Wang Junshu, a native of Anhui, currently lives in Beijing. He is a member of the China Artists Association and a professor and tutor of the Painting Institute of Chinese Min University. President of China Xinnan School Flower and Bird Painting Research Institute, Vice President of China Ink Art Research Institute, Member of China Gongbi Painting Society, Vice President of China Art Horizon Calligraphy and Painting Institute, Director of Capital Painting Academy, Secretary General of Fuyang Flower and Bird Art Committee, Member of the CPPCC Yingshang Committee, disciple of Sun Qifeng. His works have been collected by Zhongnanhai Purple Light Pavilion, exhibited and collected in art galleries in Singapore, Malaysia, Australia, Japan, South Korea, the Louvre Museum in France and other countries, and have been donated to business elites and international friends!
Artistic Biography :
In 2016, his work "Hongyun Dangtou" was selected for the Jinjing Exhibition; in 2016, his work "Missing" was selected for the Rongbaozhai Biennale;
In 2016, his work "Hometown Doesn't Say Goodbye" was selected for the National Chinese Painting Exhibition in Dongying, Shandong;
In 2016, his work "To Meet You" was selected for the Wannian Pujiang National Chinese Painting Exhibition;
In 2017, his work "Flowers Bloom All the Way" was selected for the National Chinese Painting Exhibition celebrating the 20th anniversary of Hong Kong's return to China;
In 2017, his work "Prosperous Years" was selected for the Dream Weihaiwei National Chinese Painting Exhibition;
In 2017, his work "New Green of Jiashan Mountain" was selected for the auspicious Wutaishan Chinese Painting Art Exhibition sponsored by the Chinese Painting Society;
In 2018, his work "HanMo Yiqing" was selected into the Shu Fangzhi Painting Yinong National Chinese Painting Exhibition;
In 2018, his work "Sheng Shi Fu Rong" was selected for the 5th National Chinese Line Drawing Exhibition;
In 2019, his work "The Most Joyful Southern Country Listening to Banana Language" was selected for the National Chinese Painting Exhibition of Youyi Road;
In 2020, his work "Nanguo Nong" was shortlisted for the Jiangnan Poetic National Chinese Painting Exhibition;
In 2020, his work "When the Clouds Rise in the Streams and Mountains" was shortlisted for the Wannian Pujiang Hand Scroll National Chinese Painting Exhibition;
In 2020, his work "Birds and Flowers" won the Qualification Award in the "White Mountains, Black Water, Beautiful Siping" National Exhibition of Chinese Paintings;
In 2020, his work "Ruined" was selected for the Zikai Cup National Comic Exhibition.
Appreciation:
Celebrity Reviews:
Qingbi Xuan ink fusion ancient and modern
——Wang Jun's interpretation of flowers and birds
Text/Sun Qifeng
What attracted me to Wang Junshu was the extraordinary height reached by his exploration of the field of freehand flower and bird painting. The strength of his pen and the situation of Xuan Yun Lingming revealed a sense of everyone's atmosphere. It can be seen that Wang Junshu's artistic attainments are outstanding.
Wang Junshu is strong and elegant, has the courage to explore, and is eager to learn and think deeply. He uses a pen with a thick and spicy bone method, meeting with ink, harmonizing with water, and blending with color. With the pen and ink of the willful brush and ink to outline the flowers and leaves, the branches write birds, and thus pursue the quality of freehand flower and bird painting held by the brisk, light, moist, transparent and elegant, to achieve their own aesthetic creation. His flower and bird paintings are widely used in materials, including the re-creation of traditional themes, the new discovery of birds and flowers, the capture of mountain flowers and wild flowers, and the capture of pastoral scenes; there are lotus ponds, plum blossoms, there are also vine flowers blooming, the splendor of dangui wafting; there are willow silk yidang, banana leaf chorus of handsomeness; there are loquat weeping gold, pomegranate knots are comfortable, and there are the red color of chicken crown flowers, the thickness of sunflowers, the birds roosting among the flowers and stones, the chirping of finches, the flying dance of swallows, the swimming of ducks, the foraging of chickens, There is the intimacy of the Mandarin duck, there is the metaphor of the shou belt... Flowers have feelings, birds have intentions, branches have rhymes, kaleidoscopic changes, and the width is different. The vivid image of the calendar in the purpose, without exception, is looming in the light and wind, as clear as washing, quiet as heaven, seemingly nothing, wanting to show and hide, not only is the form simple and complete, the pen and ink exquisite, but also simple and sparse, qingqi opening, ethereal and quiet, beautiful and light luck. It can be seen that in Wang Junshu's mind, the life of flowers and birds and the universe are naturally integrated. What he pursues is not only the charm of birdsong and flowers, but also lyrically pins his reverie through the scenery, especially committed to the purification and cultivation of the spiritual realm of the work, and all of them express the clear realm and his unique feelings that people yearn for. This is the unique feature of Wang Junshu, and it is also ignored by a considerable number of contemporary flower and bird painters. The artistic language he uses is not monolithic, but complex. The information carried by his freehand flowers and birds is not only large freehand flowers and birds, broad pen and horizontal, and large ink dripping with elegance. There are also small freehand flowers and birds, vivid and vivid shapes, and beautiful and pleasant colors. There are both traditional folded branches, flowers and birds, "out of the new meaning in the Dharma", as well as a strange chapter that takes the composition of the Western law. The way out of the new is "to clear the pen and ink, and to integrate the ancient and modern". It not only adheres to the elegance of classical style, but also pursues the publicity of modernity; both loves the simplicity of the realm and is obsessed with the richness of vision. He sometimes emphasizes the lightness of ink illusion, sometimes pays attention to the thickness of thick brush and large ink, and sometimes pays attention to the elegance of writing color. Sometimes it is carefully engaged in the vital expression of "shape", and sometimes it is dedicated to the depiction of the spatial relationship of "intention". His eclectic approach to painting gives his pen a variety of "possibilities". ——He can combine work and writing, color and ink are integrated, and he can be realistic and freehand at the same time. Boneless and outlined at the same time, can also be combined with line and surface, from which it shows the aesthetic orientation of inheriting tradition and transcending tradition in terms of taking images, constructing the situation, writing love, etc., and taking the French and the West and changing and integrating.
"Writing" and "meaning" are the two important features of traditional flower and bird painting. The so-called "intention" is through the selection of flower and bird themes, the "intention" of the spiritual ethics of the literati, and the "intention" of subjective personality and talent. The so-called "writing" is to explain the theme to be expressed through personalized pen and ink. It is related to "painting with books" and "calligraphy as painting". "Rewriting" and "Shangyi" are an important aspect of Chinese painting. Because of "rewriting", the quality of the line is very important, we must pay attention to the use of the pen, so that the line is full of strength and expression, with the aesthetic value of independent appreciation, but it is also a kind of expressive discourse related to the theme, artistic conception and content. Because of "Shangyi", it has reached a very high artistic realm.