What is the story of Zhang Peicheng in history?

Mr. Zhang Peicheng is a well-known painter and artist.

At the end of the 80s of the last century, the ink painting "Breeze" blew a fresh wind for the painting world at that time with its novel appearance. Ink painter Zhang Peicheng also believes that this is a masterpiece of his creative transformation, with simple color blocks and relaxed tones, and it can be said that "Breeze" marks Zhang Peicheng's changeable and coordinated ink and wash transformation in the future.

Zhang Peicheng said that instead of painting a work that is stable and impeccable, it is better to paint a work that is immature but has new ideas. He uses ancient ink to perceive the truth of today's life, leisure, happiness, humor, and the sense of pursuit of modern people is full of emotion on rice paper. In fact, his own personality is actually a very active person, so the production of the work is of course related to his personality, but it should be the result of wisdom and thinking, his own generation came from the Cultural Revolution, at that time there was too heavy a burden, too heavy a burden, too heavy, it can't be said to be a mission, it is a kind of ideological shackles, so after the Cultural Revolution, I have always wanted to paint a very relaxed, very pleasant painting, I feel that the work is in addition to education, There is also a kind of comfort that makes people feel like sitting on an easy chair, which is also a very important effect of art. The artist has distinctive characteristics in the exploration of ink painting, drawing on some experiences of modern art, but not departing from the harmonious and beautiful principles of classical art, pursuing novelty and variation, but maintaining refinement, adapting to fashion taste, and emphasizing independent individuality, reflecting the regional characteristics of Shanghai of this era. I am a person who is very restless in painting, and I have my own knowledge structure, and I may have a relationship because I have been a teacher in college for 20 years, although I am a Chinese painter, but I am very interested in Western painting, not only painting, but also other things, visual things. After 20 years of teaching career in the Art Department of Shanghai Normal University, further study in the Chinese painting class of the Central Academy of Fine Arts, and the professionalism of the director of the Liu Haisu Art Museum, Zhang Peicheng has his own ideas about art. Our times have changed, we have left the agricultural era, the space we live in today is very different from the ancient times, we are a very modern space today, this is also a very important reason that forces me to change, painting is also a kind of ideological activity, not just a craft. Emphasizing the flat composition and weakening the realistic depiction, the artist has devoted himself to the exploration of ink painting in the past 30 years, and has his own unique characteristics. There is a saying in China that "lifting weights is light", that is, the result of your thinking should be very easy, but your process is actually very heavy. The close-up framing, the composition of shapes and colors, and the casual treatment of composition, make Zhang Peicheng's works break away from realistic painting methods and styles, and enter a new realm where they can give full play to their individuality and creativity. In 2007, the Shanghai Art Museum hosted the Shanghai New Ink Painting Series - Zhang Peicheng's solo exhibition from the academic perspective of collating and researching the development of contemporary art in Shanghai. In between encounters with paintings, we have the opportunity to look back at the artist's mental journey in the past 30 years. In the early 80s of the last century, new things poured in, and I felt that painting could be painted like this, and that was given to us in the past 30 years. I tried a lot of painting styles, such as "Breeze", "iQue", and "Black Horse", and I was very active at that time. In 1989, the artist decisively abandoned the heroic traditional brushwork, strengthened the contrasting parts of the color blocks, and was concise and bright, and won the bronze medal of the 7th National Art Exhibition in 1989 and was collected by the National Art Museum of China. In fact, folk things are very simple, it is full of vitality, and this kind of thing is the most important thing in art, in fact, Western modernism has also absorbed folk, they have absorbed African folkism, Picasso, Matisse have absorbed African things. The folk and folk things give a life to the very elegant things. Folk art has a vast world, and the primitive wood carvings of Africa, geometric deformation and exaggeration, are vivid features. From the traditional painted pottery and paper-cutting, absorbing the refreshing and friendly contrasting colors, and from the art of opera, we can see the composition of the picture rich in stage effects, "Black Horse" and "iQue" stood out in the ink reform in the mid-to-late 80s, and were selected for the 1988 Newcomer and New Work Award held by the China Artists Association. "iQue" is influenced by Matisse from the whole composition, and he wants to depict a kind of spiritual journey of human beings, which will be very beautiful. In the decade since "The Breeze", the same female theme has been expressed, and the semi-abstract beauty has overflowed from the lightness. Ten years later, "Meeting with the Master", "Picasso's Polyhedron Figure", "Chinese and Western Artists", and "Peasant Painter's Figures, Flowers, Birds, and Animals" hinted at Zhang Peicheng's thinking of integrating folk art and modern art, drawing on the modeling methods of folk painted pottery, New Year paintings, Han portrait stones, and impressionistic silhouettes, and rendering an ancient modern style for large-scale works with a sense of ritual, showing Zhang Peicheng's various explorations in the 80s. It's definitely not right to want to paint like Westerners, but it's not right to be the same as it, just like our ancestors. In today's art world, there is now a wind of going back, a retro wind, but I am not comfortable looking at it, and I feel that it is not sincere, because they can no longer go back to the context of the past, how can you paint a very natural painting, we must face our reality. You will find that when reading Zhang Peicheng's works, there is a kind of fairy-tale imagination, brushstrokes, tones, and light tend to be simple, and the brushstrokes are elegant, Picasso once said after watching a children's painting exhibition, I am as big as them, and I paint like Raphael, I lived to be over 80 years old, and only then did I paint like them, when Zhang Peicheng said this, I think his painting style is not only a happy personality, but also his pursuit. Whether it is the beginning of human beings in the West or the beginning of human beings in the East, when they paint, they don't know that the back of their paintings should be called Chinese painting or oil painting, they only know how to use pigments to paint on paper or cloth, or board, or wall, that Chinese painting and oil painting are later given to it, so the most concerned should be the expression of your emotions. While playing with his three-year-old grandson, it can be seen that not only in front of the camera, but also from daily life. At that time, there was a cat in the neighbor's house, and sometimes he would come to my house, and he would draw a lot of cats, and the cat seemed to be more like a dog than me, and his wife said, "Why don't you draw a dog?" Nearly like the pine and bamboo brush lines drawn by children, close to the exaggerated images of anime characters, the changing tones and lights increasingly highlight the painter's personality. If you want to express today's life and our people today, you must have a new language, these words, these grammars must be created by you, and I feel that as an artist, the essence is to create. In these works, he skillfully expresses the combination of color, light and shade, movement and stillness, and captures the moments of life. Relaxed, elegant, and contemporary, the artist does not allow the viewer to bear the weight of sharp and heavy subjects, and he loves to draw and has something to do with fun. Zhang Peicheng said, I like painting, because it is interesting, a line, a piece of color, can play with different interests, if you want to tell people some philosophy of life in the universe through it, or simply become a philosopher.

