesting to Chinese culture and wind and god, and is full of the main spirit and artistic personality.

"Rich and Glorious"

Mr. Wu Chengyan's artistic achievements are multi-faceted and multi-faceted, he learns to paint as a teenager, not impetuous, not chasing the wind, not ostentatious, not in a hurry to make quick profits, concentrate on and obsessively manage this happy land of his traditional flower and bird paintings, forming a unique painting style of his fine ink, vivid charm and fun. His pen and ink skills are deep, free and beautiful, and the modeling layout is rigorous and vivid and unique, highlighting his artistic talent of accumulating thick hair and writing into a treasure. Skillful pen and ink is the basic skill of painting and the prerequisite for painting creation. When the pen and ink are biochemical into qi rhyme, they can enter a higher realm. Calligraphy and painting are of the same origin, calligraphy and painting are integrated, and painting with books is the art with the richest national characteristics in China. Without a solid foundation in calligraphy, it is difficult for Chinese painting to reach the state of being fascinating.

"Bamboo Newspaper Ping Sanfu"

"Thousands of Purples and Thousands of Reds Are Always Spring"

"Iron Bone Fights for Spring"

"Su Yan Yao Chi"

《Fu Shou An Kang》

Li Kuchan, a master of Chinese painting, often said: "The book is the height of the painting, and the painting is the extreme", "My words are paintings, and my paintings are written". Famous painters of past generations have all possessed superb calligraphy skills, Qingteng uses cursive brushwork to paint, Bada Shanren's paintings are integrated into Wang Xizhi's calligraphy, Zhao Zhiqian uses Weibei calligraphy as a freehand, Wu Changshuo uses stone drum brushwork to paint, and Qi Baishi and Li Kuchan regard calligraphy as the foundation of painting. The bitter old man once said: "If (painting) does not have a calligraphy foundation, it is just drawn out, repaired, not detached, and tacky." Wu Chengyan not only understands this principle well, but also deliberately pursues it. It is precisely because he has a profound foundation in calligraphy that he insists on using the pen to move the pen with intention in painting, and the ink is melted by the pen, and the pen is everywhere in the work, and the rhyme and wind god of the calligraphy pen are everywhere.

"One of the Four Screens of Meilan Bamboo Chrysanthemum"

"Meilan Zhuju Four Screens No. 2"

《Meilan Zhuju Four Screens No. 3》

《Meilan Zhuju Four Screen Four》

"Five Blessings of Mei Kai"

"In search of incense in the valley"

"But leave innocence in the Daily News"

"Fragrant Autumn Dew"

To a certain height, art is actually a person's quality and cultivation, and what he shows to the reader is not only a painting and a word, but a work that embodies the spirit and reproduces the soul, and has a strong spiritual appeal. Only those who yearn for a better life with a love of nature can be immersed in passion and depict works that are exhilarating and passionate. Mr. Wu Chengyan's paintings are spicy and rich, and his incomparable love for nature is as strong as the colors on his own paintings, which are beautiful and elegant. We always believe that Mr. Wu Chengyan's paintings are the backbone of Chinese painters, and it is worthy of the attention of the art world, the calligraphy and painting circles, and the collecting circles.