★ Nanjing Yan Zhenqing Painting and Calligraphy Institute is recommended by famous artists
Magnificent and proud
——Famous artists commented on Zhang Guangcai's Chinese character paintings
Bride Yayun Zhang Guangcai
Beautiful woman Zhang Guangcai
Sun Ke (Famous Art Critic, Former Executive Vice President and Secretary-General of the National Chinese Painting Society)
Chinese painting is a very old art, and our interest in appreciating aesthetics always requires lyricism and elegance, and the use of color is very little and light. Chinese painting should be more open in order to adapt to the changes of the times, which is a major issue facing Chinese painting, and in this regard, Zhang Guangcai has taken a gratifying step.
Mr. Guangcai's basic skills in character modeling are very solid, very vivid, very open, and he also attaches great importance to the aesthetic pursuit of character modeling. He has a good painting foundation and a strong ability to observe life, and he shows the interests and hobbies of contemporary youth and the free and easy state of young people. He raised the figures, elongated, very fashionable and beautiful. The colors are very bold, painting the figures in green and red, but I think he is still the Chinese pen and ink, the Chinese aesthetics, the Chinese sense of rhythm and color, and Guangcai's bold exploration is indeed quite meaningful for the development of Chinese painting.
Shang Hui (Director of the Theory Committee of the China Artists Association, Editor-in-Chief of Fine Arts Magazine)
Professor Guangcai is the first college student after the Cultural Revolution, is a graduate student of Mr. Yang Jianhou, a disciple of Xu Beihong, and is a high-achieving student trained by Xu Beihong to improve the teaching system of Chinese painting with European realistic painting. In the process of teaching and creating, Professor Guangcai has never forgotten academic thinking and practical care, but is trying to explore a suitable path of artistic creation. From the series of works he has created in recent years, we can see that the images in his paintings have made obvious breakthroughs in the use of brush and ink, especially in the use of color, and have formed their own distinctive characteristics. Zhang Guangcai's exploratory series of works allow people to see that traditional Chinese painting can still express the rhythm and connotation of contemporary life in this way, and let people see the openness and pioneering nature of traditional Chinese painting when facing contemporary life.
Yin Shi (Consultant of Jiangsu Artists Association, former Vice Chairman and Secretary-General of Jiangsu Artists Association)
On the basis of tradition, Chinese painting has been inherited from the same line to the present, and everyone is used to seeing it, tired of it, it is too sweet! There must be a little breeze, a little spicy, hot, and devastating character paintings, and Zhang Guangcai will come out.
I would like to summarize my feelings about Mr. Guangcai's works with a few ridiculous "dares", first, he is bold and reckless, the second is lustful and courageous, the third is the sword and the heart, and the fourth is the courage to taste the guts. The so-called "audacity" means that he subverted the old tradition of Chinese figure painting and the new tradition of figure painting since the twentieth century; The so-called "color gall" means that his colors are bright and dazzling, jumping and transparent, giving people a pure and beautiful enjoyment; The so-called "sword gall and qin heart" means that his works have both majestic momentum and exquisite and interesting portrayals; Finally, it is "lying on the salary and tasting the guts", which means that his current exploration presents a broad prospect, where he goes, I think he will continue to open up to a unique and exaggerated and poetic spiritual world, and we look forward to more wonderful works from Mr. Guangcai.
Mao Guimin (Former Vice Chairman of Jiangsu Literary and Art Critics Association)
Mr. Zhang Guangcai's paintings, with exaggerated figures, beautiful postures, warm and gorgeous colors, are full of joy for life, and this style of painting expresses the painter's own views, thoughts and emotions on life. In his paintings, the form of the figures is completely detached from the high-ranking people and elegant people under the conditions of agricultural civilization, and from the demeanor and emotions of such figures. Some of the characters in the picture do not even "open their faces", which makes people think that he is arbitrarily and strongly expressing the freehand spirit of Chinese character painting.
Each of Mr. Zhang Guangcai's paintings is full of fiery passion. The strong emotions of the characters in the picture are difficult for us to see in reality, but it is so realistic and makes us believe that it is true, which is the skillful expression of "artistic truth". It hits people's hearts and gives people a better and more ideal metaphor for their future life, thus arousing people's yearning for future life and nourishing people's souls.