Zhang Peicheng is also the director of Liu Haisu Art Museum, while observing the frontier of art at home and abroad, he puts thinking about art education as an important part of the art museum, he believes that young artists are always the birthplace of vitality, since 1999, the successful resumption of the "Shanghai Youth Art Exhibition", "Masters Start Here", these in the young generation and art education has a greater appeal, at the same time in the art practice also enrich their own thinking. I admit that I am a very good thinker, I see that this painting is good, why do I feel that it is good, I will analyze its very metaphysical things, I feel that as an artist, I must care about those metaphysical art training and technical issues, I will think about it, and I will compare. Pen, ink, paper, and inkstone have been transformed into a carrier with Chinese meaning, and how to constitute the ecology of contemporary art is an angle of concern. I am first modern, then Chinese, national, and modern, which determines the meaning and value of my work, which is local, and it allows me to have an identity in the world, so in the creation of my entire work, these two are the problems I have been thinking about, and they are a vertical and horizontal coordinate. While the personal style is mature, getting rid of the inertia brought about by the observance is another topic that should be vigilant at all times. For example, these three small cherries, I will always paint like this, or I will always paint a person like this, in fact, it is wrung out, there is a painter, he also made a turntable, this grid, this grid, such as yellow, there is a blue underneath, and then turn it, where the needle stops, what color to match with this color, that is to break their own habitual thinking trend. For example, this painting, there is a little ink sprinkled on it, what to do, this piece of paper is wasted, don't waste it, just draw on it, draw a good picture, so that it creates a lot of obstacles, it makes me unable to paint in the way I am usually very proficient in thinking, I have to avoid it, and I have to take advantage of it, and as a result, new opportunities arise, so it is actually very important to get rid of myself in painting.