Introduction to Art:
Ma Wanguo, stage name Baohai, Qilu person, Kunlun into the first person to paint, studied in the Chinese Painting Department of the Central Academy of Fine Arts, is now a member of the Chinese Artists Association, the deputy director of the Calligraphy and Painting Professional Committee of the Chinese Socialist Literary and Art Society, a visiting professor of the Chinese Min Public Security University, a researcher of the Calligraphy and Painting Institute of the Central Research Museum of Literature and History, an art consultant of the Federation of Literary and Art Circles in Dongcheng District, a Chinese Charity Artist of the China Charity Federation, a researcher of the Art Research Institute of the Communication University of China, and the deputy director of the Founding Office of the Chinese Academy of Chinese Cultural Heritage of the Ministry of Culture. Visiting Professor, School of Fine Arts, Shandong University of Technology. In August 1994 and August 2014, he held solo exhibitions at the National Art Museum of China, and CCTV, People's Daily, etc. carried special reports on this. His works have been selected for many national exhibitions and won awards, and some of his works have been collected by many units such as the Great Hall of the People, Zhongnanhai, the General Office of the Central Military Commission, the National Art Museum of China, major museums, and memorial halls. China National Photography Art Publishing House published the hardcover "Ma Wanguo Chinese Painting Collection" (Kunlun series). Tianjin People's Fine Arts Publishing House published the collection of works of "China's Unique Masters", and the People's Fine Arts Publishing House published "Ma Wanguo's Hundred Fan Works", "Ma Wanguo's Hundred Fan Works", "Ma Wanguo's Hundred Chinese Paintings" (the first series) (the second series).
Ascension and purification in the midst of progress
——Ma Wanguo's "Kunlun" series of landscape paintings
Text/Xu Encun
Ma Wanguo, a contemporary ink painter, with the creativity of the text, the novelty of the form, and the vitality of the language, he ranks among the century-old torrent of the "New Chinese Painting Movement", and his art not only gives people a refreshing look, but also makes people appreciate the desolation and tragedy, thickness and longevity of the "border plug wind" created by Chinese art since the Qin and Han Dynasties; Although Ma Wanguo's art still needs to be further deepened and polished, he has shown a good artistic feeling and expressive ability.
Ma Wanguo consciously inherited the spirit of the "New Chinese Painting" movement of the past hundred years, continued the path of pursuing the essence and purity of art opened up by Lin Fengmian and Wu Guanzhong, positioned his own artistic orientation in the great changes in history and the evolution of concepts, and made his creation move towards a new realm of defamiliarization in following the "aesthetic thinking".
The greatness of art, in a sense, lies in the intervention of the tragic consciousness. Ma Wanguo's landscape paintings with the theme of the "Kunlun" series pursue the unique life potential and spiritual consciousness of the western landscapes, in order to reflect the ruggedness and thickness of the majestic and generous and tragic songs. With romantic techniques and colors, with his unique personal understanding, he transforms the mystery, majesty and magnificence of the objective western Kunlun Mountains into the Kunlun of art, which is the expression of personality and bone, the lyricism of strong temperament, and the frankness of romantic feelings, and the text construction of simple brush and ink and lump structure, showing the fantasy nature, romantic spirit and perceptual characteristics of the painter and his art.
The transformation of natural landscape into pen and ink images is a process of leaps and bounds, what is produced between the two is the essential fracture and improvement, in the painter's carefully constructed picture structure, what we see is no longer the simple Xuanyuan of the Wei and Jin Dynasties, the gentleness and thickness of the Sui and Tang Dynasties, the people of Song Ming are as light as chrysanthemums, the retro downturn of the Qing Dynasty, but in the form, ink, color, structure, strength, rhythm, contrast and other aspects of seeking the most expressive, the most life mood and symbolism, abstract formal meaning and spatial relationship, revealing the form of life itself, Causing a heterogeneous and isomorphic echo with human life, and drawing out the resonance of the deep and broad mind of the soul, in an unusual atmosphere and breath, it has bred the charm and shape behind the symbolism, the dense meaning in the abstract meaning, and the wind bone and the divine thought in the concise summary.
Undoubtedly, this is the rare and valuable point of Ma Wanguo's art.
Out of nature and temperament, out of feeling and experience, the Kunlun Mountain in Ma Wanguo's landscape text embodies the echo of prehistoric consciousness and the simple return of the brilliant natural spirit; Therefore, in his works, the geometric use of block surfaces and black and white contrasts have become the most important elements of artistic discourse, and the majestic and steep mountains, dotted lines and ink colors, as well as the rivers, lakes and animals between mountains, symbolized in the treatment of oblique, intersecting, overlapping, juxtaposed, and even dislocation, are the results of abstract thinking ability and the inevitable role of cognitive ability; In this way, the "Kunlun" series can be embodied as an entity of a specific form of life, embodied into the embodiment of concepts, the fullness of momentum, and the logical operation of personality styles.
Excellent works are never the result of the use of simple skills, but the natural expression of comprehensive cultivation and compound mentality, and must also be a sincere grasp of complex life rhythms; Ma Wanguo is well aware that in the new period, the entire nation needs a new mentality, which is neither the self-atrophy of the feudal era, nor the subversion and madness after overcorrection, but the creative, enthusiastic and free perceptual mentality based on the rational spirit of human beings, so that cognition and practice can be unified, and thus generate a value concept full of pioneering spirit and creative consciousness.
"Everything flows, nothing is always there".
The eternity of life lies in transcendence, and the eternity of art lies in creation, and in this constant change, different trajectories and different life forms can be revealed. In "Entering with Technology" and "Seeing The Big in the Small", Ma Wanguo realized the cyclical complementarity of the material form and cultural meaning of the painting object, and realized himself in it, at the same time, he also returned to "art itself".
Ma Wanguo's artistic efforts and artistic achievements have ignited our fire of hope, and we sincerely hope that Ma Wanguo will continue to move forward and climb to a new realm and a new height of art in self-challenge.
Works:
Great Realm Calligraphy and Painting Operation Center
Special Consultants: Zou Liying, Li Dong, Li Hui, Luo Jianquan, Bian Shucai, Liu Junjing
Art Consultants: Chen Tianzeng Da Da Fang Qiang Gao Xuetao Han Yi He Renchen Jiang Yaonan Jin Gege Lang Hua Hu Hui Li Zelin Li Zilong Li Renfu Li Yumin Liu Yanhui Liu Xinchun Liu Jianguo Lumin Lv Dajiang Ma Changjiang Ma Wanguo Mu Chunhua Qin Mingqiang Ren Wei Shen Fengtao Shen Keming Song Shicao Su Tong Sun Liangli Wang Ben Wang Dingsuo Wang Li Wang Juting Wang Xincong Wang Xiaoyin Wang Youxue Wang Shiwei Wu Kang Xu Zhimin Ye Lan Yu Zhaoke Yu Xinmin Zhang Yibin Zhao Yi Zhao Baoguo Zhou Jing Zhu Fugang Zuo Jing Zuo Jing (in order of surname initials)
Director: Wang Yinghong
Support: Gansu Gallery Alliance Network 《Gansu Gallery》