Zhao Quan (Deputy Editor-in-Chief of Art Observation Magazine, Researcher of Chinese Academy of Arts)
Mr. Guangcai's works are indeed a unique aspect in the contemporary Chinese painting world. I would like to talk about two feelings: the first feeling is that Mr. Guangcai's works are not only different from the way of traditional Chinese figure painting, but also different from the way of the more mainstream Xu Jiang system in the decades after the founding of the People's Republic of China, and have their own unique appearance. The second feeling is that the colors are very bold, dazzling, and the colors are very bright, however, if we think of the ethnic colors of Xinjiang, Yunnan and other regions, it is reasonable; It is also reasonable if we think of traditional Chinese folk colors; If we think of the colors of Western modernism, it is still reasonable! It can be said that the brush and ink and the color complement each other and complement each other, producing a good visual effect.
Zheng Gong (Deputy Director, Institute of Fine Arts, Chinese Academy of Arts)
Mr. Guangcai published a paper on "Reshaping the National Art Image of Chinese Painting" in the magazine "Fine Arts", and there is such an expression in the article: the imagery of modeling, the flatness of the picture space and the expressiveness of free swaying, I appreciate these few sentences, how to comprehensively present it, on a character image, it is very difficult, which requires a kind of effort, but Mr. Guangcai has undoubtedly done it. The steady and hearty lines, the bright and elegant color blocks, sweep away the concept of traditional Chinese painting, and completely distance themselves. Mr. Guangcai's paintings are indeed unconventional, but they do not depart from the foundation and aesthetics of Chinese painting, and I think his exploration is actually a useful attempt to reshape the artistic image of Chinese painting.
Peng Liming (Former Vice Chairman of Beijing Federation of Literary and Art Circles, Director of China Literature and Art Critics Association)
I think Mr. Guangcai is a very personal and fleshy artist. You see his calligraphy lines, stretched so long, so good, pulled down in one stroke, pulled into place, and grasped the character modeling so just right, it is not easy. The works we see are his own art world, and this art world can be integrated into the hundred gardens of Chinese painting, so we must not only accept it, but also study it. In short, Mr. Guangcai has indeed created a unique language system for the Chinese painting world, injecting a new sense and new vitality into contemporary Chinese painting.
Cong Zhiyuan (Professor, Chair, Department of Printmaking, William Paterson University, United States)
United States in the pursuit of modern art, they also began to understand the combination of aesthetics, texture, form, and form and theme, and felt that they should go back to the pure beauty of the form, in terms of technique and traditional themes to carry out new explorations. I saw Mr. Guangcai's works, and the very simple, rough, and free style produced a very beautiful art form. In the pursuit of modern art, China has a lot in common with Western art in terms of exploration, and Mr. Guangcai has made a very valuable exploration in this regard, which is a direction that is very worthy of everyone's encouragement and affirmation.
Huang Danlu (Editor of National Art Museum of China, Famous Curator)
Mr. Guangcai actually abandoned Xu Beihong's sketches, light and shadow, space, anatomical perspective and other Western classical things, he can be said to be an exposition of China and the West in terms of formal language, he borrowed from Huang Zhou, Ye Qianyu's sketches, borrowed from Dunhuang's modeling colors, and at the same time absorbed Matisse, Giacometti, pop art, op art, including cartoons, animation, etc. If Xu Beihong is constructing a Xirunzhong between sketching and brush and ink, Mr. Guangcai is constructing a new system in color and brush and ink.
In short, the modern form of Chinese painting requires the unremitting efforts and development of each of our artists, Mr. Guangcai with his keen vision, special perception, extraordinary courage, exploration and creation of his own unique artistic language, in fact, it is not easy to cross every step, I think Professor Zhang's exploration has injected encouraging new vitality into the modernization of Chinese character painting!
Mr. Zhang Guangcai
Zhang Guangcai, professor and former dean of the Academy of Fine Arts of Jiangsu Second Normal University, director of the National Chinese Painting Society, vice president of the Jiangsu Chinese Painting Society, member of the Chinese Artists Association, president of the provincial branch of the Jiangsu Artists Association, senior researcher of the Xu Beihong Research Association of Jiangsu Province, former deputy editor-in-chief of the primary school Chinese of the National Curriculum Standards (Jiangsu Education Edition), and vice president of Nanjing Yan Zhenqing Painting and Calligraphy Institute.